悲剧的诞生The Birth Of Tragedy 第103期:音乐颇象几何图形

Its, universality, however, is by no means that empty universality of abstraction, but of quite a different kind, and is united with thorough and distinct definiteness.

它对概念的普遍性之关系，决不是抽象概念的空洞的普遍性，而完全是另一种的；它含有极其清楚的明确性。

In this respect it resembles geometrical figures and numbers, which are the universal forms of all possible objects of experience and applicable to them all a priori, and yet are not abstract but perceptible and thoroughly determinate.

在这点上，音乐就颇象几何图形和数目了，后两者是一切可能的经验对象之共同形式，而且是apri－ori（先验地）可以应用于一切事物的，但仍然不是抽象的，而是显而易见和极其明确的。

All possible efforts, excitements, and manifestations of will, all that goes on in the heart of man and that reason includes in the wide, negative concept of feeling, may be expressed by the infinite number of possible melodies, but always in the universal, in the mere form, without the material, always according to the thing-in-itself, not the phenomenon, the inmost soul, as it were, of the phenomenon without the body.

种种可能的追求、激动、意志之表现，人类心灵中一切经历，凡是被理性划入所谓感情这个广泛否定概念中的一切，都可以用无数可能的旋律表现出来，但总是表现为只是形式而没有物质的普遍性，总是依照物自体而非依照现象，俨然是无形体的现象的内在灵魂。

This deep relation which music has to the true nature of all things also explains the fact that suitable music played to any scene, action, event, or surrounding seems to disclose to us its utmost secret meaning, and appears as the most accurate and distinct commentary upon it.

音乐对一切事物本质的这种密切关系，也可以说明下述的事实：对任何一种场面、行为、事件、或环境配上适当的音乐，就好象给我们显示了它的奥妙的意义，好象是对它予以最正确最清楚的注释；

This is so truly the case that whoever gives himself up entirely to the impression of a symphony, seems to see all the possible events of life and the world take place in himself; yet if he reflects, he can find no likeness between the music and the things that passed before his mind.

同样，凡是心醉神往于交响乐的印象的人，总仿佛见到人生与世界的种种可能的事件荡漾于胸中，但是如果仔细一想，却又不能指出这乐曲与荡漾胸中的事件有任何相似之处。