悲劇的誕生The Birth Of Tragedy 第35期:文明人的醜態

The satyr was sublime and divine--so he must have looked to the traumatically wounded vision of Dionysian man.

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薩提兒是崇高的如神的生靈；尤其是在闇然魂消的醉境中人看來，薩提兒定必彷彿如此。

Our tricked out, contrived shepherd would have offended him, but his eyes rested with sublime satisfaction on the open, undistorted limnings of nature.

我們的牧童，那盛裝的膺品，就會使這種人反感。可是看到坦率豪放的性靈的壯麗筆調，他便欣然留戀，掀起崇高的快感。

Here archetypal man was cleansed of the illusion of culture, and what revealed itself was authentic man, the bearded satyr jubilantly greeting his god.

這裏，人類的本相業已洗盡文明的鉛華；這裏，真正的人，長鬍薩提兒，露出了本色，向神靈歡呼。

Before him cultured man dwindled to a false cartoon.

在他面前，文明人就萎縮成金玉其外敗絮其中的醜態。

Schiller is also correct as regards these beginnings of the tragic art:

席勒關於悲劇起源的意見是正確的：

the chorus is a living wall against the onset of reality because it depicts reality more truthfully and more completely than does civilized man, who ordinarily considers himself the only reality.

他認爲歌隊是一種有生命的垣牆，它抵抗現實的進攻；因爲它，薩提兒歌隊，描繪出生存，比文明人描繪將更真實，更重要，更充分，儘管後者通常自命爲唯一的實在。