悲劇的誕生The Birth Of Tragedy 第137 傾聽音樂
If these last sentences have perhaps managed to give only a preliminary expression to these difficult ideas and are immediately intelligible only to few, I nevertheless may not desist at this point from trying to stimulate my friends to further efforts and must ask them to use a single example of our common experience in order to prepare themselves for a general insight.
In giving this example, I must not appeal to those who use the images of what happens on the stage, the words and emotions of the acting persons, in order to approach with their help the musical feeling; for these people do not speak music as their mother tongue and, in spite of this help, never get beyond the entrance halls of musical perception, without ever being able to as much as touch the inner sanctum. Some of them, like Gervinus [G. G. Gervinus, author of Shakespeare, and Shakespeare Commentaries], do not even reach the entrancehalls.
凡是需要靠劇情的畫景、演員的語言和情感等等的幫助，才能欣賞音樂的人，我決不對他們提及這個例證，因爲他們都不是談音樂象說本國語言那樣，即使有了那些幫助，也不過只達到音樂感受的門前，不能登堂入室，許多人，例如格爾維納斯（Gervinus），甚至從未由這條道路走到門前呢。I must appeal only to those who, immediately related to music, have in it, as it were, their motherly womb, and are related to things almost exclusively through unconscious musical relations.
然而，唯獨日夕親灸音樂，在音樂中如在母親懷抱，接觸事物時總無意中聯想到音樂的人們，我定必向他們陳述。
To these genuine musicians I direct the question whether they can imagine a human being who would be able to perceive the third act of Tristan and Isolde, without any aid of word and image, purely as a tremendous symphonic movement, without expiring in a spasmodic unharnessing of all the wings of the soul?
我要對這些真正的音樂家提出一個問題：您能設想一個人不需要臺詞和畫景幫助，能夠傾聽“愁斯丹和綺瑟”的第三幕，就象聽完一場偉大交響樂，而不致神勞魂瘁，象倦飛之鳥展翼而斃嗎？Suppose a human being has thus put his ear, as it were, to the heart chamber of the world will and felt the roaring desire for existence pouring from there into all the veins of the world, as a thundering current or as the gentlest brook, dissolving into a mist--how could he fail to break suddenly?
這個人正所謂把耳朵貼近世界意志的心房，感覺到狂熱的生存要求從這心房流出，如急湍轟響，或如小澗淙淙，注入世界的一切靜脈裏，他豈不是會忽然間昏過去嗎？How could he endure to perceive the echo of innumerable shouts of pleasure and woe in the "wide space of the world night," enclosed in the wretched glass capsule of the human individual, without inexorably fleeing toward his primordial home, as he hears this shepherd's dance of metaphysics?
以個人的脆弱可憐的塵軀，他怎能忍受那來自“宇宙黑夜之廣大荒漠”的無數歡呼和哀鳴的迴響呢？But if such a work could nevertheless be perceived as a whole, without denial of individual existence; if such a creation could be created without smashing its creator--whence do we take the solution of such a contradiction?
一旦聽到這種超脫的牧歌舞曲，他可不是欣然景從，要飛返天鄉嗎？然而，如果這樣的作品，聽衆能夠全部領略，而不致否定個人的生存；如果這樣的創作，作家能夠苦心寫成，而不致毀了自己；我們以甚麼理由來解釋這矛盾問題呢？
