悲劇的誕生The Birth Of Tragedy 第16期:抒情詩人

Schiller has thrown some light on his own manner of composition by a psychological observation which seems inexplicable to himself without, however, giving him pause.

席勒從心理方面觀察，闡述他的創作過程，他自己雖然不能解釋，但這似乎是可靠的。

Schiller confessed that, prior to composing, he experienced not a logically connected series of images but rather a musical mood.

他承認，創作活動之前預備階段的心情，並不是先在眼前或心中有一連串依照思維程序排列起來的映象，而毋寧是一種音樂情調。

"With me emotion is at the beginning without dear and definite ideas; those ideas do not arise until later on.

“在我，感覺初時並沒有明確固定的目的，這是後來才形成的。

A certain musical disposition of mind comes first, and after follows the poetical idea."

我先有某種音樂性的心情，只有在這之後才產生詩的思想。”

If we enlarge on this, taking into account the most important phenomenon of ancient poetry, by which I mean that union-- nay identity--everywhere considered natural, between musician and poet (alongside which our modern poetry appears as the statue of a god without a head), then we may, on the basis of the aesthetics adumbrated earlier, explain the lyrical poet in the following manner.

此外，讓我再指出一切古代抒情詩最主要的一種現象——往往抒情詩人與音樂家自然而然結合於一身甚且同是一人。就這點來說，現代抒情詩，在相形之下，就好象沒有頭顱的神象了。所以，根據上述的審美形而上學，我們可以說明抒情詩人如下。

He is, first and foremost, a Dionysian artist, become wholly identified with the original Oneness, its pain and contradiction, and producing a replica of that Oneness as music, if music may legitimately be seen as a repetition of the world; however, this music becomes visible to him again, as in a dream similitude, through the Apollinian dream influence.

首先，抒情詩人，作爲醉境藝術家，是完全同“太一”及其痛苦和矛盾彼此一致的；設使音樂堪稱爲世界的複製或再鑄，就不妨說抒情詩人模仿太一而製爲音樂。但是，現在在夢神的感召下，他見到音樂變成象徵的夢景。

That reflection, without image or idea, of original pain in music, with its redemption through illusion, now produces a second reflection as a single simile or example.

於是，原始的痛苦模糊恍惚地反映在音樂上，又通過假象獲得救濟，便產生第二次的反映，成爲一種獨特的象徵或範本。

The artist had abrogated his subjectivity earlier, during the Dionysian phase: the image which now reveals to him his oneness with the heart of the world is a dream scene showing forth vividly, together with original pain, the original delight of illusion.

藝術家在進入醉境的過程中，已經揚棄了他的主觀性。現在，使他感到自己與宇宙心靈同化的那幅畫景，成爲這樣的夢景：它體現了假象世界的原始矛盾，原始苦惱，乃至原始快樂。

The "I" thus sounds out of the depth of being; what recent writers on aesthetics speak of as "subjectivity" is a mere figment.

所以，抒情詩人的“我”是從他心靈深處發出的聲音，現代美學家所謂抒情詩人的“主觀性”不過是自以爲是的幻想而已。

When Archilochus, the first lyric poet of the Greeks, hurls both his frantic love and his contempt at the daughters of Lycambes, it is not his own passion that we see dancing before us in an orgiastic frenzy: we see Dionysus and the maenads, we see the drunken reveler Archilochus, sunk down in sleep--as Euripides describes him for us in the Bacchae, asleep on a high mountain meadow, in the midday sun--and now Apollo approaches him and touches him with his laurel.

當第一個希臘抒情詩人阿奇洛科斯對呂甘伯斯（Lyoambas）的女兒表示熱戀又表示蔑視之時，我們不僅見到他的熱情如醉如狂地悸動，我們還見到酒神和他的侍女們，見到酩酊大醉的阿奇洛科斯陶然的睡態，正如歐裏庇德斯在“酒神侍者”中所描寫的在高山草地上日中高臥那樣。現在，夢神走近來了，用月桂枝觸他一下，

The sleeper's enchantment through Dionysian music now begins to emit sparks of imagery, poems which, at their point of highest evolution, will bear the name of tragedies and dramatic dithyrambs.

於是睡詩人的酒神音樂的魔力便發出如畫的火花，這就是抒情詩，它的最高發展的形式謂之悲劇與酒神祭曲。