悲劇的誕生The Birth Of Tragedy 第19期:藝術的根源
Who can fail to perceive in this description that lyric poetry is presented as an art never completely realized, indeed a hybrid whose essence is made to consist in an uneasy mixture of will and contemplation, i.e., the aesthetic and the non-aesthetic conditions.
那麼，如此說來，抒情詩就好象是一種可望不可即的藝術，難得達到目的，只有妙手偶得之而已；真的，抒情詩就被說成一種半藝術，它的本質在於慾望與純粹靜觀，亦即非審美的與審美的心情之奇妙的混合，——誰不會這樣瞭解這段描述呢？
We, on our part, maintain that the distinction between subjective and objective, which even Schopenhauer still uses as a sort of measuring stick to distinguish the arts, has no value whatever in aesthetics; the reason being that the subject--the striving individual bent on furthering his egoistic purposes--can be thought of only as an enemy to art, never as its source.
我們不妨斷言：叔本華仍然把藝術分成主觀的與客觀的兩類，以這對照作爲衡量的標準；然而，這種主客對照尤其不適合於美學；因爲主體，即藝術的根源。
But to the extent that the subject is an artist he is already delivered from individual will and has become a medium through which the True Subject celebrates His redemption in illusion.
然而，只要主體是個藝術家，他就已經擺脫了他個人的意志，而且彷彿已經成爲一種媒介，以便唯一真正存在的“主體”通過它來慶賀自己在假象上獲得救濟。
For better or worse, one thing should be quite obvious to all of us: the entire comedy of art is not played for our own sakes--for our betterment or education, say--nor can we consider ourselves the true originators of that art realm; while on the other hand we have every right to view ourselves as aesthetic projections of the veritable creator and derive such dignity as we possess from our status as art works.
因爲，不論對我們是褒是貶，我們必須首先明白這點；藝術，這部喜劇，不是爲着改善我們、教育我們而演出的，我們也不是這藝術世界的真正作者。反之，我們不妨說：對這位真正作者來說，我們不過是他的美麗畫景和藝術投影，我們自居爲藝術品，在這一意義上有莫大榮幸；
Only as an aesthetic product can the world be justified to all eternity--although our consciousness of our own significance does scarcely exceed the consciousness a painted soldier might have of the battle in which he takes part.
因爲，只有作爲一種審美現象來看，存在和世界纔是永遠合理。但是，當然，我們對自己的意義的認識，同畫中戰士對畫中戰鬥的認識，幾乎沒有多大區別。
Thus our whole knowledge of art is at bottom illusory, seeing that as mere knowers we can never be fused with that essential spirit, at the same time creator and spectator, who has prepared the comedy of art for his own edification.
所以，我們關於藝術的一切知識，根本是十分虛渺的，因爲求知的我們並不就是“存在”本身，——存在纔是這部藝術喜劇的唯一作者和觀衆，是它替自己準備了這永恆的娛樂。
Only as the genius in the act of creation merges with the primal architect of the cosmos can he truly know something of the eternal essence of art.
唯有當天才在藝術創作活動中同這世界的原始藝術家融合爲一的時候，他才能窺見一點藝術的永恆本質；
For in that condition he resembles the uncanny fairy tale image which is able to see itself by turning its eyes.
因爲，在這場合，他才象神仙故事所講的魔畫，能夠神奇地翻轉眼睛來看自己。
He is at once subject and object, poet, actor, and audience.
這樣，藝術家既是主體又是客體，既是詩人兼演員又是觀衆。
