悲劇的誕生The Birth Of Tragedy 第4期:夢境與醉境
So far we have examined the Apollinian and Dionysian states as the product of formative forces arising directly from nature without the mediation of the human artist.
At this stage artistic urges are satisfied directly, on the one hand through the imagery of dreams, whose perfection is quite independent of the intellectual rank, the artistic development of the individual;
在這些力量中，發乎自然的藝術衝動，獲得最方便最直接的滿足：一方面是夢境的繪畫境界，它的美滿是不依賴個人的知識高超和藝術修養的；on the other hand, through an ecstatic reality which once again takes no account of the individual and may even destroy him, or else redeem him through a mystical experience of the collective.
另一方面是醉境的現實，它也是絕不尊重個人能力，甚或竭力把個性摧毀，然後通過一種神祕的萬類統一感來救濟他。
In relation to these immediate creative conditions of nature every artist must appear as "imitator," either as the Apollinian dream artist or the Dionysian ecstatic artist, or, finally (as in Greek tragedy, for example) as dream and ecstatic artist in one.
對這兩種自然的、直接的藝術境界而言，每個藝術家都是“摹仿者”，換句話說，他或是夢神式的夢境藝術家，或是酒神式的醉境藝術家，或者最後既是夢境的又是醉境的藝術家，例如希臘悲劇作家；就悲劇家而言。We might picture to ourselves how the last of these, in a state of Dionysian intoxication and mystical self-abrogation, wandering apart from the reveling throng, sinks upon the ground, and how there is then revealed to him his own condition--complete oneness with the essence of the universe--in a dream similitude.
我們不妨設想，他初時沉湎在酒神的醉境和神祕的忘我之境，孑然一身，離開了狂歌縱飲的羣伍；然後，由於夢神的夢境的感召，他自己的境界，也就是說，他與宇宙根源的統一，立刻在他眼前顯現爲一幅象徵的夢景圖畫。Having set down these general premises and distinctions, we now turn to the Greeks in order to realize to what degree the formative forces of nature were developed in them.
一般性的前提和對照既已說明，現在讓我們進而研究古希臘人，看看發乎自然的藝術衝動在希臘人中間發展到何等高度。Such an inquiry will enable us to assess properly the relation of the Greek artist to his prototypes or, to use Aristotle's expression, his "imitation of nature."
因此，我們便有可能更深入地瞭解和估計希臘藝術家對其原型的關係，亦即亞里士多德所謂“摹仿自然”。Of the dreams the Greeks dreamed it is not possible to speak with any certainty, despite the extant dream literature and the large number of dream anecdotes.
雖則古希臘人有不少寫夢作品和記夢奇談，我們討論他們的夢卻只能憑猜測，即使不無恰當的論斷。But considering the incredible accuracy of their eyes, their keen and unabashed delight in colors, one can hardly be wrong in assuming that their dreams too showed a strict consequence of lines and contours, hues and groupings, a progression of scenes similar to their best bas reliefs.
試想他們洞燭隱微不爽絲毫的造型眼力，試想他們對色彩的坦率鮮明的喜愛，我們就不禁設想（後世人們應引以爲恥）：甚至他們的夢也有線條、輪廓、顏色、佈局等等的邏輯關係，也有一種類似最精美的希臘浮雕的連環畫景。The perfection of these dream scenes might almost tempt us to consider the dreaming Greek as a Homer and Homer as a dreaming Greek; which would be as though the modern man were to compare himself in his dreaming to Shakespeare.
而且是這樣的美滿，所以我們頗有理由，——假如可以用比喻來說。——去稱做夢的希臘人爲荷馬，稱荷馬爲做夢的希臘人。這總比現代人在談及自己的夢時竟敢自比爲莎士比亞，有更深遠的意義。
