悲劇的誕生The Birth Of Tragedy 第27期:自相矛盾的概念
The emphatic tradition I spoke of militates against Schlegel:
chorus as such, without stage.
原來的歌隊是沒有舞臺的。the primitive form of tragedy--is incompatible with that chorus of ideal spectators.
因此這種悲劇原始形式的歌隊；與那種理想觀衆的歌隊，兩者不能混爲一談。
What sort of artistic genre would it be that derived from the idea of the spectator and crystallized itself in the mode of the "pure" spectator?
試問有何種藝術是從觀衆這概念引伸出來的呢？有何種藝術的真正形式相等於自在的觀衆呢？A spectator with out drama is an absurdity.
無戲的觀衆，是一個自相矛盾的概念罷了。We suspect that the birth of tragedy can be explained neither by any reverence for the moral intelligence of the multitude nor by the notion of a spectator without drama, and, altogether,
我們認爲，悲劇的誕生恐怕既不能以羣衆對於道德思想的重視，又不能以無戲的觀衆這概念來說明；we consider the problem much too complex to be touched by such facile interpretations.
這個問題太深奧了，如此膚淺的概括甚至沒有觸到它的邊沿。An infinitely more valuable insight into the significance of the chorus was furnished by Schiller in the famous preface to his Bride of Messina,
席勒在有名的“墨西拿新娘”的序文中，曾對歌隊的意義流露一種極其可貴的見解，where the chorus is seen as a living wall which tragedy draws about itself in order to achieve insulation from the actual world, to preserve its ideal ground and its poetic freedom.
他認爲歌隊是一堵活的藩籬，悲劇用它來圍着自己，以隔絕現實世界，以保存它的理想領域和詩的自由。
