悲劇的誕生The Birth Of Tragedy 第25期:理想的觀衆

Much more famous than this political explanation of the chorus is the notion of A. W. Schlegel,

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奧·威·希勒格爾（A．W．Sohlegel）的原理，比歌隊政治根源說更有名；

who advises us to regard the chorus as the quintessence of the audience, as the "ideal spectator."

他勸說我們不妨把歌隊看作觀衆的精華，即所謂理想的觀衆。

If we hold this view against the historical tradition according to which tragedy was, in the beginning, nothing but chorus, it turns out to be a crude, unscholarly, though dazzling hypothesis--dazzling because of the effective formulation,

這種見解，同向來謂悲劇本來不過是歌隊的傳統說法對照起來，就真相畢露，顯得是粗淺的、不科學的、但是堂皇醒目的學說。然而，這一說之所以堂皇醒目，不過是由於它的概括的警句形式，

the typically German bias for anything called "ideal," and our momentary wonder at the notion.

而且德國人對於所謂的“理想的”一切懷有真正的偏愛，所以使人驟然驚愕。

For we are indeed amazed when we compare our familiar theater audience with the tragic chorus and ask ourselves whether the former could conceivably be construed into something analogous to the latter.

但是，我們一旦拿我們熟識的劇場觀衆同古希臘歌隊比較一下，看看能否從今日的觀衆想象出類似悲劇歌隊的情形來，我們定必惶惑不解。

We tacitly deny the possibility, and then are brought to wonder both at the boldness of Schlegel's assertion and at what must have been the totally different complexion of the Greek audience.

我們將默然否定這一說，我們不但懷疑希勒格爾的假設未免大膽，而且不相信希臘觀衆會有完全不同於今人的特點。