悲剧的诞生The Birth Of Tragedy 第46期:希腊人的舞蹈天性

Everything that rises to the surface in the Apollinian portion of Greek tragedy (in the dialogue) looks simple, transparent, beautiful.

凡是属于希腊悲剧中梦神成份的对话部，在表面上总是简单的、明晰的、美丽的。

In this sense the dialogue is a mirror of the Greek mind, whose nature manifests itself in dance,being and we are somewhat surprised that we had such a short way to go.

在这一意义上，这种对话是希腊民族性的反映，希腊人的天性在舞蹈方面也显露出来。

since in dance the maximum power is only potentially present, betraying itself in the suppleness and opulence of movement.

因为，虽则在舞蹈时他们的最大能力还是潜伏未发，但是在变化万千丰富多采的动作中已泄漏了消息。

The language of the Sophoclean heroes surprises us by its Apollinian determinacy and lucidity.

例如，索福克勒斯的悲剧英雄的对话就以梦境艺术的精确性和明晰性使我们惊叹，所以我们立刻以为业已洞见了他们的生存的秘奥，

It seems to us that we can fathom their innermost.

不免诧异那通向秘奥的道路是这么短。

However, once we abstract from the character of the hero as it rises to the surface and becomes visible a character at bottom no more than a luminous shape projected onto a dark wall,

然而，我们暂且不谈那露于表面显而易见的英雄性格——它到底不过是像投在暗墙上的光影，

that is to say, appearance through and through and instead penetrate into the myth which is projected in these luminous reflections,

也就是说，完完全全是现象而已。反之，让我们深入到那反照在这光辉镜面上的神话吧，

we suddenly come up against a phenomenon which is the exact opposite of a familiar optical one.

我们会突起体验到一种与惯常的光学现象恰好相反的现象。