悲劇的誕生The Birth Of Tragedy 第72期:驅離酒神
Euripides himself, towards the end of his life, propounded the question of the value and significance of this tendency to his contemporaries in a myth.
Has the Dionysian spirit any right at all to exist?
酒神文化畢竟有沒有存在的價值呢？Should it not, rather, be brutally uprooted from the Hellenic soil?
是不是應該用暴力把它從希臘地土上連根拔除呢？
Yes, it should, the poet tells us, if only it were possible, but the god Dionysus is too powerful: even the most intelligent opponent, like Pentheus in the Bacchae, is unexpectedly enchanted by him, and in his enchantment runs headlong to destruction.
詩人告訴我們：要是可能的話，當然要拔除；但是酒神太頑強了，他的最聰明的敵手，有如“酒神伴侶”一劇中的潘透斯，在無意中也着了他的迷，後來就在迷惑中奔赴自己的末運。The opinion of the two old men in the play--Cadmus and Tiresias--seems to echo the opinion of the aged poet himself:
老先知卡德謨斯（Kadmua）和 提列西亞（Tiresia）的判斷，也好象是這位老詩人的判斷：that the cleverest individual cannot by his reasoning overturn an ancient popular tradition like the worship of Dionysus, and that it is the proper part of diplomacy in the face of miraculous powers to make at least a prudent show of sympathy;
即使最聰明的人的考慮，也不能推翻古老的民間傳統，以及這種不斷傳播的酒神崇拜，其實對這樣神奇的力量，最好是採用至少一些外交性的慎重措施，that it is even possible that the god may still take exception to such tepid interest and--as happened in the case of Cadmus--turn the diplomat into a dragon.
雖則酒神對如此冷淡的頂禮，往往有可能勃然大怒，結果會把這外交使節化爲龍，正象劇中人卡德謨斯所遭遇的那樣。We are told this by a poet who all his life had resisted Dionysus heroically, only to end his career with a glorification of his opponent and with suicide--like a man who throws himself from a tower in order to put an end to the unbearable sensation of vertigo.
這就是詩人告訴我們的話。他畢生在悠長的歲月裏，以英勇的魄力反抗酒神，而到頭來還是頌揚他的敵手，並且以自殺來結束自己的事業之歷程，正象一個眼花繚亂的人，只爲了避開可怕的、再也不能忍受的眩暈，反而從高塔上失足墮地那樣。The Bacchae acknowledges the failure of Euripides' dramatic intentions when, in fact, these had already succeeded: Dionysus had already been driven from the tragic stage by a daemonic power speaking through Euripides.
這個悲劇“酒神伴侶”，就是對他的傾向的實行之一種抗議，可是呵，他的傾向業已付諸實行！驚人的事件發生了：當詩人要收回成命時，他的傾向已經取得勝利。酒神已經被斥逐出悲劇舞臺，一種魔力，借歐裏庇德斯爲喉舌把他斥退了。For in a certain sense Euripides was but a mask, while the divinity which spoke through him was neither Dionysus nor Apollo but a brand new daemon called Socrates.
因爲，甚至歐裏庇德斯，在某種意義上，也不過是一個僞裝人物，通過他來發言的那位神，不是酒神，也不是夢神，而是一個嶄新的靈物，名叫蘇格拉底。Thenceforward the real antagonism was to be between Dionysian spirit and the Socratic, and tragedy was to perish in the conflict.
這是一種新的對立。酒神傾向與蘇格拉底傾向的對立，希臘悲劇藝術作品就在這一對立上碰得粉碎了。Try as he may to comfort us with his recantation, Euripides fails.
現在，歐裏庇德斯妄想以他的後悔來安慰我們，他沒有成功。The marvelous temple lies in ruins; of what avail is the destroyer's lament that it was the most beautiful of all temples?
堂皇的廟宇已成廢墟，破壞者的悲嘆對我們有甚麼用處呢？即使他承認這間是最華麗的廟宇，又有甚麼用處呢？And though, by way of punishment, Euripides has been turned into a dragon by all later critics, who can really regard this as adequate compensation?
即使世世代代的藝術批評把歐裏庇德斯化爲龍，以示懲罰，可是這樣可憐的賠償能使誰滿意呢？
