悲劇的誕生The Birth Of Tragedy 第36期:詩的領域

Poetry does not lie outside the world as a fantastic impossibility begotten of the poet's brain; it seeks to be the exact opposite, an unvarnished expression of truth, and for this reason must cast away the trumpery garments worn by the supposed reality of civilized man.

詩的領域並非在現世之外，象有些詩人所幻想的空中樓閣那樣。恰好相反，詩是現實的不加粉飾的表現，因此它必須拋棄文明人所假設的那種現實的僞裝。

The contrast between this truth of nature and the pretentious lie of civilization is quite similar to that between the eternal core of things and the entire phenomenal world.

性靈的內在真實與冒充爲唯一實在的文明虛僞之間的差異，等同事物的永恆核心，即物自體，與全部現象界之間的差異。

Even as tragedy, with its metaphysical solace, points to the eternity of true being surviving every phenomenal change, so does the symbolism of the satyr chorus express analogically the primordial relation between the thing in itself and appearance.

正如悲劇以其超脫的慰藉指示出：即使現象不斷毀滅，生存之核心卻萬古長青；同樣，薩提兒歌隊的象徵以比喻方法業已表現了物自體與現象之間的原始關係。

The idyllic shepherd of modern man is but a replica of the sum of cultural illusions which he mistakes for nature.

現代人的牧歌裏的牧童，不過是他們所妄稱爲自然的一切教養之寫照；

The Dionysian Greek, desiring truth and nature at their highest power, sees himself metamorphosed into the satyr

但是酒神祭的希臘人卻追求最強有力的真實和自然，所以他們見到自己變爲薩提兒。