悲剧的诞生The Birth Of Tragedy 第18期:真正的抒情诗

Schopenhauer, who was fully aware of the difficulties the lyrical poet creates for the speculative aesthetician, thought that he had found a solution, which, however, I cannot endorse.

叔本华并不隐瞒抒情诗人的审美静观是哲学上一个难题，但是他自以为找到了答案，但我并不完全同意这个答案。

It is true that he alone possessed the means, in his profound philosophy of music, for solving this problem; and I think I have honored his achievement in these pages, I hope in his own spirit.

不错，在他关于音乐的深刻哲理中，他独能掌握了断然解决这难题的方法。因为我相信，我依照他的精神解决了这问题，而不损及他的令名。

Yet in the first part of The World as Will and Ideahe characterizes the essence of song as follows: "The consciousness of the singer is filled with the subject of will, which is to say with his own willing.

然而，他却描述抒情诗歌的特性如下：“一个歌者的知觉所意识到的，是意志之主体，也就是说，他自己的志向，

That willing may either be a released, satisfied willing (joy), or, as happens more commonly, an inhibited willing (sadness).

有时是一种解脱了满足了的欲望（快乐），多半是一种被抑制的欲望（悲哀），

In either case there is affect here: passion, violent commotion.

而经常是一种情绪，一种热情，一种激动的心情。

At the same time, however, the singer is moved by the contemplation of nature surrounding him to experience himself as the subject of pure, unwilling ideation, and the unshakable tranquillity of that ideation becomes contrasted with the urgency of his willing, its limits, and its lacks.

然而，与此同时，看到周围的大自然，歌者就一起觉得自己是纯粹无意志的知识之主体；此时此际，他的未经破坏的安静心情就恰好和常被限制、常未满足的欲望形成对照。

It is the experience of this contrast, or tug of war, which he expresses in his song.

这种对照的情感，这种交替的情感，是一切抒情作品所表现的，而主要是构成抒情心境的因素。

While we find ourselves in the lyrical condition, pure ideation approaches us, as it were, to deliver us from the urgencies of willing; we obey, yet obey for moments only.

在这场合，纯粹知识出现了，仿佛是来解救我们于欲望及其压力；我们跟上去，但仅仅是一刹间罢了。

Again and again our willing, our memory of personal objectives, distracts us from tranquil contemplation, while, conversely, the next scene of beauty we behold will yield us up once more to pure ideation.

欲望，想起我们个人的目的，就往往重新把我们从安静的观照中带走，可是眼前那对我们显示纯粹无意志的知识的美景，总是再次引诱我们离开欲望。

For this reason we find in song and in the lyrical mood a curious mixture of willing (our personal interest in purposes) and pure contemplation (whose subject matter is furnished by our surroundings); relations are sought and imagined between these two sets of experiences.

所以，在抒情诗歌和抒情心境中，欲望（个人目的的利益）与环境所唤起的纯粹静观是奇妙地彼此混合的。我们将要探索和设想这两者的关系。

Subjective mood--the affection of the will--communicates its color to the purely viewed surroundings, and vice versa.

主观的心情，意志的影响。把观照的环境染上自己的色彩；环境又反过来把它的色彩反射于意志。

All authentic song reflects a state of mind mixed and divided in this manner."

真正的抒情诗就是这整个忽合忽离的心境的再现。”