悲剧的诞生The Birth Of Tragedy 第109期:哈姆雷特的语言比行动肤浅

The history of the rise of Greek tragedy now tells us with luminous precision how the tragic art of the Greeks was really born of the spirit of music.

现在，希腊悲剧起源的历史极其明确地告诉我们：希腊的悲剧艺术确实是从音乐精神诞生的。

With this conception we believe we have done justice for the first time to the primitive and astonishing significance of the chorus.

我们相信，我们还是第一次以这一思想公平地论断歌队的原本的、不可思议的意义。

At the same time, however, we must admit that the meaning of tragic myth set forth above never became clear in transparent concepts to the Greek poets, not to speak of the Greek philosophers:

然而，我们同时必须承认：对于上述的悲剧神话或剧情的意义，希腊诗人们不曾有过明确的概念，更不用说希腊哲学家了。

their heroes speak, as it were, more superficially than they act; the myth does not at all obtain adequate objectification in the spoken word.

悲剧英雄的语言似乎比他们的行为更为肤浅，他们的话完全没有恰当地体现了剧情的意义。

The structure of the scenes and the visual images reveal a deeper wisdom than the poet himself can put into words and concepts: the same is also observable in Shakespeare, whose Hamlet, for instance, similarly, talks more superficially than he acts,

然而，情节的结构和直观的形象却比诸诗人笔下的语言和概念显示出更深刻的智慧：在莎士比亚的作 品也可以见到同样的情形，譬如，哈姆雷特的语言也就比他的行动更肤浅；

so that the previously mentioned lesson of Hamlet is to be deduced, not from his words, but from a profound contemplation and survey of the whole.

所以，如上所述，哈姆雷特的教训就不能从他的语言，只能从深入静观和通观全剧来领会。