悲劇的誕生The Birth Of Tragedy 第28期:偽理想主義

Schiller used this view as his main weapon against commonplace naturalism, against the illusionistic demand made upon dramatic poetry.

padding-bottom: 75%;">

席勒以這個重要武器同自然主義的庸俗概念，同一般要求於劇詩的妄想作鬥爭。

While the day of the stage was conceded to be artificial, the architecture of the set symbolic, the metrical discourse stylized, a larger misconception still prevailed.

雖則顯然舞台時間不過是人為的，佈景不過是一種象徵，韻律語言顯然帶有理想的性質，但是一種錯誤觀點還在廣泛流行，

Schiller was not content to have what constitutes the very essence of poetry merely tolerated as poetic license.

説我們不應把這些舞台慣例僅僅看作詩的特權而予以容忍。

He insisted that the introduction of the chorus was the decisive step by which any naturalism in art was openly challenged.

然而，這些“慣例”卻是一切詩的本質。採用歌隊是一個決定性的步驟，以便向藝術上一切自然主義光明磊落地宣戰。

This way of looking at art seems to me the one which our present age, thinking itself so superior, has labeled pseudo idealism.

我想，正是為了席勒這種見解，我們這個自命為優秀的時代想出了“偽理想主義”這毀謗的名詞。

But I very much fear that we, with our idolatry of verisimilitude, have arrived at the opposite pole of all idealism, the realm of the waxworks.

然而，另一方面，我恐怕，今人之崇拜自然和崇拜現實，已經走到與一切理想主義對立的另一極端，換句話説，走進蠟象陳列室的領域了。

This too betrays a kind of art, as do certain popular novels of today.

蠟工也算是一種藝術，正如今日某些流行的小説那樣。

All I ask is that we not be importuned by the pretense that such art has left Goethe's and Schiller's "pseudo-idealism" behind.

然而，雖然有人主張以這種藝術來戰勝歌德席勒的“偽理想主義”，我們卻不必為此擔憂。