悲劇的誕生The Birth Of Tragedy 第11期:最崇高的藝術象徵

But if, for the moment, we abstract from our own reality, viewing our empiric existence, as well as the existence of the world at large, as the idea of the original Oneness, produced anew each instant, then our dreams will appear to us as illusions of illusions, hence as a still higher form of satisfaction of the original desire for illusion.

假如我們暫時不看自己的“實在”，假如我們把我們的經驗的實在，和一般的世界的實在，看作太一所不斷顯現的表象，那就不妨把夢看作假象的假象，從而看作原始的假象快感之高度的滿足。

It is for this reason that the very core of nature takes such a deep delight in the naive artist and the naive work of art, which likewise is merely the illusion of an illusion.

正因此故，性靈的心靈深處對於素樸藝術家和素樸藝術品，亦即對假象的假象，感到難以形容的愉快。

Raphael, himself one of those immortal "naive" artists, in a symbolic canvas has illustrated that reduction of illusion to further illusion which is the original act of the naive artist and at the same time of all Apollinian culture.

拉斐爾是這些不朽的素樸藝術家之一，他在一幅象徵畫中，給我們繪出假象轉化爲假象的過程，素樸藝術家以及夢神文化的原始過程。

In the lower half of his "Transfiguration," through the figures of the possessed boy, the despairing bearers, the helpless, terrified disciples, we see a reflection of original pain, the sole ground of being: "illusion" here is a reflection of eternal contradiction, begetter of all things.

在他的畫“耶穌變容”的下半幅，凝神的孩子，失望的仵工，困惑不安的信徒，反映出原始而永恆的痛苦，世界的唯一根基，畫中的“假象”就是萬物之源的永恆矛盾的反照。

From this illusion there rises, like the fragrance of ambrosia, a new illusory world, invisible to those enmeshed in the first: a radiant vision of pure delight, a rapt seeing through wide open eyes.

現在，從這一假象，宛若襲來一股芬芳的天香，升起了一個新的虛幻的假象世界，但是置身於第一個假象中的人們卻視而不見——它是飄蕩在最純粹福樂中的浮光，它是在身心舒暢時睜目驚歎的觀照。

Here we have, in a great symbol of art, both the fair world of Apollo and its substratum, the terrible wisdom of Silenus, and we can comprehend intuitively how they mutually require one another.

這裏，在最崇高的藝術象徵中，我們體會到了夢神的美之世界及其根基，西列諾斯的可怕的警句，我們憑直覺領悟到這兩者的互相依存。

But Apollo appears to us once again as the apotheosis of the principium individuationis, in whom the eternal goal of the original Oneness, namely its redemption through illusion, accomplishes itself.

然而，夢神再度以個性原則之化身的姿態出現在我們面前。唯有這樣，才能完全達到太一的終極目的，它通過假象而得救了。

With august gesture the god shows us how there is need for a whole world of torment in order for the individual to produce the redemptive vision and to sit quietly in his rocking rowboat in mid sea, absorbed in contemplation.

夢神以他的崇高姿態對我們指出，這個痛苦的世界是完全必要的，因爲，通過它，一個人纔不得不產生救苦的幻覺。