悲剧的诞生The Birth Of Tragedy 第36期:诗的领域

Poetry does not lie outside the world as a fantastic impossibility begotten of the poet's brain; it seeks to be the exact opposite, an unvarnished expression of truth, and for this reason must cast away the trumpery garments worn by the supposed reality of civilized man.

诗的领域并非在现世之外，象有些诗人所幻想的空中楼阁那样。恰好相反，诗是现实的不加粉饰的表现，因此它必须抛弃文明人所假设的那种现实的伪装。

The contrast between this truth of nature and the pretentious lie of civilization is quite similar to that between the eternal core of things and the entire phenomenal world.

性灵的内在真实与冒充为唯一实在的文明虚伪之间的差异，等同事物的永恒核心，即物自体，与全部现象界之间的差异。

Even as tragedy, with its metaphysical solace, points to the eternity of true being surviving every phenomenal change, so does the symbolism of the satyr chorus express analogically the primordial relation between the thing in itself and appearance.

正如悲剧以其超脱的慰藉指示出：即使现象不断毁灭，生存之核心却万古长青；同样，萨提儿歌队的象征以比喻方法业已表现了物自体与现象之间的原始关系。

The idyllic shepherd of modern man is but a replica of the sum of cultural illusions which he mistakes for nature.

现代人的牧歌里的牧童，不过是他们所妄称为自然的一切教养之写照；

The Dionysian Greek, desiring truth and nature at their highest power, sees himself metamorphosed into the satyr

但是酒神祭的希腊人却追求最强有力的真实和自然，所以他们见到自己变为萨提儿。