悲剧的诞生The Birth Of Tragedy 第19期:艺术的根源

Who can fail to perceive in this description that lyric poetry is presented as an art never completely realized, indeed a hybrid whose essence is made to consist in an uneasy mixture of will and contemplation, i.e., the aesthetic and the non-aesthetic conditions.

那么，如此说来，抒情诗就好象是一种可望不可即的艺术，难得达到目的，只有妙手偶得之而已；真的，抒情诗就被说成一种半艺术，它的本质在于欲望与纯粹静观，亦即非审美的与审美的心情之奇妙的混合，——谁不会这样了解这段描述呢？

We, on our part, maintain that the distinction between subjective and objective, which even Schopenhauer still uses as a sort of measuring stick to distinguish the arts, has no value whatever in aesthetics; the reason being that the subject--the striving individual bent on furthering his egoistic purposes--can be thought of only as an enemy to art, never as its source.

我们不妨断言：叔本华仍然把艺术分成主观的与客观的两类，以这对照作为衡量的标准；然而，这种主客对照尤其不适合于美学；因为主体，即艺术的根源。

But to the extent that the subject is an artist he is already delivered from individual will and has become a medium through which the True Subject celebrates His redemption in illusion.

然而，只要主体是个艺术家，他就已经摆脱了他个人的意志，而且仿佛已经成为一种媒介，以便唯一真正存在的“主体”通过它来庆贺自己在假象上获得救济。

For better or worse, one thing should be quite obvious to all of us: the entire comedy of art is not played for our own sakes--for our betterment or education, say--nor can we consider ourselves the true originators of that art realm; while on the other hand we have every right to view ourselves as aesthetic projections of the veritable creator and derive such dignity as we possess from our status as art works.

因为，不论对我们是褒是贬，我们必须首先明白这点；艺术，这部喜剧，不是为着改善我们、教育我们而演出的，我们也不是这艺术世界的真正作者。反之，我们不妨说：对这位真正作者来说，我们不过是他的美丽画景和艺术投影，我们自居为艺术品，在这一意义上有莫大荣幸；

Only as an aesthetic product can the world be justified to all eternity--although our consciousness of our own significance does scarcely exceed the consciousness a painted soldier might have of the battle in which he takes part.

因为，只有作为一种审美现象来看，存在和世界才是永远合理。但是，当然，我们对自己的意义的认识，同画中战士对画中战斗的认识，几乎没有多大区别。

Thus our whole knowledge of art is at bottom illusory, seeing that as mere knowers we can never be fused with that essential spirit, at the same time creator and spectator, who has prepared the comedy of art for his own edification.

所以，我们关于艺术的一切知识，根本是十分虚渺的，因为求知的我们并不就是“存在”本身，——存在才是这部艺术喜剧的唯一作者和观众，是它替自己准备了这永恒的娱乐。

Only as the genius in the act of creation merges with the primal architect of the cosmos can he truly know something of the eternal essence of art.

唯有当天才在艺术创作活动中同这世界的原始艺术家融合为一的时候，他才能窥见一点艺术的永恒本质；

For in that condition he resembles the uncanny fairy tale image which is able to see itself by turning its eyes.

因为，在这场合，他才象神仙故事所讲的魔画，能够神奇地翻转眼睛来看自己。

He is at once subject and object, poet, actor, and audience.

这样，艺术家既是主体又是客体，既是诗人兼演员又是观众。