悲剧的诞生The Birth Of Tragedy 第27期:自相矛盾的概念

The emphatic tradition I spoke of militates against Schlegel:

然而，毫不含糊的古代传说却驳倒了希勒格尔。

chorus as such, without stage.

原来的歌队是没有舞台的。

the primitive form of tragedy--is incompatible with that chorus of ideal spectators.

因此这种悲剧原始形式的歌队；与那种理想观众的歌队，两者不能混为一谈。

What sort of artistic genre would it be that derived from the idea of the spectator and crystallized itself in the mode of the "pure" spectator?

试问有何种艺术是从观众这概念引伸出来的呢？有何种艺术的真正形式相等于自在的观众呢？

A spectator with out drama is an absurdity.

无戏的观众，是一个自相矛盾的概念罢了。

We suspect that the birth of tragedy can be explained neither by any reverence for the moral intelligence of the multitude nor by the notion of a spectator without drama, and, altogether,

我们认为，悲剧的诞生恐怕既不能以群众对于道德思想的重视，又不能以无戏的观众这概念来说明；

we consider the problem much too complex to be touched by such facile interpretations.

这个问题太深奥了，如此肤浅的概括甚至没有触到它的边沿。

An infinitely more valuable insight into the significance of the chorus was furnished by Schiller in the famous preface to his Bride of Messina,

席勒在有名的“墨西拿新娘”的序文中，曾对歌队的意义流露一种极其可贵的见解，

where the chorus is seen as a living wall which tragedy draws about itself in order to achieve insulation from the actual world, to preserve its ideal ground and its poetic freedom.

他认为歌队是一堵活的藩篱，悲剧用它来围着自己，以隔绝现实世界，以保存它的理想领域和诗的自由。