悲剧的诞生The Birth Of Tragedy 第40期:戏剧的原始现象

At bottom the aesthetic phenomenon is quite simple:

审美现象毕竟是简单的：

All one needs in order to be a poet is the ability to have a lively action going on before one continually, to live surrounded by hosts of spirits.

只要一个有能力不断见到周围的活跃生机，不断生活在一群精灵的包围中，他便是诗人；

To be a dramatist all one needs is the urge to transform oneself and speak out of strange bodies and souls.

只要一个人能够感到有使自己变成别人，并且借用其肉体和心灵来说话的冲动，他便是戏剧家。

Dionysian excitation is capable of communicating to a whole multitude this artistic power to feel itself surrounded by, and one with, a host of spirits.

酒神祭的兴奋，能够使一整批人都参予这种艺术才能。使他们见到自己周围是一群精灵，而又知道自己与他们心心相印。

What happens in the dramatic chorus is the primary dramatic phenomenon:

悲剧歌队的这种体验，是戏剧的原始现象:

projecting oneself outside oneself and then acting as though one had really entered another body, another character.

你见到自己就在你眼前起了变化，然后你行动起来，好象你真的占有别人的身体和别人的性格似的。

This constitutes the first step in the evolution of drama.

这种体验发生在戏剧发展的开端之时。

This art is no longer that of the rhapsodist, who does not merge with his images but, like the painter, contemplates them as something outside himself; what we have here is the individual effacing himself through entering a strange being.

在这场合，歌队和诗朗诵者就有所不同，朗诵者并不和他的形象融合为一体，而是像画家那样以静观的眼光置身于事外来观察他们。