悲劇的誕生The Birth Of Tragedy 第46期:希臘人的舞蹈天性

Everything that rises to the surface in the Apollinian portion of Greek tragedy (in the dialogue) looks simple, transparent, beautiful.

凡是屬於希臘悲劇中夢神成份的對話部，在表面上總是簡單的、明晰的、美麗的。

In this sense the dialogue is a mirror of the Greek mind, whose nature manifests itself in dance,being and we are somewhat surprised that we had such a short way to go.

在這一意義上，這種對話是希臘民族性的反映，希臘人的天性在舞蹈方面也顯露出來。

since in dance the maximum power is only potentially present, betraying itself in the suppleness and opulence of movement.

因爲，雖則在舞蹈時他們的最大能力還是潛伏未發，但是在變化萬千豐富多采的動作中已泄漏了消息。

The language of the Sophoclean heroes surprises us by its Apollinian determinacy and lucidity.

例如，索福克勒斯的悲劇英雄的對話就以夢境藝術的精確性和明晰性使我們驚歎，所以我們立刻以爲業已洞見了他們的生存的祕奧，

It seems to us that we can fathom their innermost.

不免詫異那通向祕奧的道路是這麼短。

However, once we abstract from the character of the hero as it rises to the surface and becomes visible a character at bottom no more than a luminous shape projected onto a dark wall,

然而，我們暫且不談那露於表面顯而易見的英雄性格——它到底不過是像投在暗牆上的光影，

that is to say, appearance through and through and instead penetrate into the myth which is projected in these luminous reflections,

也就是說，完完全全是現象而已。反之，讓我們深入到那反照在這光輝鏡面上的神話吧，

we suddenly come up against a phenomenon which is the exact opposite of a familiar optical one.

我們會突起體驗到一種與慣常的光學現象恰好相反的現象。