悲劇的誕生The Birth Of Tragedy 第37期:酒神信徒的幻想

Such are the dispositions and insights of the reveling throng of Dionysus; and the power of these dispositions and insights transforms them in their own eyes, until they behold themselves restored to the condition of genii, of satyrs.

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這羣縱飲的酒神信徒是在這樣的心情和認識下狂歡作樂的：醇酒的力量使得他們就在自己眼前起了變化，所以他們在幻想中見到自己彷彿是再造的自然精靈，是薩提兒。

Later the tragic chorus came to be an aesthetic imitation of that natural phenomenon; which then necessitated a distinction between Dionysian spectators and votaries actually spellbound by the god.

後來悲劇歌隊的結構就是在藝術上模仿這種自然現象，這裏當然需要分開酒神祭觀衆與變態的與祭者。

What must be kept in mind in all these investigations is that the audience of Attic tragedy discovered itself in the chorus of the orchestra.

不過我們必須時常記住：阿提刻觀衆在歌隊身上重新發現自己的面影。

Audience and chorus were never fundamentally set over against each other:

觀衆與歌隊畢竟不是對立的：

All was one grand chorus of dancing, singing satyrs, and of those who let themselves be represented by them.

因爲大家一起不過是一個偉大崇高的載歌載舞的薩提兒歌隊，或者都是讓薩提兒歌隊代表自己而已。

This granted, Schlegel's dictum assumes a profounder meaning.

在這一點上，希勒格爾的見解啓示了更深刻的意義：

The chorus is the "ideal spectator" inasmuch as it is the only seer--seer of the visionary world of the proscenium.

他認爲歌隊是“理想的觀衆”，因爲他們是唯一的旁觀者，劇中幻境的旁觀者。