悲剧的诞生The Birth Of Tragedy 第78期:死于法庭酒神侍女之手

Even the divine Plato speaks of the creative power of the poet for the most part ironically and as being on a level with the gifts of the soothsayer and interpreter of dreams, since according to the traditional conception the poet is unable to write until reason and conscious control have deserted him.

同样，英明的柏拉图就多半只用讽刺的态度谈论诗人的创作能力，因为这是一种不自觉的识力；他把诗人的能力与预言家和解梦人的天赋才能同列，这就是说，诗人在失去自觉忘掉理性之前，是不会有创作能力的。

Euripides set out, as Plato was to do, to show the world the opposite of the "irrational" poet; his aesthetic axiom, "whatever is to be beautiful must be conscious" is strictly parallel to the Socratic "whatever is to be good must be conscious."

欧里庇德斯企图对世人指出这种“不知不觉的”诗人之对立面，正象柏拉图曾经指出那样；我也曾说过，他的审美原则“唯知为美”，可以媲美苏格拉底的格言“唯知是德”。

We can hardly go wrong then in calling Euripides the poet of aesthetic Socratism.

因此，我们不妨认为，欧里庇德斯是审美苏格拉底主义的诗人。

But Socrates was precisely that second spectator, incapable of understanding the older tragedy and therefore scorning it, and it was in his company that Euripides dared to usher in a new era of poetic activity.

然而，苏格拉底是第二个观众，他不了解旧悲剧。因而不尊重它，欧里庇德斯同他联合起来就敢于做一种新艺术的先驱者。

If the old tragedy was wrecked' aesthetic Socratism is to blame, and to the extent that the target of the innovators was the Dionysian principle of the older art we may call Socrates the god's chief opponent, the new Orpheus who, though destined to be torn to pieces by the maenads of Athenian judgment, succeeded in putting the overmastering god to flight.

既然一切旧悲剧都在这种新艺术上碰得粉碎，那末审美苏格拉底主义乃是一种毁灭性的原理；但是，既然这斗争的矛头指向旧悲剧中的醉境因素，那末我们就不妨把苏格拉底看作酒神的敌手。他是起来反抗酒神的新奥斐斯，虽则他命定要被雅典法庭的酒神侍女们撕死，但是他也不得不把这位强大的神灵赶走。

The latter, as before, when he fled from Lycurgus, king of the Edoni, took refuge in the depths of the sea; that is to say, in the flood of a mystery cult that was soon to encompass the world.

想当年，酒神受伊多尼王吕库尔戈斯（Lyourgus）迫害而逃走时，他就藏身在海洋的深处得以幸免，这就是说，他潜入秘仪崇拜的神秘洪流中，后来这洪流逐渐泛滥全世界。