悲劇的誕生The Birth Of Tragedy 第6期:夢境音樂與酒神祭音樂
Only now has it become possible to speak of nature's celebrating an aesthetic triumph; only now has the abrogation of the principium individuationis become an aesthetic event.
That terrible witches' brew concocted of lust and cruelty has lost all power under the new conditions.
在這場合，情慾與殘暴相結合的猥瑣的“妖女的淫藥”也失效了。Yet the peculiar blending of emotions in the heart of the Dionysian reveler--his ambiguity if you will--seems still to hark back (as the medicinal drug harks back to the deadly poison) to the days when the infliction of pain was experienced as joy while a sense of supreme triumph elicited cries of anguish from the heart.
唯獨酒神信徒的離奇混合的二重性情緒，使我們想到哀極則破涕爲歡，樂極則喟嘆呻吟的心理現象，正如良藥使我們想到毒鴆。
For now in every exuberant joy there is heard an undertone of terror, or else a wistful lament over an irrecoverable loss.
這是歡樂極時的惶惑驚呼，或者恨海難填的眷戀哀鳴。It is as though in these Greek festivals a sentimental trait of nature were coming to the fore, as though nature were bemoaning the fact of her fragmentation, her decomposition into separate individuals.
在希臘的節會，性靈彷彿露出一種傷感的跡象，爲了自己之化整爲零掀起一絲喟嘆。The chants and gestures of these revelers, so ambiguous in their motivation, represented an absolute novum in the world of the Homeric Greeks; their Dionysian music, in especial, spread abroad terror and a deep shudder.
這些二重性情緒的酒徒的歌聲和舞姿，是荷馬時代希臘人聞所未聞的新奇事物；尤有甚者，酒神祭音樂激起人們的惶惑和恐懼。It is true: music had long been familiar to the Greeks as an Apollinian art, as a regular beat like that of waves lapping the shore, a plastic rhythm expressly developed for the portrayal of Apollinian conditions.
雖則我們似乎一向承認音樂是夢境的藝術，但是，嚴格談來，這不過是指節奏的律動而言；爲了表現夢境境界，便發展了節奏的造型能力。Apollo's music was a Doric architecture of sound--of barely hinted sounds such as are proper to the cithara.
夢境音樂其實是音調方面的多里斯建築藝術，僅僅是富於暗示的音調，例如豎琴之音。Those very elements which characterize Dionysian music and, after it, music quite generally: the heart shaking power of tone, the uniform stream of melody, the incomparable resources of harmony--all those elements had been carefully kept at a distance as being inconsonant with the Apollinian norm.
然而，酒神祭音樂，乃至一般音樂的組成成份，例如，音調之驚心動魄，歌韻之急流直瀉，和聲之絕妙境界，都被慎重地除掉了，被目爲非夢境的因素。In the Dionysian dithyramb man is incited to strain his symbolic faculties to the utmost; something quite unheard of is now clamoring to be heard: the desire to tear asunder the veil of Maya, to sink back into the original oneness of nature; the desire to express the very essence of nature symbolically.
在酒神頌歌中，人的一切象徵能力被激發到最高程度；一些從未體驗過的情緒迫不急待地發瀉出來——“幻”的幛幔被撕破了，種族靈魂與性靈本身合而爲一。Thus an entirely new set of symbols springs into being. First, all the symbols pertaining to physical features: mouth, face, the spoken word, the dance movement which coordinates the limbs and bends them to its rhythm.
現在，性靈的真諦用象徵方法表現出來，我們需要一個新的象徵世界，肉體的一切象徵能力一起出現，不但雙脣，臉部，語言富於象徵意義，而且豐富多彩的舞姿也使得手足都成爲旋律的運動。Then suddenly all the rest of the symbolic forces--music and rhythm as such, dynamics, harmony--assert themselves with great energy.
於是，其它象徵能力隨之而發生，音樂的象徵能力突然暴發爲旋律、音質與和聲。In order to comprehend this total emancipation of all the symbolic powers one must have reached the same measure of inner freedom those powers themselves were making manifest; which is to say that the votary of Dionysus could not be understood except by his own kind.
爲了掌握如何把這一切象徵能力一起釋放，人必須已達到忘我之境，務求通過這些能力象徵地表現出來。It is not difficult to imagine the awed surprise with which the Apollinian Greek must have looked on him. And that surprise would be further increased as the latter realized, with a shudder, that all this was not so alien to him after all, that his Apollinian consciousness was but a thin veil hiding from him the whole Dionysian realm.
所以，酒神祭的信徒，唯有同道中人能夠了解。夢神式的希臘人看到這些酒徒，將感到何等驚愕呵！而尤有甚者，驚愕以外加上疑慮，隱約感到這種情緒畢竟是自己所熟識的，不過自己的夢神意識象一幅幛幔似的掩遮着眼前的陶醉境界！
