悲剧的诞生The Birth Of Tragedy 第86期:处于奴婢地位的柏拉图
A good example of this is Plato himself.
Although he did not lag behind the naive cynicism of his master in the condemnation of tragedy and of art in general, nevertheless his creative gifts forced him to develop an art form deeply akin to the existing forms which he had repudiated.
柏拉图之非难悲剧和一般艺术，并不落后于他的先师之天真的冷嘲热讽，可是为了满足艺术的要求，他也不得不创造一种艺术形式，这种形式却同现成的而为他所否弃的那些艺术形式有着内在的关系。The main objection raised by Plato to the older art (that it was the imitation of an imitation and hence belonged to an even lower order of empiric reality) must not, at all costs, apply to the new genre; and so we see Plato intent on moving beyond reality and on rendering the idea which underlies it.
柏拉图对古代艺术的主要非难是：艺术是对一种假象的模仿，因此属于比经验世界为低级的领域。这论点首先不是针对这种新的艺术作品的，所以我们就看见柏拉图竭力走出现实界，而高谈“理念”是这伪现实界的基础。
By a detour Plato the thinker reached the very spot where Plato the poet had all along been at home, and from which Sophocles, and with him the whole poetic tradition of the past, protested such a charge.
然而，思想家柏拉图却因此走上迂回的道路，终于达到他作为诗人始终觉得安适的一个立足点，而索福克勒斯和所有老辈艺术家就是从这一立足点来庄严地抗议他的非难。Tragedy had assimilated to itself all the older poetic genres.
如果说悲剧吸收了以前的各种艺术，In a somewhat eccentric sense the same thing can be claimed for the Platonic dialogue, which was a mixture of all the available styles and forms and hovered between narrative, Iyric, drama, between prose and poetry, once again breaking through the old law of stylistic unity.
这说法在特殊意义上也适用于柏拉图的“对话录”，它从混合一切现成的形式和风格而产生出来，它动摇于叙事、抒情与戏曲之间，散文与诗歌之间，因此打破 了统一语言形式这条严格的老规律。The Cynic philosophers went even farther in that direction, seeking, by their utterly promiscuous style and constant alternation between verse and prose, to project their image of the "raving Socrates" in literature, as they sought to enact it in life.
犬儒学派的作家们沿着这条道路就走得更远了。他们以丰富多彩的风格驰骋于散文与韵文之间，而达到“狂妄的苏格拉底”的诗情画意，他们在现实生活中也往往模仿他。The Platonic dialogue was the lifeboat in which the shipwrecked older poetry saved itself, together with its numerous offspring.
柏拉图的对话录宛若苦海慈航，拯救了遇难的古代诗歌和她的儿女，Crowded together in a narrow space, and timidly obeying their helmsman Socrates, they moved forward into a new era which never tired of looking at this fantastic spectacle.
它们挤在这一隅之地，战战兢兢地服从这舵手苏格拉底；现在他们驶入一个崭新的世界，沿途的风光奇景是永远看不完的。Plato has furnished for all posterity the pattern of a new art form, the novel, viewed as the Aesopian fable raised to its highest power; a form in which poetry played the same subordinate role with regard to dialectic philosophy as that same philosophy was to play for many centuries with regard to theology.
真的，柏拉图留给千秋万世一种新的艺术形式的原型，小说的原型；这种形式可以说是无限提 高的伊索寓言，在这里诗对于辩证哲学的从属地位，正如后来数百年间哲学对于神学那样，This, then, was the new status of poetry, and it was Plato who, under the pressure of daemonic Socrates, had brought it about.
这就是说，处于ancilla（奴婢）的地位，也就是柏拉图在超凡入圣的苏格拉底的驱使下强迫诗陷入的地位。
