悲剧的诞生The Birth Of Tragedy 第11期:最崇高的艺术象征

But if, for the moment, we abstract from our own reality, viewing our empiric existence, as well as the existence of the world at large, as the idea of the original Oneness, produced anew each instant, then our dreams will appear to us as illusions of illusions, hence as a still higher form of satisfaction of the original desire for illusion.

假如我们暂时不看自己的“实在”，假如我们把我们的经验的实在，和一般的世界的实在，看作太一所不断显现的表象，那就不妨把梦看作假象的假象，从而看作原始的假象快感之高度的满足。

It is for this reason that the very core of nature takes such a deep delight in the naive artist and the naive work of art, which likewise is merely the illusion of an illusion.

正因此故，性灵的心灵深处对于素朴艺术家和素朴艺术品，亦即对假象的假象，感到难以形容的愉快。

Raphael, himself one of those immortal "naive" artists, in a symbolic canvas has illustrated that reduction of illusion to further illusion which is the original act of the naive artist and at the same time of all Apollinian culture.

拉斐尔是这些不朽的素朴艺术家之一，他在一幅象征画中，给我们绘出假象转化为假象的过程，素朴艺术家以及梦神文化的原始过程。

In the lower half of his "Transfiguration," through the figures of the possessed boy, the despairing bearers, the helpless, terrified disciples, we see a reflection of original pain, the sole ground of being: "illusion" here is a reflection of eternal contradiction, begetter of all things.

在他的画“耶稣变容”的下半幅，凝神的孩子，失望的仵工，困惑不安的信徒，反映出原始而永恒的痛苦，世界的唯一根基，画中的“假象”就是万物之源的永恒矛盾的反照。

From this illusion there rises, like the fragrance of ambrosia, a new illusory world, invisible to those enmeshed in the first: a radiant vision of pure delight, a rapt seeing through wide open eyes.

现在，从这一假象，宛若袭来一股芬芳的天香，升起了一个新的虚幻的假象世界，但是置身于第一个假象中的人们却视而不见——它是飘荡在最纯粹福乐中的浮光，它是在身心舒畅时睁目惊叹的观照。

Here we have, in a great symbol of art, both the fair world of Apollo and its substratum, the terrible wisdom of Silenus, and we can comprehend intuitively how they mutually require one another.

这里，在最崇高的艺术象征中，我们体会到了梦神的美之世界及其根基，西列诺斯的可怕的警句，我们凭直觉领悟到这两者的互相依存。

But Apollo appears to us once again as the apotheosis of the principium individuationis, in whom the eternal goal of the original Oneness, namely its redemption through illusion, accomplishes itself.

然而，梦神再度以个性原则之化身的姿态出现在我们面前。唯有这样，才能完全达到太一的终极目的，它通过假象而得救了。

With august gesture the god shows us how there is need for a whole world of torment in order for the individual to produce the redemptive vision and to sit quietly in his rocking rowboat in mid sea, absorbed in contemplation.

梦神以他的崇高姿态对我们指出，这个痛苦的世界是完全必要的，因为，通过它，一个人才不得不产生救苦的幻觉。