悲劇的誕生The Birth Of Tragedy 第29期:酒神祭歌舞者薩提兒

It is certainly true.

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席勒的見解是正確的。

As Schiller saw, that the Greek chorus of satyrs, the chorus of primitive tragedy, moved on ideal ground, a ground raised high above the common path of mortals.

他認爲：希臘薩提兒歌隊，原始悲劇的歌隊，所常常遨遊的境界，確實是一種“理想的”境界，是一種遠遠超出凡夫行徑之上的境界，

The Greek has built for his chow he scaffolding of a fictive chthonic realm and placed thereon fictive nature spirits.

因爲希臘人爲這種歌隊虛構了一種假設的自然狀態的空中樓閣，而把假設的自然人物放在它上面。

Tragedy developed on this foundation, and so has been exempt since its beginning from the embarrassing task of copying actuality.

悲劇是在這個基礎上發展起來的，因此當然它自開始便已被免除了使人痛苦的現實寫照。

All the same, the world of tragedy is by no means a world arbitrarily projected between heaven and earth;

然而，它並不是一種隨意放在天壤之間的幻想的世界，

rather it is a world having the same reality and credibility as Olympus possessed for the devout Greek.

它倒是正如希臘人信仰奧林匹斯及其神靈那樣真實而可信的世界。

The satyr, as the Dionysian chorist, dwells in a reality sanctioned by myth and ritual.

酒神祭歌舞者薩提兒，就生活在神話和崇拜保證之下宗教所認可的一種現實中。

That tragedy should begin with him, that the Dionysian wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus.

希臘悲劇以薩提兒開始，他是酒神祭悲劇的智慧之喉舌——這一現象對於我們是不可思議的，正如一般人不瞭解悲劇起源於歌隊那樣。