悲劇的誕生The Birth Of Tragedy 第2期:希臘藝術觀

Much will have been gained for aesthetics once we have succeeded in apprehending directly--rather than merely ascertaining--that art owes its continuous evolution to the Apollinian- Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation.

假如我們不僅達到邏輯的判斷，而且達到直覺的直接確定，認爲藝術的不斷髮展，與夢神阿波羅和酒神狄奧尼索斯這兩類型有關，正如生育有賴於雌雄兩性，在持續的鬥爭中，只是間或和解；那麼，我們對於美學將大有貢獻。

I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means.

這兩個名詞，我們假借自古希臘人，它們使得明敏的心靈能領悟到希臘藝術觀的深奧的祕儀當然不是在概念上。

It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus.

而是從他們的極其明確的神象上從阿波羅和狄奧尼索斯這兩個希臘藝術神。我們認識到，古希臘世界，阿波羅的雕刻藝術和狄奧尼索斯的非造型的音樂藝術之間，就其起源和目的來說，形成一種強烈的對照。

The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

這兩種如此不同的傾向彼此並行，但多半是公開決裂。互相刺激而獲得不斷的新生，在鬥爭中使得這種矛盾永久存在，而“藝術”這個共同名詞不過是表面上爲它們架橋樑；直到最後，憑藉希臘“意志”的玄妙奇蹟，這兩者又結合起來，終於產生既是狄奧尼索斯型又是阿波羅型的阿提刻悲劇藝術作品。

To reach a closer understanding of both these tendencies, let us begin by viewing them as the separate art realms of dream and intoxication, two physiological phenomena standing toward one another in much the same relationship as the Apollinian and Dionysian.

爲了更深體會這兩種傾向，讓我們首先把它們看作兩個分歧的藝術境界，夢境與醉境，這兩種生理現象顯出一種對照，類似阿波羅型與狄奧尼索斯型的對照。

It was in a dream, according to Lucretius, that the marvelous gods and goddesses first presented themselves to the minds of men. That great sculptor, Phidias, beheld in a dream the entrancing bodies of more than human beings, and likewise, if anyone had asked the Greek poets about the mystery of poetic creation, they too would have referred him to dreams and instructed him much as Hans Sachs instructs us in Die Meistersinger:

魯克勒提烏斯（Luorotius）曾設想：莊嚴的神象，首先是在夢中對人類的心靈顯現的，偉大的雕刻家也是在夢中見到這些超人靈物的輝煌形體。假如你向這位古希臘詩人詢問詩的創作之祕密，他同樣會提出夢境，正象亨斯．薩克斯（HansSachs）在善歌者（Meistersinger）中所說的那樣，對你指教：

The poet's task is this, my friend,

朋友呵，這正是詩人的責任；

to read his dreams and comprehend.

去闡明和記下自己的夢境。

The truest human fancy seems,

信我吧，人間最真實的幻影，

to be revealed to us in dreams:

往往是在夢中對人們顯現；

all poems and versification,

所有的詩藝和所有的詩情，

are but true dreams' interpretation.

不過是對現實之夢的說明。