悲劇的誕生The Birth Of Tragedy 第45期:一個新的世界

Instinctively he would project the shape of the god that was magically present to his mind onto that masked figure of a man, dissolving the latter's reality into a ghostly unreality.

他不由得要把他心靈中若即若離的整個酒神形象，賦予他眼前那個帶面具的演員，從而把演員的現實化爲一種超自然的非現實。

This is the Apollinian dream state, in which the daylight world is veiled and a new world--clearer, more comprehensible, more affecting than the first, and at the same time more shadowy--falls upon the eye in ever changing shapes.

這就達到了那掩蓋現實世界的夢境境界，於是一個新的世界，一個比舊世界更清楚、更明瞭、更能感人、而又更象幻影的世界，便在我們眼前誕生，再誕生，不斷變化。

Thus we may recognize a drastic stylistic opposition: language, color, pace, dynamics of speech are polarized into the Dionysian poetry of the chorus, on the one hand, and the Apollinian dream world of the scene on the other.

因此，我們在悲劇中見到兩種完全相反的風格；語言、情調、說話的活潑和流暢，分成兩種完全相反的表現領域。一方面是酒神歌隊的抒情詩，另一方面是夢神戲劇的幻境。

The result is two completely separate spheres of expression.

現在，酒神的激情既已具體化爲夢神的景象，這些景象便再也不是像歌隊的音樂那樣的“一片永恆的海洋，一種變幻的生存，赤熱的生命”。

The Apollinian embodiments in which Dionysus assumes objective shape are very different from the continual interplay of shifting forces in the music of the chorus, from those powers deeply felt by the enthusiast, but which he is incapable of condensing into a clear image.

它們再也不是像受了靈感的酒神信徒在神將降臨時所預感到的那種可以意會而不可以目睹的力量。現在，劇中的情景顯得像史詩那樣清楚而明確。

The adept no longer obscurely senses the approach of the god: the god now speaks to him from the proscenium with the clarity and firmness of epic, as an epic hero, almost in the language of Homer.

現在，酒神再也不是憑靈感之力來說話，而是像史詩英雄那樣差不多用荷馬的話來交談。