悲剧的诞生The Birth Of Tragedy 第139 音乐与戏曲
By means of the pre-established harmony between perfect drama and its music, the drama attains a superlative vividness unattainable in mere spoken drama.
In the independently moving lines of the melody all the living figures of the scene simplify themselves before us to the distinctness of curved lines, and the harmonies of these lines sympathize in a most delicate manner with the events on the stage.
因为在舞台上生动的形象，各自划出律动的线条，在我们眼前简化为一条曲线这么清楚，所以这些线条的交错，甚至在丝毫不爽配合舞步的和声变化上，也可以听出来。These harmonies make the relations of things immediately perceptible to us in a sensuous, byno means abstract manner, and thus we perceive that it is only in these relations that theessence of a character and of a melodic line is revealed clearly.
我们通过和声变化，直接领悟到事物的关系，是耳闻目睹，绝不是抽象地体会；我们通过它，也认识到：一个性格或一条律动线条的本质，只有在这些关系上表现得最为清楚。
And while music thus compels us to see more and more profoundly than usual, and we see the action on the stage as a delicate web, the world of the stage is expanded infinitely and illuminated for our spiritualized eye. How could a word-poet furnish anything analogous, when he strives to attain this internal expansion and illumination of the visible stage-world by means of a much more imperfect mechanism, indirectly, proceeding from word and concept?
既然音乐这样有力地强迫我们比以前见得更广更深，使得剧情在我们眼前展开，象一片最纤巧的薄罗：舞台的境界便无限地扩张，显现在我们反心内视的慧眼之前，仿佛由里及表予以阐明那样。使用文字的诗人，即使努力要做到从内部展开和阐明眼前的舞台境界，可是他以歌词和概念这些不完备的手段来间接说明，又怎能提供这样的效果呢？Although musical tragedy also avails itself of the word, it can at the same time place beside it the basis and origin of the word, making the development of the word clear to us, from the inside.
固然，歌乐悲剧也要使用文字，但它同时兼用音乐，——歌词的基础和根源，——所以能够给我们从里及表地阐明歌词的发展。Concerning the process just described, however, we may still say with equal assurance that it is merely a glorious appearance, namely, the aforementioned Apollinian illusion whose influence aims to deliver us from the Dionysian flood and excess.
然而，关于上述的过程，我们还可以明确地指出：那不过是一种壮丽的假象，即上述的梦境幻觉。我们靠它的影响而得免于醉境的感情压抑和过度兴奋而已。For, at bottom, the relation of music to drama is precisely the reverse: music is the real idea of the world, drama is but the reflection of this idea, a single silhouette of it. The identity between the melody and the living figure, between the harmony and the character relations of that figure, is true in a sense opposite to what one would suppose on the contemplation of musical tragedy.
其实，音乐对戏曲的关系毕竟恰好相反：音乐是实在的世界理念，戏曲仅是这理念的余晖，是它的孤立的阴影。所谓律动线条与人物形象之一致，音乐谐调与人物性格之一致，正确地说，是同我们在欣赏歌乐悲剧时所设想者恰好相反。Even if we agitate and enliven the figure in the most visible manner, and illuminate it from within, it still remains merely a phenomenon from which no bridge leads us to true reality, into the heart of the world.
我们可以非常鲜明地把人物形象写得慷慨激昂，生动活泼，从里及表地予以阐明，但是形象始终不过是一种现象，从现象引向真正的实在，引向世界的心灵，是没有桥梁的。
But music speaks out of this heart; and though countless phenomena of the kind were to accompany this music, they could never exhaust its essence, but would always be nothing more than its externalized copies.
然而，音乐是世界的心声，纵使无数这类现象可能通过这种音乐而出现，但是它们永远不能竭尽音乐的妙谛，而往往只是它的表面写照罢了。As for the intricate relationship of music and drama, nothing can be explained, while everything may be confused, by the popular and thoroughly false contrast of soul and body; but the unphilosophical crudeness of this contrast seems to have become--who knows for what reasons--a readily accepted article of faith among our aestheticians, while they have learned nothing of the contrast of the phenomenon and the thing-in-itself--or, for equally unknown reasons, have not cared to learn anything about it.
关于音乐与戏曲的微妙关系，用灵肉对立这种完全错误的庸俗见解，当然不能说明甚么的，反而把一切扰乱；可是这种非哲学的浅薄的二元论，却似乎已成为我们美学家所乐意接受的信条，——天晓得是甚么原因——至于现象与物自体的对立，他们就一无所知，或者不知为甚么不愿意探讨。
