悲劇的誕生The Birth Of Tragedy 第104期:音樂與藝術的區別

For, as we have said, music is distinguished from all the other arts by the fact that it is not a copy of the phenomenon, or, more accurately, of the adequate objectivity of the will, but an immediate copy of the will itself, and therefore complements everything physical in the world and every phenomenon by representing what is metaphysical, the thing in itself.

因爲，上文說過，音樂與別種藝術的區別在於：音樂不是現象的複製，或者說得更正確些，它不是意志的適當的客觀化，而是意志本身的直接寫照，從而它對宇宙間一切自然物而言是超自然物，對一切現象而言是物自體。

We might, therefore, just as well call the world embodied music as embodied will; and this is the reason why music makes every painting, and indeed every scene of real life and of the world, at once appear with higher significance, certainly all the more, in proportion as its melody is analogous to the inner spirit of the given phenomenon.

所以，我們大可以把世界稱爲具體化的音樂，正如把它稱爲具體化的意志那樣；因此就不難說明，爲甚麼音樂能使每一畫面，甚至使現實生活和世界的每一情景，立刻顯出更深遠的意義。當然，音樂的旋律越肖似某一現象的內在精神，則其意義便越深遠。

Therefore we are able to set a poem to music as a song, or a visible representation as a pantomime, or both as an opera.

基於這點，我們就能夠配上音樂使詩成爲歌，使一般表演成爲舞劇，或者使兩者成爲歌劇。

Such particular pictures of human life, set to the universal language of music, are never bound to it or correspond to it with a stringent necessity; but they stand to it only in the relation of an example chosen at will to a general concept.

這種人生片段之畫景，配上音樂的共同語言，並不是非和音樂結合，或者完全符合不可的。它們對音樂的關係，不過像隨意舉例以說明一個一般概念罷了。

In the determinateness of the real, they represent that which music expresses in the universality of mere form. For melodies are to a certain extent, like general concepts, an abstraction from the actual.

它們以現實的明確性來表現的，音樂則以純粹形式的普遍性來說明。因爲，旋律在某種程度上有如一般概念，乃是現實的一種抽象。