悲劇的誕生The Birth Of Tragedy 第88期:走向毀滅的第一步
What is the view taken of the chorus in this new Socratic optimistic stage world, and of the entire musical and Dionysian foundation of tragedy?
They are seen as accidental features, as reminders of the origin of tragedy, which can well be dispensed with--while we have in fact come to understand that the chorus is the cause of tragedy and the tragic spirit.
歌隊本來是偶然產生的東西，是悲劇起源所殘留的一種早已 無用的跡象；況且我們已經知道，歌隊只能被理解爲悲劇和一般悲壯因素的成因。Already in Sophocles we find some embarrassment with regard to the chorus, which suggests that the Dionysian floor of tragedy is beginning to give way.
關於歌隊的難題，早已在索福克勒斯的作品中表現出來：——一個重要的跡象是在他的劇中，悲劇的醉境基礎已經開始崩潰了。
Sophocles no longer dares to give the chorus the major role in the tragedy but treats it as almost on the same footing as the actors, as though it had been raised from the orchestra onto the scene.
他再不敢信託歌隊來負擔戲曲效果的主要任務；反之，他限制它的活動範圍，以致歌隊幾乎與演員處於同等地位，By so doing he necessarily destroyed its meaning, despite Aristotle's endorsement of this conception of the chorus.
假若把它從舞池提升到舞臺上，因此它的特性當然完全被破壞了，This shift in attitude, which Sophocles displayed not only in practice but also, we are told, in theory, was the first step toward the total disintegration of the chorus: a process whose rapid phases we can follow in Euripides, Agathon, and the New Comedy.
雖則亞里士多德還是贊同這樣處理歌隊。歌隊地位的改變，索福克勒斯無論如何是以實踐來支持的，而且據說甚至以一篇論文來推薦。這就是歌隊走向毀滅的第一步，毀滅的各個階段以驚人的速度相繼而來，從歐裏庇德斯，阿伽同直到新喜劇。Optimistic dialectics took up the whip of its syllogisms and drove music out of tragedy.
樂觀主義的辯證法以三段論的鞭策把音樂驅逐出悲劇之外，It entirely destroyed the meaning of tragedy--which can be interpreted only as a concrete manifestation of Dionysian conditions, music made visible, an ecstatic dream world.
也就是說，它破壞了悲劇的本質，因爲悲劇只能被解釋爲醉境心情的表現和圖解，爲音樂的具體象徵，爲醉境陶醉中的夢境世界。
