悲剧的诞生The Birth Of Tragedy 第113期:音乐的表达

He who recalls the immediate consequences of this restlessly progressing spirit of science will realize at once that myth was annihilated by it, and that, because of this annihilation, poetry was driven like a homeless being from her natural ideal soil.

你想起这种惶惶不可终日的科学精神所引起的直接后果，便会立刻想到神话是被它摧毁的了；由于神话的毁灭，诗被逐出她自然的理想故土，变成无家可归。

If we have been right in assigning to music the power of again giving birth to myth, we may similarly expect to find the spirit of science on the path where it inimically opposes this mythopoeic power of music.

如果我们并没有说错，音乐有从自己再产生神话的力量，我们将会发现科学精神也踏上了反抗音乐之神话创造力的道路。

This takes place in the development of the New Attic Dithyramb, the music of which no longer expressed the inner essence, the will itself, but only rendered the phenomenon inadequately, in an imitation by means of concepts. From this intrinsically degenerate music the genuinely musical natures turned away with the same repugnance that they felt for the art-destroying tendency of Socrates.

这情况发生在新阿提刻酒神颂的发展过程中，它的音乐不再表现内在的本质，不再表现意志本身，而只用概念来直接模拟现象，大致描出它的轮廓罢了。真正的音乐天才便厌弃这种本质上已蜕化的音乐，正如厌弃那摧残艺术的苏格拉底倾向。

The unerring instinct of Aristophanes was surely right when it included Socrates himself, the tragedy of Euripides, and the music of the New Dithyrambic poets in the same feeling of hatred, recognizing in all three phenomena the signs of a degenerate culture.

阿里斯托芬明辨是非的直观能力是中肯的：他对苏格拉底本人，对欧里庇德斯的悲剧，对新酒神颂诗人的音乐，都抱着同样厌恶之情，他在这三个现象中见到一种堕落文化的标识。