悲劇的誕生The Birth Of Tragedy 第144 德國宗教改革
We should also have to regard our German character with sorrowful despair, if it had already become inextricably entangled in, or even identical with, its culture, as we may observe to our horror in the case of civilized France.
What for a long time was the great advantage of France and the cause of her vast superiority, namely, this very identity of people and culture, might compel us in view of this sight to congratulate ourselves that this so questionable culture of ours has as yet nothing in common with the noble core of our people's character?
長久以來，法國的最大優點和巨大優越性的原因，在於人民與文化之一致，但是今日我們見到這點，反而不禁爲自己慶幸：我們那頗成問題的文化，向來與我們民族性的高貴心靈，毫無相同之處。On the contrary, all our hopes stretch out longingly toward the perception that beneath this restlessly palpitating cultural life and convulsion there is concealed a glorious, intrinsically healthy, primordial power that, to be sure, stirs vigorously only at intervals in stupendous moments, and then continues to dream of a future awakening.
反之，我們的一切希望，都無限眷戀地寄託在一點認識：即，在忐忑不安的文化生活和痛苦掙扎的教育制度下面，隱藏着一種壯麗的、精力充沛的原始力量，當然它僅在偉大時代偶或有力地騷動起來，然後再度陷入夢中，夢想着未來的甦醒。
It is from this abyss that the German Reformation came forth; and in its chorales the future tune of German music resounded for the first time.
德國的宗教改革，就是從這深淵裏成長起來的，在它的讚美詩中，第一次聽到德國音樂的未來旋律。So deep, courageous, and spiritual, so exuberantly good and tender did this chorale of Luther sound--as the first Dionysian luring call breaking forth from dense thickets at the approach of spring. And in competing echoes the solemnly exuberant procession of Dionysian revelersresponded, to whom we are indebted for German music--and to whom we shall be indebted for the rebirth of German myth.
路德的讚美詩的音調，是這樣深刻、勇敢、感情豐富，非常溫柔美好，宛若在陽春已臨近時，從茂密的叢林裏，傳出酒神祭第一聲迷人的呼喚，酒神信徒的熱情磅礴的行列，就以賽過它的迴響答覆這呼喚，我們爲德國音樂感激他們，我們爲德國神話的再生也將感激他們。I know that I must now lead the sympathizing and attentive friend to an elevated position of lonely contemplation, where he will have but a few companions, and I call out encouragingly to him that we must hold fast to our luminous guides, the Greeks.
我想，我現在必須帶引樂意追隨的朋友到一所高處，讓他獨自靜觀。那兒他只有三數伴侶，我將鼓勵他喊道：我們必須緊緊跟住我們的輝煌的引路者古希臘人呀！To purify our aesthetic insight, we have previously borrowed from them the two divine figures who rule over separate realms of art, and concerning whose mutual contact and enhancement we have acquired some notion through Greek tragedy.
爲了澄清我們的美學知識，我們事前向他們借用兩個神靈形象，每個統轄着一個獨立的藝術領域。由於他們彼此接觸，相得益彰，我們從希臘悲劇上獲得一個概念。It had to appear to us that the demise of Greek tragedy was brought about through a remarkable and forcible dissociation of these two primordial artistic drives. To this process there corresponded a degeneration and transformation of the character of the Greek people, which calls for serious reflection on how necessary and close the fundamental connections are between art and the people, myth and custom, tragedy and the state.
由於這兩種原始藝術衝動的顯然缺裂，希臘悲劇的崩潰過程似乎是勢所難免的，希臘民族性的衰落及其變質，同悲劇的崩潰過程如響斯應，這就喚起我們嚴肅的深思：藝術與人民，神話與風俗，悲劇與國家，在根基深入必然緊密地同根連理。This demise of tragedy was at the same time the demise of myth.
悲劇的崩潰同時也是神話的崩潰。Until then the Greeks had felt involuntarily impelled to relate all their experiences immediately to their myths, indeed to understand them only in this relation. Thus even the immediate present had to appear to them right away sub specie aeterni [Under the aspect of the eternal.] and in a certain sense as timeless.
在崩潰之前，希臘人不由自主地，必須把他們的一切經歷，立刻同他們的神話聯繫起來；真的，只有通過這聯繫，他們才能瞭解往事；所以，在他們看來，甚至當前的事件也必然是subspecieaeterni（屬於永恆範疇），就某種意義來說，是超時間的。
