悲劇的誕生The Birth Of Tragedy 第23期:音樂的獨立主權

Throughout this inquiry I have maintained the position that lyric poetry is dependent on the spirit of music to the same degree that music itself, in its absolute sovereignty, is independent of either image or concept, though it may tolerate both.

在以上所論，我們堅持：抒情詩依存於音樂的精神，正如音樂有獨立的主權，不必依賴概念，但僅僅容忍它們爲伴。

The poet cannot tell us anything that was not already contained, with a most universal validity, in such music as prompted him to his figurative discourse.

抒情詩所能表現的，莫不包涵在音樂的廣大一般性和普遍有效性中，音樂迫使詩人運用比喻。

The cosmic symbolism of music resists any adequate treatment by language, for the simple reason that music, in referring to primordial contradiction and pain, symbolizes a sphere which is both earlier than appearance and beyond it.

因此，語言絕不能把音樂的世界象徵表現得恰到好處，因爲只有音樂能夠象徵在太一之中心的原始矛盾和原始痛苦，所以它能象徵在一切現象以外和以前的領域。

Once we set it over against music, all appearance becomes a mere analogy.

反之，一切現象之於音樂毋寧是象徵而已；

So it happens that language, the organ and symbol of appearance, can never succeed in bringing the innermost core of music to the surface.

所以，語言既然是現象的表現工具和象徵，它就無論如何也不能揭示音樂的深奧之處，

Whenever it engages in the imitation of music, language remains in purely superficial contact with it, and no amount of poetic eloquence will carry us a step closer to the essential secret of that art.

語言在企圖模仿音樂時只能在表面上同音樂接觸；同時抒情詩以一切動聽的詞藻也不能使我們更深地體會音樂的最深刻的意義。