悲剧的诞生The Birth Of Tragedy 第15期:真正的艺术
We are now approaching the central concern of our inquiry, which has as its aim an understanding of the Dionysian-Apollinian spirit, or at least an intuitive comprehension of the mystery which made this conjunction possible.
Our first question must be: where in the Greek world is the new seed first to be found which was later to develop into tragedy and the dramatic dithyramb?
到此，我们将首先探讨这颗新芽怎样先在希腊世界出现，后来又发展为悲剧与酒神祭曲。Greek antiquity gives us a pictorial clue when it represents in statues, on cameos, etc.,
关于这点，古希腊人自己就给我们一个象征的答案。
Homer and Archilochus side by side as ancestors and torchbearers of Greek poetry, in the certainty that only these two are to be regarded as truly original minds, from whom a stream of fire flowed onto the entire later Greek world.
他们把荷马和阿奇洛科斯的像并列刻在雕塑，饰物等等之上，视为希腊诗歌的始祖和持炬人，他们深深感到只有这两个匠心独运的同辈天才值得尊重，因为一股热情之流从他们发源，流遍希腊晚期的全部历史。Homer, the hoary dreamer, caught in utter abstraction, prototype of the Apollinian naive artist, stares in amazement at the passionate head of Archilochus, soldierly servant of the Muses, knocked about by fortune.
荷马，这个潜心默想、白发苍苍的诗人，现在愕然看着狂放豪迈，驰骋人间的尚武诗人阿奇洛科斯的慷慨激昂的才华。All that more recent aesthetics has been able to add by way of interpretation is that here the "objective" artist is confronted by the first "subjective" artist.
现代美学只能把这解释为第一个客观诗人与第一个主观诗人分庭抗礼。We find this interpretation of little use, since to us the subjective artist is simply the bad artist, and since we demand above all, in every genre and range of art, a triumph over subjectivity, deliverance from the self, the silencing of every personal will and desire.
这种说明对于我们无甚帮助，因为我们认为主观的艺术家不过是可怜的艺术家，而在各种艺术和艺术高峰尤其需要首先克服主观成份，从自我解放出来，制止个人的意志与欲望。since, in fact, we cannot imagine the smallest genuine art work lacking objectivity and disinterested contemplation.
真的，任何一件微不足道的作品，如果没有客观性，没有纯粹的超然的静观，我们就不相信它是真正艺术。For this reason our aesthetic must first solve the following problem: how is the lyrical poet at all possible as artist--he who, according to the experience of all times, always says "I" and recites to us the entire chromatic scale of his passions and appetites?
所以，我们的美学必须首先答复这样的问题，就各时代的经验而言，所谓抒情诗人言必及“我”，总是对我们有声有色地歌唱自己的眷恋爱慕，那么这种诗人又怎能算是艺术家呢？It is this Archilochus who most disturbs us, placed there beside Homer, with the stridor of his hate and mockery, the drunken outbursts of his desire.
比之荷马，阿奇洛科斯以他的愤恨轻蔑的呐喊，如醉如狂的热情，使我们惊心动魄；Isn't he--the first artist to be called subjective--for that reason the veritable non-artist?
那么，号称第一个主观艺术家的他，岂不是非艺术家吗？How, then, are we to explain the reverence in which he was held as a poet, the honor done him by the Delphic oracle, that seat of "objective" art, in a number of very curious sayings?
然而，在这情况下：又怎样解释人们对他的崇敬，甚至客观艺术之策源地狄尔斐的不同凡响的神喻也尊他为诗人呢？
