悲劇的誕生The Birth Of Tragedy 第113期:音樂的表達

He who recalls the immediate consequences of this restlessly progressing spirit of science will realize at once that myth was annihilated by it, and that, because of this annihilation, poetry was driven like a homeless being from her natural ideal soil.

你想起這種惶惶不可終日的科學精神所引起的直接後果，便會立刻想到神話是被它摧毀的了；由於神話的毀滅，詩被逐出她自然的理想故土，變成無家可歸。

If we have been right in assigning to music the power of again giving birth to myth, we may similarly expect to find the spirit of science on the path where it inimically opposes this mythopoeic power of music.

如果我們並沒有說錯，音樂有從自己再產生神話的力量，我們將會發現科學精神也踏上了反抗音樂之神話創造力的道路。

This takes place in the development of the New Attic Dithyramb, the music of which no longer expressed the inner essence, the will itself, but only rendered the phenomenon inadequately, in an imitation by means of concepts. From this intrinsically degenerate music the genuinely musical natures turned away with the same repugnance that they felt for the art-destroying tendency of Socrates.

這情況發生在新阿提刻酒神頌的發展過程中，它的音樂不再表現內在的本質，不再表現意志本身，而只用概念來直接模擬現象，大致描出它的輪廓罷了。真正的音樂天才便厭棄這種本質上已蛻化的音樂，正如厭棄那摧殘藝術的蘇格拉底傾向。

The unerring instinct of Aristophanes was surely right when it included Socrates himself, the tragedy of Euripides, and the music of the New Dithyrambic poets in the same feeling of hatred, recognizing in all three phenomena the signs of a degenerate culture.

阿里斯托芬明辨是非的直觀能力是中肯的：他對蘇格拉底本人，對歐裏庇德斯的悲劇，對新酒神頌詩人的音樂，都抱着同樣厭惡之情，他在這三個現象中見到一種墮落文化的標識。