悲剧的诞生The Birth Of Tragedy 第28期:伪理想主义

Schiller used this view as his main weapon against commonplace naturAlism, against the illusionistic demand made upon dramatic poetry.

席勒以这个重要武器同自然主义的庸俗概念，同一般要求于剧诗的妄想作斗争。

While the day of the stage was conceded to be artificial, the architecture of the set symbolic, the metrical discourse stylized, a larger misconception still prevailed.

虽则显然舞台时间不过是人为的，布景不过是一种象征，韵律语言显然带有理想的性质，但是一种错误观点还在广泛流行，

Schiller was not content to have what constitutes the very essence of poetry merely tolerated as poetic license.

说我们不应把这些舞台惯例仅仅看作诗的特权而予以容忍。

He insisted that the introduction of the chorus was the decisive step by which any naturalism in art was openly challenged.

然而，这些“惯例”却是一切诗的本质。采用歌队是一个决定性的步骤，以便向艺术上一切自然主义光明磊落地宣战。

This way of looking at art seems to me the one which our present age, thinking itself so superior, has labeled pseudo idealism.

我想，正是为了席勒这种见解，我们这个自命为优秀的时代想出了“伪理想主义”这毁谤的名词。

But I very much fear that we, with our idolatry of verisimilitude, have arrived at the opposite pole of all idealism, the realm of the waxworks.

然而，另一方面，我恐怕，今人之崇拜自然和崇拜现实，已经走到与一切理想主义对立的另一极端，换句话说，走进蜡象陈列室的领域了。

This too betrays a kind of art, as do certain popular novels of today.

蜡工也算是一种艺术，正如今日某些流行的小说那样。

All I ask is that we not be importuned by the pretense that such art has left Goethe's and Schiller's "pseudo-idealism" behind.

然而，虽然有人主张以这种艺术来战胜歌德席勒的“伪理想主义”，我们却不必为此担忧。