悲劇的誕生The Birth Of Tragedy 第115期:悲劇性格描寫
In another direction also we see at work the power of this un-Dionysian myth-opposing spirit, when we turn our attention to the prevalence of character representation and psychological refinement in tragedy from Sophocles onward.
The character must no longer be expanded into an eternal type, but, on the contrary, must develop individually through artistic subordinate traits and shadings, through the nicest precision of all lines, in such a manner that the spectator is in general no longer conscious of the myth, but of the vigorous truth to nature and the artist's imitative power.
現在，性格再不是擴張爲永恆的典型；反之，性格必須個別地刻劃，經過藝術的輕描淡寫，濃淡分明，使得一切線條極其明確，所以觀衆一般不再覺得這是神話，而感到描寫的迫真和藝術家的摹仿能力。Here also we observe the victory of the phenomenon over the universal, and the delight in a unique, almost anatomical preparation; we are already in the atmosphere of a theoretical world, where scientific knowledge is valued more highly than the artistic reflection of a universal law.
這裏，我們也見到個別現象戰勝普遍性和詩人的近乎解剖手法的個別描寫的愛好；我們已經呼吸到理論世界的氣氛，那裏科學知識被目爲高於藝術對普遍規律的反映。
The movement in the direction of character delineation proceeds rapidly: while Sophocles still portrays complete characters and employs myth for their refined development, Euripides already draws only prominent individual traits of character, which can express themselves in violent bursts of passion.
沿着性格描寫的路線的運動迅速繼續前進，當索福克勒斯還是描寫全面性格並且運用神話來予以細緻發展之際，歐裏庇德斯已經只刻劃在激情暴發時所表現的顯著的個性特徵；In the New Attic Comedy, however, there are only masks with one expression: frivolous old men, duped panders, and cunning slaves, recurring incessantly.
在阿提刻新喜劇則只有一種表情的面影：輕率的老人，受騙的王八，猾狡的家奴，千篇一律，反覆出現。Where now is the mythopoeic spirit of music? What still remains of music is either excitatory or reminiscent music, that is, either a stimulant for dull and faded nerves, or tone-painting.
音樂的神話創造精神於今安在呢？劫後殘存的音樂，不是興奮的音樂，便是回憶的音樂，換句話說，它不是對遲鈍衰弱的神經的興奮劑，便是寫聲的畫景。As regards the former, it hardly matters about the text set to it: as soon as his heroes and choruses begin to sing, everything becomes pretty slovenly in Euripides; to what pass must things have come with his impertinent successors?
至於前者，所配的歌詞對它幾乎沒有甚麼關係；歐裏庇德斯的英雄和歌隊一旦開始歌唱，便已經是放蕩不羈了，何況他的鹵莽的後繼者更不知達到甚麼地步？
