悲劇的誕生The Birth Of Tragedy 第87期:有德的人定是快樂的人
It is at this point that philit is at this point that philosophical ideas begin to entwine themselves about art, forcing the latter to cling closely to the trunk of dialectic.
The Apollinian tendency now appears disguised as logical schematism, just as we found in the case of Euripides a corresponding translation of the Dionysian affect into a naturalistic one.
夢境的傾向已經在邏輯三段論的外殼裏化成蛹。我們在歐裏庇德斯方面也見到類似的情況，此外還見到醉境成份轉化為自然主義的情感。Socrates, the dialectical hero of the Platonic drama, shows a close affinity to the Euripidean hero, who is compelled to justify his actions by proof and counterproof, and for that reason is often in danger of forfeiting our tragic compassion.
蘇格拉底、柏拉圖戲劇中的辯證法英雄，使人想起類似歐裏庇德斯悲劇英雄的氣概：他們都必須用理由和反駁來維護自己的行為，所以往往有喪失我們的悲劇同情之危險；
For who among us can close his eyes to the optimistic element in the nature of dialectics, which sees a triumph in every syllogism and can breathe only in an atmosphere of cool, conscious clarity?
因為誰會誤解辯證法本質中的樂觀成份，即每次結局的祝捷歡呼，而獨能在冷靜的清醒和自覺中呼吸自如呢？Once that optimistic element had entered tragedy, it overgrew its Dionysian regions and brought about their annihilation and, finally, the leap into genteel domestic drama Consider the consequences of the Socratic maxims:
這種樂觀成份一旦侵入悲劇中，就勢必逐漸蔓延到醉境的境界，而且必然迫使悲劇自趨滅亡，——直至它跳入資產階級戲劇的深淵而喪命。我們只須看看蘇格拉底格言的惡果，virtue is knowledge; all sins arise from ignorance; only the virtuous are happy"--these three basic formulations of optimism spell the death of tragedy.
他説：“德即是知，犯罪是由於無知，有德的人定是快樂的人。”悲劇的滅亡就是由於這三個樂觀主義基本公式。The virtuous hero must henceforth be a dialectician; virtue and knowledge, belief and ethics, be necessarily and demonstrably connected; Aeschylus' transcendental concept of justice be reduced to the brash and shallow principle of poetic justice with its regular deus ex machina.
因為，現在有德的英雄必須是個辯證法者；現在德與 知之間，信仰與德性之間，必須有必然的明顯的結合；現在，埃斯庫羅斯的先驗的正義觀，業已淪為所謂“詩的主義”這浮淺狂妄的原則，及其慣用的“神機妙算”了。
