悲劇的誕生The Birth Of Tragedy 第60期:個性化是災禍之主因
In these notions we already find all the components of a profound and mystic philosophy and, by the same token, of the mystery doctrine of tragedy;
a recognition that whatever exists is of a piece, and that individuation is the root of all evil;
那就是“萬物一體”這個基本認識，以及個性化是災禍之主因，a conception of art as the sanguine hope that the spell of individuation may yet be broken as an augury of eventual reintegration.
藝術是一種快樂的希望，只有打破個性的隔閡才能期望恢復原始的統一，等等概念。
I have said earlier that the Homeric epic was the poetic expression of Olympian culture, its victory song over the terrors of the battle with the Titans.
上文已經指出：荷馬史詩是奧林匹斯文化的詩章，歌詠這種文化對鐵旦族戰爭威脅的勝利。Now, under the overmastering influence of tragic poetry, the Homeric myths were once more transformed and by this metempsychosis proved that in the interim Olympian culture too had been superseded by an even deeper philosophy.
現在，在悲劇詩歌的強大影響下，荷馬神話再度誕生；這種輪迴說明的奧 林匹斯文化也同時曾被一種更深刻的世界觀戰勝。The contumacious Titan, Prometheus, now announced to his Olympian tormentor that unless the latter promptly joined forces with him, his reign would be in supreme danger.
倔強的鐵旦普羅密修斯對奧林匹斯的暴主預言：有朝一日，他的統治將受到最大危機的威脅，除非宙斯及時地同他和解。In the work of Aeschylus we recognize the alliance of the Titan with a frightened Zeus in terror of his end.
我們在埃斯庫羅斯的三部曲中看到宙斯驚惶萬狀，憂慮自己的未運，終於同普羅密修斯結盟。Thus we find the earlier age of Titans brought back from Tartarus and restored to the light of day.
於是，以前的鐵旦世代終於從冥土起來，重見天日。A philosophy of wild, naked nature looks with the bold countenance of truth upon the flitting myths of the Homeric world:
狂放而坦率的性靈哲學，以真理的毫不掩飾的態度，正視着那些飛舞而過的荷馬神話；they pale and tremble before the lightning eye of this goddess, until the mighty fist of the Dionysian artist forces them into the service of a new divinity.
它們在哲學女神的閃電似的目光下慘然變色，悚然顫抖了，直至酒神祭的藝術家以巨靈之掌強迫它們爲這位新神服務。
