悲劇的誕生The Birth Of Tragedy 第133 真正藝術的失落
Some day, before an impartial judge, it may be decided in what time and in what men the German spirit has s far striven most resolutely to learn from the Greeks;
and if we confidently assume that this unique praise must be accorded to the noblest intellectual efforts of Goethe, Schiller, and Winckelmann, we should certainly have to add that since their time and the more immediate consequences of their efforts, the endeavor to attain to culture and to the Greeks on the same path has grown incomprehensibly feebler and feebler.
但是，如果我們滿懷信心，承認歌德、席勒、溫克爾曼的學術探討應該特別表揚，那末我們就不得不補充一句：自從他們的時代，繼他們的奮鬥的直接影響之後，從同一途徑進窺希臘文化和古希臘人的努力，卻莫明其妙地日漸衰微。That we may not despair utterly of the German spirit, must we not conclude that, in some essential manner, even these champions did not penetrate into the core of the Hellenic nature, to establish a permanent alliance between German and Greek culture?
難道爲了使我們對德國精神不致完全失望，就不該作出如下的結論嗎？我認爲，甚至這些戰士既不能進窺希臘性格的核心，也不能在德國文化與希臘文化之間建立持久的盟約。
So an unconscious recognition of this shortcoming may have prompted the disheartening doubt, even in very serious people, whether after such predecessors they could possibly advance further on this path of culture or could reach the goal at all.
所以，不知不覺間看到這個缺點，也許會使得誠懇的人們喪失信心，懷疑到我們能不能跟着那些先驅者在這條文化路上跨進一步，或者到底能不能達到目的。Accordingly, we see that opinions concerning the value if the Greeks for education have beendegenerating in the most alarming manner since that time.
因此，自從那個時代，我們就看到：關於希臘人的文化貢獻的論調，極其嚴重地每況愈下。Expressions of compassionate condescension may be heard in the most varied camps of the spirit--and of lack of spirit. Elsewhere, ineffectual rhetoric plays with the phrases "Greek harmony," "Greek beauty," "Greek cheerfulness." And those very circles whose dignified task it might be to draw indefatigably from the Greek reservoir for the good of German culture, the teachers of the higher educational institutions, have learned best to come to terms with the Greeks easily and in good time, often by skeptically abandoning the Hellenic ideal and completely perverting the true purpose of antiquarian studies.
在各種各樣學術的和非學術的陣營中，可以聽到一種優越感的憐惜的口吻，或者在別的場合，賣弄毫無用處的詞令，說甚麼“希臘的和諧”，“希臘的美”，“希臘的樂觀”等等。甚至在那些以努力汲盡希臘文化泉源來裨益德國文化爲其光榮使命的團體，在高等教育機關的教授們當中，人們也認爲最好是及時地適當地同古希臘人妥協，往往竟至於抱着懷疑態度放棄希臘的理想，甚或完全與古學研究的真正目的背道而馳。Whoever in these circles has not completely exhausted himself in his endeavor to be a dependable corrector of old texts or a linguistic microscopist who apes natural history is probably trying to assimilate Greek antiquity "historically," along with other antiquities, at any rate according to the method and with the supercilious airs of our present cultured historiography.
在那些團體中，還有些人尚有餘力冀圖做個可靠的古籍校勘者，或精細的語言發展史鑑定者，他或許也冀圖“從歷史上”把希臘古學同其它古學一起研究，然而總是依照今日有修養的編史家的方法，而且帶着不可一世的神氣。The cultural power of our higher educational institutions has perhaps never been lower or feebler than at present. The "journalist," the paper slave of the day, triumphs over the professor in all matters pertaining to culture; and nothing remains to the latter but the metamorphosis, often experienced by now, of fluttering also like a cheerful cultured butterfly, with the "light elegance" peculiar to this sphere, employing the journalist's style.
所以，當我們高等教育機關的實在教育功能再沒有比今日更低落更薄弱的時候，當今日的紙張奴隸“新聞記者們”在一切有關文化方面都戰勝了教授們，而教授們只落得重複以前常常經歷的轉變，在自己的範圍內還是那樣風流瀟灑，用新聞記者的口吻來說，正象一隻飄飄然風雅的蝴蝶翩翩飛舞的時候；In what painful confusion must the cultured class of such a period gaze at the phenomenon which perhaps is to be comprehended analogically only by means of the profoundest principle of the hitherto unintelligible Hellenic genius--the phenomenon of the reawakening of the Dionysian spirit and the rebirth of tragedy?
在今日那樣的時代，有教養的人們，目睹酒神精神之甦醒和悲劇之復興的現象，安得不感到痛苦的惶惑呢？這現象只能用類推方法從向來未闡明的關於希臘天才的深奧原理才能體會。There has never been another period in the history of art in which so-called culture and true art have been so estranged and opposed as we may observe them to be at present.
從未有過一個藝術時代，象今日那樣使我們目擊所謂文化與真正藝術那麼彼此疏遠而且互相對立。We can understand why so feeble a culture hates true art; it fears destruction from its hands. But has not an entire cultural form, namely, the Socratic-Alexandrian, exhausted itself after culminating in such a daintily tapering point as our present culture?
爲甚麼這樣不健康的文化如此厭惡真正的藝術呢？是可以理解的；因爲它害怕在藝術手上遭到毀滅。然而，整個文化類型，換句話說，蘇格拉底——亞歷山德里亞文化，既已達到象我們現代文化那樣纖巧脆弱的極端，它可不是已成強弩之末！If heroes like Goethe and Schiller could not succeed in breaking open the enchanted gate which leads into the Hellenic magic mountain; if with their most dauntless striving they couldnot go beyond the longing gaze which Goethe's Iphigenia casts from barbaric Tauris to her home across the ocean, what could the epigones of such heroes hope for--unless, amid the mystic tones of reawakened tragic music, the gate should open for them suddenly of its own accord, from an entirely different side, quite overlooked in all previous cultural endeavors.
如果象歌德和席勒那樣的英雄們，尚且不能打破引向希臘靈山的魔關，如果他們以勇往直前的精神，尚且只能綣戀遙望，而不能再進一步，象歌德的伊斐格尼亞從荒涼的託魯斯山，隔洋興嘆，遙望故鄉那樣；那末，那些英雄的後輩又能希望甚麼呢？——除非這道魔關，在更生的悲劇音樂的神祕聲中，驀然對他們自動打開，露出迄今一切文化努力尚未觸及的另一方面。
