悲劇的誕生The Birth Of Tragedy 第3期:夢是藝術的載體
The fair illusion of the dream sphere, in the production of which every man proves himself an accomplished artist, is a precondition not only of all plastic art, but even, as we shall see presently, of a wide range of poetry.
Here we enjoy an immediate apprehension of form, all shapes speak to us directly, nothing seems indifferent or redundant.
在夢裏，我們嚐到直接領會形象的樂趣，所有夢中形象都對我們傾談，無一是不重要，無一是多餘的。Despite the high intensity with which these dream realities exist for us, we still have a residual sensation that they are illusions; at least such has been my experience and the frequency, not to say normality, of the experience is borne out in many passages of the poets.
但是，即使夢境的現實達到最高度時，我們仍然感到夢的若明若滅的假象，至少我的經驗是如此；至於這假象的頻繁及其常態，我可以徵引許多例子以及詩人的話作證。
Men of philosophical disposition are known for their constant premonition that our everyday reality, too, is an illusion, hiding another, totally different kind of reality.
愛好哲理的人，甚至有一種預感；在我們生息於其間的客觀現實之下，隱藏着另一種絕對不同的現實，它也是一種假象。It was Schopenhauer who considered the ability to view at certain times all men and things as mere phantoms or dream images to be the true mark of philosophic talent.
叔本華就認為：有人間或把人類和事物看作僅僅是幻影和夢景，這種天才就是哲學才能的標誌。The person who is responsive to the stimuli of art behaves toward the reality of dream much the way the philosopher behaves toward the reality of existence: he observes exactly and enjoys his observations, for it is by these images that he interprets life, by these processes that he rehearses it.
所以，美感敏鋭的人對夢境現實的關係，正如哲學家對生活現實的關係那樣；他是一個精細而樂意的觀照者，因為他從這些畫景上體會到人生的意義，他憑藉夢中的經歷來鍛鍊自己對待人生。Nor is it by pleasant images only that such plausible connections are made: the whole divine comedy of life, including its somber aspects, its sudden balkings, impish accidents, anxious expectations, moves past him, not quite like a shadow play--for it is he himself, after all, who lives and suffers through these scenes--yet never without giving a fleeting sense of illusion; and I imagine that many persons have reassured themselves amidst the perils of dream by calling out, "It is a dream! I want it to go on."
這不僅是他親自體驗到了然於心的，愉快親切的畫景而已，而且一切嚴肅的，悲哀的，愁悶的，憂鬱的情緒，突然的障礙，命運的揶揄，不安的期待，總之，人生的整部“神曲”及其“地獄篇”，都掠過他眼前，不是僅僅象鏡花水月，因為他就在這些情景中生活着，苦惱着，然而仍不免有曇花一現的假象之感。也許，不少人會象我那樣記得，他們在夢境的危難和恐怖中，有時會自策自勵而往往成功地喊道：“是夢吧，我索性夢下去呵！”I have even heard of people spinning out the causality of one and the same dream over three or more successive nights. All these facts clearly bear witness that our innermost being, the common substratum of humanity, experiences dreams with deep delight and a sense of real necessity.
我也曾聽説有人能夠一連三四個晚上繼續經歷同一個夢的前因後果：這些事實提供了明證，可見我們的心靈深處，我們的日常生活的底層，轉化為夢境，我們在夢中體會到深深的歡欣和愉快的必然。This deep and happy sense of the necessity of dream experiences was expressed by the Greeks in the image of Apollo. Apollo is at once the god of all plastic powers and the soothsaying god.
古希臘人把這種夢中經驗的愉快的必然，體現在阿波羅神的身上，因為阿波羅是一切造型能力之神，同時也是預言之神。He who is etymologically the "lucent" one, the god of light, reigns also over the fair illusion of our inner world of fantasy.
阿波羅，就字源來説，意即“燦爛的神”，乃是光明之神，掌管我們內心幻象世界的美麗假象。The perfection of these conditions in contrast to our imperfectly understood waking reality, as well as our profound awareness of nature's healing powers during the interval of sleep and dream, furnishes a symbolic analogue to the soothsaying faculty and quite generally to the arts, which make life possible and worth living.
這是更高的真理，是與不可捉摸的日常生活截然不同的美滿境界，是對自然在睡夢中治病救人的作用的深刻認識同時也就是預言能力乃至一切藝術的象徵，由於這點，生活才有意義，才值得留戀。然而，要知道，有一條微妙的界線，是夢景所不能超越的，否則就會產生病理作用，我們會把假象誤認為平凡的現實。But the image of Apollo must incorporate that thin line which the dream image may not cross, under penalty of becoming pathological, of imposing itself on us as crass reality: a discreet limitation, a freedom from all extravagant urges, the sapient tranquillity of the plastic god.
——我們在想象阿波羅的形象時不可忽略這點；這位雕塑之神表現出適度的自制，並無粗野的激情，而有智慧的靜穆。His eye must be sunlike, in keeping with his origin. Even at those moments when he is angry and ill-tempered there lies upon him the consecration of fair illusion.
他的目光必須“光如旭日”，才合乎他的來源；即使當他勃然震怒或神色沮喪時，他的美貌也不失為聖潔的。In an eccentric way one might say of Apollo what Schopenhauer says, in the first part of The World as Will and Idea, of man caught in the veil of Maya: "Even as on an immense, raging sea, assailed by huge wave crests, a man sits in a little rowboat trusting his frail craft, so, amidst the furious torments of this world, the individual sits tranquilly, supported by the principium individuationis and relying on it."
所以，在某種意義上，我們不妨把叔本華論及藏在 “幻”（Maja）的幛幔中的人的話應用於阿波羅身上：“正如在無邊無涯、洪濤起伏、澎湃怒吼的海洋，舟子坐在船上，託身於一葉扁舟；同樣，在這痛苦的世界裏；孤獨的人也只好安心靜座，信賴個性原則（Prinoipiumindividuationis）以支持”（見意志及表象的世界第一卷）。One might say that the unshakable confidence in that principle has received its most magnificent expression in Apollo, and that Apollo himself may be regarded as the marvelous divine image of the principium individuationis, whose looks and gestures radiate the full delight, wisdom, and beauty of "illusion."
其實，我們可以説，這種信賴自我和安心靜坐的精神在夢神阿波羅身上獲得最崇高的表現；我們也可以説，夢神自己就是個性原則的尊嚴的神象，他的表情和神色都對我們説明了“假象”的一切愉快和智慧，以及它的美。
