悲劇的誕生The Birth Of Tragedy 第114期:新酒神頌音樂

In this New Dithyramb, music is outrageously manipulated so as to be the imitative counterfeit of a phenomenon, for instance, of a battle or a storm at sea; and thus, of course, it has been utterly robbed of its mythopoeic power.

這種新酒神頌把音樂粗暴地化爲模擬現象的畫景，例如，模仿戰爭或海上風暴之聲，因此當然音樂的神話創造力完全被剝奪了。

For if it seeks to arouse pleasure only by impelling us to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; if our understanding is to content itself with the perception of these analogies; we are reduced to a frame of mind which makes impossible any reception of the mythical; for the myth wants to be experienced vividly as a unique example of a universality and truth that gaze into the infinite.

因爲假如音樂只靠強迫我們去尋找生活情景或自然事件與某些旋律或特殊音響之間的外在相似，才能喚起我們的快感；如果我們的理解力只滿足於認識這些相似點；那麼，我們就會陷於一種無法接受神話感染力的心情，因爲神話乃是一種特殊的，無限深刻的普遍性和真理，其意義必須是顯而易見的。

The truly Dionysian music presents itself as such a general mirror of the universal will: the vivid event refracted in this mirror expands at once for our consciousness to the copy of an external truth. Conversely, such a vivid event is at once divested of every mythical character by the tone-painting of the New Dithyramb; music now becomes a wretched cop of the phenomenon, and therefore infinitely poorer than the phenomenon itself.

真正的醉境音樂就是這樣一種世界意志的共同明鏡，一切顯著的事情一旦在這面鏡子上折射，我們就立刻感到它展開而成爲永恆真理的反映；反之，寫聲的新酒神頌畫景則會立刻剝奪了這類顯著事情所蘊含的神話意義，於是音樂變成現象的粗劣臨模，因而比現象本身更貧乏可憐；

And through this poverty it still further reduces the phenomenon for our consciousness, so that now, for example, a musically imitated battle of this sort exhausts itself in marches, signal sounds, etc., and our imagination is arrested precisely by these superficialities.

由於它的貧乏，我們感到它貶低了現象，例如，模擬戰爭的音樂充其量不過是進行曲，軍號曲等等而已，我們的想象力就被這些淺薄東西縛束住。

Tone-painting is thus in every respect the opposite of true music with its mythopoeic power: through it the phenomenon, poor in itself, is made still poorer, while through Dionysian music the individual phenomenon is enriched and expanded into an image of the world. It was a great triumph for the un-Dionysian spirit when, by the development of the New Dithyramb, it had estranged music from itself and reduced it to be the slave of phenomena.

所以，寫聲的音樂，無論就任何關係而言，都與真正音樂的神話創造力處於對立地位：它使得貧乏的現象更爲貧乏，但是醉境音樂卻使得個別現象更加豐富，擴大而成爲反世界的畫面。然而，非酒神精神的偉大勝利卻在於：因新酒神頌的發展，它使得音樂日益疏遠，而把它降爲現象的奴隸。

Euripides, who, though in a higher sense, must be considered a thoroughly unmusical nature, is for this very reason a passionate adherent of the New Dithyrambic Music, and with the liberality of a robber makes use of all its effective tricks and mannerisms.

歐裏庇德斯，就更高的意義來說，可以稱爲一個完全非音樂性的人物，因此他是新酒神頌音樂的熱烈擁護者，象強盜那樣愛好揮霍，濫用這種音樂的一切效果和風格。