悲剧的诞生The Birth Of Tragedy 第76期:声名狼藉的“神机妙算”

Whatever did not portend pathos was seen as objectionable.

凡是不为激情而设的，就被视为不足取。

The greatest obstacle to the spectator's most intimate participation in those scenes would be any missing link in the antecedent action:

然而，妨碍观众欣赏这种场面的最大阻力，是作者未曾向观众交代一个关键，或者剧情的前因后果中有一个脱节。

so long as the spectator had to conjecture what this or that figure represented, from whence arose this or that conflict of inclinations and intentions, he could not fully participate in the doings and sufferings of the protagonists, feel with them and fear with them.

既然观众必须揣摩这个那个人物有何用意，或者这种那种倾向和企图之冲突有何前因，他就不可能全神灌注在主角的行为和苦难上，也不可能提心吊胆地与剧中人同甘苦共患难。

The tragedy of Aeschylus and Sophocles had used the subtlest devices to furnish the spectator in the early scenes, and as if by chance, with Al} the necessary information.

埃斯库罗斯和索福克勒斯的悲剧，运用最巧妙的艺术手段，在头几场中就把了解剧情所必需的开发线索，好象是无意中交到观众手上：c

They had shown an admirable skill in disguising the necessary structural features and making them seem accidental.

这是高明的艺术家所见长的一个特点，它仿佛遮掩了必不可少的公式，而使之仿佛是偶然流露。

All the same, Euripides thought he noticed chat during those early scenes the spectators were in a peculiar state of unrest

然而，欧里庇德斯仍然认为，他看出：观众在头几场中，尤其焦急要解答剧情的前因后果，

so concerned with figuring out the antecedents of the story chat the beauty and pathos of the exposition were lost on them.

那么他就势必忽略了诗的美和情节的激情。

For this reason he introduced a prologue even before the exposition, and put it into the mouth of a speaker who would command absolute trust.

所以，欧里庇德斯在情节面前加上序幕，借用一个可以信赖的人的口来交代剧情：

Very often it was a god who had to guarantee to the public the course of the tragedy and so remove any possible doubt as to the reality of the mydh;

这人往往是一位神灵，他仿佛要对观众保证剧中的情节，消除人们对于神话之真实性的一切怀疑，

exactly as Descartes could only demonstrate the reality of the empirical world by appealing to God's veracity, his inability to tell a lie.

正象笛卡儿要证明经验世界之真实性，就只能诉诸神之诚实无欺。

At the end of his drama Euripides required the same divine truthfulness to act as security, so to speak, for the future of his protagonists.

欧里庇德斯在悲剧收场上也曾一再使用这种神灵的诚实，以便对观众保证剧中英雄的归宿；

This was the function of the ill-famed deuex ma china.

这就是声名狼藉的“神机妙算”（Deuex ma china）的任务。

Between the preview of the prologue and the preview of the epilogue stretched the dramatic lyric present, the drama proper.

由此可见，这种戏曲抒情的现在，即“悲剧”本身，是处在史诗的回顾与史诗的展望之间。