悲劇的誕生The Birth Of Tragedy 第26期:藝術和顯示的差距
We had supposed all along that the spectator, whoever he might be, would always have to remain conscious of the fact that he had before him a work of art, not empiric reality,
whereas the tragic chorus of the Greeks is constrained to view the characters enacted on the stage as veritably existing.
但是希臘歌隊卻不得不把舞臺形象當作真人。The chorus of the Oceanides think that they behold the actual Titan Prometheus, and believe themselves every bit as real as the god.
扮海神女兒的歌隊就要真的相信自己親眼看見普羅密修所，並且認爲自己就是劇中的真神。
Are we seriously to assume that the highest and purest type of spectator is he who, like the Oceanides, regards the god as physically present and real?
若果觀衆象海神女兒那樣，認爲普羅密修斯是現身臨場的真神，難道他們便是最高級最純粹的觀衆嗎？That it is characteristic of the ideal spectator to rush on stage and deliver the god from his fetters?
難道所謂理想的觀衆有責任走上舞臺，從嚴刑中解放普羅密修斯嗎？We had put our faith in an artistic audience, believing that the more intelligent the individual spectator was, the more capable he was of viewing the work of art as art;
我們相信觀衆的審美能力；我們認爲，一個觀衆愈能把藝術作品當作藝術來看，就是說，從審美觀點來看，他就愈是合格的觀衆。and now Schlegel's theory suggests to us that the perfect spectator viewed the world of the stage not at all as art but as reality.
但是，希勒格爾的說法卻告訴我們：完善的、理想的觀衆不是以審美態度來對待劇中世界，而是身體力行，實際參予其中。"Oh these Greeks!" we moan.
我們不禁要嘆道：“希臘人呵。”"They upset our entire aesthetic!"
你們推翻了我們的一切美學，But once we have grown accustomed to it, we repeat Schlegel's pronouncement whenever the question of the chorus comes up.
然而，既熟識了這點，以後講到歌隊時，我們還要提及希勒格爾的話。
