悲剧的诞生The Birth Of Tragedy 第23期:音乐的独立主权

Throughout this inquiry I have maintained the position that lyric poetry is dependent on the spirit of music to the same degree that music itself, in its absolute sovereignty, is independent of either image or concept, though it may tolerate both.

在以上所论，我们坚持：抒情诗依存于音乐的精神，正如音乐有独立的主权，不必依赖概念，但仅仅容忍它们为伴。

The poet cannot tell us anything that was not already contained, with a most universal validity, in such music as prompted him to his figurative discourse.

抒情诗所能表现的，莫不包涵在音乐的广大一般性和普遍有效性中，音乐迫使诗人运用比喻。

The cosmic symbolism of music resists any adequate treatment by language, for the simple reason that music, in referring to primordial contradiction and pain, symbolizes a sphere which is both earlier than appearance and beyond it.

因此，语言绝不能把音乐的世界象征表现得恰到好处，因为只有音乐能够象征在太一之中心的原始矛盾和原始痛苦，所以它能象征在一切现象以外和以前的领域。

Once we set it over against music, all appearance becomes a mere analogy.

反之，一切现象之于音乐毋宁是象征而已；

So it happens that language, the organ and symbol of appearance, can never succeed in bringing the innermost core of music to the surface.

所以，语言既然是现象的表现工具和象征，它就无论如何也不能揭示音乐的深奥之处，

Whenever it engages in the imitation of music, language remains in purely superficial contact with it, and no amount of poetic eloquence will carry us a step closer to the essential secret of that art.

语言在企图模仿音乐时只能在表面上同音乐接触；同时抒情诗以一切动听的词藻也不能使我们更深地体会音乐的最深刻的意义。