悲剧的诞生The Birth Of Tragedy 第35期:文明人的丑态

The satyr was sublime and divine--so he must have looked to the traumatically wounded vision of Dionysian man.

萨提儿是崇高的如神的生灵；尤其是在暗然魂消的醉境中人看来，萨提儿定必仿佛如此。

Our tricked out, contrived shepherd would have offended him, but his eyes rested with sublime satisfaction on the open, undistorted limnings of nature.

我们的牧童，那盛装的膺品，就会使这种人反感。可是看到坦率豪放的性灵的壮丽笔调，他便欣然留恋，掀起崇高的快感。

Here archetypal man was cleansed of the illusion of culture, and what revealed itself was authentic man, the bearded satyr jubilantly greeting his god.

这里，人类的本相业已洗尽文明的铅华；这里，真正的人，长胡萨提儿，露出了本色，向神灵欢呼。

Before him cultured man dwindled to a false cartoon.

在他面前，文明人就萎缩成金玉其外败絮其中的丑态。

Schiller is also correct as regards these beginnings of the tragic art:

席勒关于悲剧起源的意见是正确的：

the chorus is a living wall against the onset of reality because it depicts reality more truthfully and more completely than does civilized man, who ordinarily considers himself the only reality.

他认为歌队是一种有生命的垣墙，它抵抗现实的进攻；因为它，萨提儿歌队，描绘出生存，比文明人描绘将更真实，更重要，更充分，尽管后者通常自命为唯一的实在。