悲剧的诞生The Birth Of Tragedy 第29期:酒神祭歌舞者萨提儿

It is certainly true.

席勒的见解是正确的。

As Schiller saw, that the Greek chorus of satyrs, the chorus of primitive tragedy, moved on ideAl ground, a ground raised high above the common path of mortals.

他认为：希腊萨提儿歌队，原始悲剧的歌队，所常常遨游的境界，确实是一种“理想的”境界，是一种远远超出凡夫行径之上的境界，

The Greek has built for his chow he scaffolding of a fictive chthonic realm and placed thereon fictive nature spirits.

因为希腊人为这种歌队虚构了一种假设的自然状态的空中楼阁，而把假设的自然人物放在它上面。

Tragedy developed on this foundation, and so has been exempt since its beginning from the embarrassing task of copying actuality.

悲剧是在这个基础上发展起来的，因此当然它自开始便已被免除了使人痛苦的现实写照。

All the same, the world of tragedy is by no means a world arbitrarily projected between heaven and earth;

然而，它并不是一种随意放在天壤之间的幻想的世界，

rather it is a world having the same reality and credibility as Olympus possessed for the devout Greek.

它倒是正如希腊人信仰奥林匹斯及其神灵那样真实而可信的世界。

The satyr, as the Dionysian chorist, dwells in a reality sanctioned by myth and ritual.

酒神祭歌舞者萨提儿，就生活在神话和崇拜保证之下宗教所认可的一种现实中。

That tragedy should begin with him, that the Dionysian wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus.

希腊悲剧以萨提儿开始，他是酒神祭悲剧的智慧之喉舌——这一现象对于我们是不可思议的，正如一般人不了解悲剧起源于歌队那样。