悲剧的诞生The Birth Of Tragedy 第9期:天人合一

It should have become apparent by now that the harmony with nature which we late comers regard with such nostalgia, and for which Schiller has coined the cant term naïve, is by no means a simple and inevitable condition to be found at the gateway to every culture, a kind of paradise.

到此，我们应该指出：现代人所渴望去静观的这种和谐，亦即人与自然的合一（席勒使用“素朴”这术语来表示这意境），绝不是这样简单的，自然自发，仿佛难免的一种境界，也不是在任何一种文化门前必然见到的人间乐园。

Such a belief could have been endorsed only by a period for which Rousseau's Emile was an artist and Homer just such an artist nurtured in the bosom of nature.

只有浪漫主义时代才相信这点；当时，人们想象艺术家有如卢梭的爱弥儿。妄想在荷马身上发现象爱弥儿那样在自然怀抱中养育出来的艺术家。

Whenever we encounter "naïveté" in art, we are face to face with the ripest fruit of Apollinian culture--which must always triumph first over titans, kill monsters, and overcome the somber contemplation of actuality, the intense susceptibility to suffering, by means of illusions strenuously and zestfully entertained.

凡在艺术上发现有“素朴”的场合，我们都认为这是梦神文化的最大效果，这种文化往往必须首先推翻原始的铁旦王国，杀掉魔怪，然后凭它的有力的幻象和可爱的幻想，战胜了静观世界底阴森可怕的深渊和悲天悯人的敏感。

But how rare are the instances of true naïveté, of that complete identification with the beauty of appearance!

可是，我们就甚少能达到这种心醉神迷于假象之美的素朴境界，荷马的崇高真是不可言诠：

It is this achievement which makes Homer so magnificent--Homer, who, as a single individual, stood to Apollinian popular culture in the same relation as the individual dream artist to the oneiric capacity of a race and of nature generally.

他个人对待梦神型的民间文化，正如个别梦境艺术家对待一般人民与自然的梦想能力那样。

The naïveté of Homer must be viewed as a complete victory of Apollinian illusion.

所谓荷马的“素朴”，只能理解为梦境幻想的绝对胜利，

Nature often uses illusions of this sort in order to accomplish its secret true goal is covered over by a phantasm.

它是自然为了达到目的而常常使用的一种幻想。

We stretch out our hands to the latter, while nature, aided by our deception, attains the former.

幻象掩障了真正的目的，当你伸手去把握这幻象时，自然就借你的幻想达到它的目的。

In the case of the Greeks it was the will wishing to behold itself in the work of art, in the transcendence of genius; but in order so to behold itself its creatures had first to view themselves as glorious, to transpose themselves to a higher sphere, without having that sphere of pure contemplation either challenge them or upbraid them with insufficiency.

在希腊人，“意志”要求在天才和艺术境界的美化作用中静观自己；芸芸众生为了颂扬自己，必须首先觉得是颂扬；他们必须在更高境界里再看见自己，而无须这完美的静观世界来督促或责备。

It was in that sphere of beauty that the Greeks saw the Olympians as their mirror images; it was by means of that aesthetic mirror that the Greek will opposed suffering and the somber wisdom of suffering which always accompanies artistic talent. As a monument to its victory stands Homer, the naïve artist.

这就是美之境界，希腊人在那里见到反映自己的面影——奥林匹斯神灵。凭借这种美之反映，希腊的“意志”就能对抗它在艺术方面的悲天悯人的才能和智慧；而荷马这位素朴艺术家便巍峨矗立，象一个凯旋碑！