悲劇的誕生The Birth Of Tragedy 第105期:模仿的音樂作品有毛病
This actual world, then, the world of particular things, affords the object of perception, the special and individual, the particular case, both to the universality of the concepts and to the universality of the melodies.
But these two universalities are in a certain respect opposed to each other; for the concepts contain particulars only as the first forms abstracted from perception, as it were, the separated shell of things; thus they are, strictly speaking, abstracta: music, on the other hand, gives the inmost kernel which precedes all forms, or the heart of things.
但是這兩種普遍性在某些關係上是彼此相反的：因爲概念不過是以從知覺抽象得來的最初形式來概括事物，好象是從事物剝下來的外殼而已，所以它們是實實在在的sbstraota（抽象）；反之，音樂卻提供了先於一切形象的最深入的核心，或者說，事物的心靈。This relation may be very well expressed in the language of the schoolmen, by saying, the concepts are the universalia post rem, but music gives the univesralia ante rem, and the real world the universalia in re.
這一關係用繁瑣哲學者的術語來說明最爲恰當：概念是univerBsaliapostrem（後於事物的普遍性），而音樂則提供 universaliaanterem（先於事物的普遍性），而現實界則是universaliainre（在事物中的普遍性）。
But that in general a relation is possible between a composition and a visible representation rests, as we have said, upon the fact that both are simply different expressions of the same inner being of the world.
然而，一般地說，樂曲與表演之間的關係所以可能成立，如上文所說，在於這兩者不過是同一世界的內在本質之完全不同的表現。When now, in the particular case, such a relation is actually given, that is to say, when the composer has been able to express in the universal language of music the stirrings of will which constitute the heart of an event, then the melody of the song, the music of the opera, is expressive.
設使在特殊情形下，這樣的一種關係是確實存在的，也就是說，設使作曲者能夠用音樂的共同語言來表現那構成某一特殊事件之核心的意志活動；那末，這種歌的旋律，這種歌劇的音樂，纔是富有表情的。But the analogy discovered by the composer between the two must have proceeded from the direct knowledge of the nature of the world unknown to his reason, and must not be an imitation produced with conscious intention by means of concepts, otherwise the music does not express the inner nature, the will itself, but merely gives an inadequate imitation of its phenomenon.
然而，由作曲者發現的這兩者之間的類似點，必須出自他對理性所不能領悟的世界本質有直接認識，而決不應該憑藉概念有意地作間接模仿；否則音樂便不能表現意志本身的內在本 質，而僅僅是不實不盡地模仿意志的現象而已。All truly imitative music does this."
一切專事模仿的音樂作品就有此毛病”（“意志及表象之世界”）。
