悲剧的诞生The Birth Of Tragedy 第43期:神的难友

On this view the chorus of Greek tragedy, symbol of an entire multitude agitated by Dionysus, can be fully explained.

希腊悲剧的歌队，兴奋的酒神祭群众的象征，照我们的解释已获得充分阐明。

Whereas we who are accustomed to the role of the chorus in modem theater, especially opera, find it hard to conceive how the chorus of the Greeks should have been older, more central than the dramatic action proper (although we have clear testimony to this effect) and whereas we have never been quite able to reconcile with this position of importance the fact that the chorus was composed of such lowly beings as--originally--goatlike satyrs; and whereas, further, the orchestra in front of the stage has always seemed a riddle to us.

然而，因为我们习惯了现代舞台尤其是歌剧的歌队的功能，我们就不能了解；为甚么，照传统的说法，希腊悲剧的歌队比“剧情”本身更古远，更根本，真的，更重要呢？再则，既然歌队不过是卑微的仆从的角色，真的，初时不过是由扮成羊形的萨提儿组成，我们就不能同意歌队的地位优越和来源古远这种传统说法。况且景前的歌池对我们还是一个谜。

We now realize that the stage with its action was originally conceived as pure vision and that the only reality was the chorus, who created that vision out of itself and proclaimed it through the medium of dance, music, and spoken word.

虽然如此，我们终于达到这样的认识；景和剧情不过被当作一种幻象，而唯一的“现实”正是歌队，它自动产生这幻想，而以舞蹈、音乐、语言等一切象征手段来歌颂它。

Since, in this vision, the chorus beholds its lord and master Dionysus, it remains forever an attending chorus, it sees how the god suffers and transforms himself, and it has, for that reason, no need to act.

歌队在幻觉中看见他们的君王和主人酒神狄奥尼索斯，所以他们始终是仆从身份的歌队，他们看见这位神灵如何受过苦难，如何被人称颂，所以他们自己并无行为。

But, notwithstanding its subordination to the god, the chorus remains the highest expression of nature, and, like nature, utters in its enthusiasm oracular words of wisdom.

然而，虽则他们对神的态度始终是仆从的态度，可是他们毕竟表达出性灵底最高的、醉境的情绪；因此，他们象性灵那样，在心荡神驰之时说出了神的托喻和至理名言。

Being compassionate as well as wise, it proclaims a truth that issues from the heart of the world.

他们是神的难友，同时也是从宇宙心灵里道破真理的智者。

Thus we see how that fantastic and at first sight embarrassing figure arises, the wise and enthusiastic satyr who is at the same time the "simpleton" as opposed to the god.

由此便产生这个幻想的，似乎不登大雅之堂的形象，聪明而又有灵感的萨提儿的形象。萨提儿比起酒神来可以说是“哑角”。

The satyr is a replica of nature in its strongest tendencies and at the same time, a herald of its wisdom and art.

他是性灵及其最强烈的冲动之写照，是性灵本身之象征，同时也是发乎性灵的艺术和幻想之宣令使。

He combines in his person the roles of musician, poet, dancer and visionary.

他一身兼为音乐家，诗人，舞蹈家和梦想家。