The history of the rise of Greek tragedy now tells us with luminous9 precision that the tragic10 art of the Greeks was really born of the spirit of music: with which conception we believe we have done justice for the first time to the original and most astonishing significance of the chorus. At the same time, however, we must admit that the import of tragic myth as set forth11 above never became transparent12 with sufficient lucidity13 to the Greek poets, let alone the Greek philosophers; their heroes speak, as it were, more superficially than they act; the myth does not at all find its adequate objectification in the spoken word. The structure of the scenes and the conspicuous14 images reveal a deeper wisdom than the poet himself can put into words and concepts: the same being also observed in Shakespeare, whose Hamlet, for instance, in an analogous15 manner talks more superficially than he acts, so that the previously16 mentioned lesson of Hamlet is to be gathered not from his words, but from a more profound contemplation and survey of the whole. With respect to Greek tragedy, which of course presents itself to us only as word-drama, I have even intimated that the incongruence between myth and expression might[Pg 130] easily tempt17 us to regard it as shallower and less significant than it really is, and accordingly to postulate18 for it a more superficial effect than it must have had according to the testimony19 of the ancients: for how easily one forgets that what the word-poet did not succeed in doing, namely realising the highest spiritualisation and ideality of myth, he might succeed in doing every moment as creative musician! We require, to be sure, almost by philological20 method to reconstruct for ourselves the ascendency of musical influence in order to receive something of the incomparable comfort which must be characteristic of true tragedy. Even this musical ascendency, however, would only have been felt by us as such had we been Greeks: while in the entire development of Greek music—as compared with the infinitely21 richer music known and familiar to us—we imagine we hear only the youthful song of the musical genius intoned with a feeling of diffidence. The Greeks are, as the Egyptian priests say, eternal children, and in tragic art also they are only children who do not know what a sublime22 play-thing has originated under their hands and—is being demolished23.
That striving of the spirit of music for symbolic24 and mythical25 manifestation26, which increases from the beginnings of lyric27 poetry to Attic28 tragedy, breaks off all of a sudden immediately after attaining30 luxuriant development, and disappears, as it were, from the surface of Hellenic art: while the Dionysian view of things born of this striving lives on in Mysteries and, in its strangest metamorphoses[Pg 131] and debasements, does not cease to attract earnest natures. Will it not one day rise again as art out of its mystic depth?
Here the question occupies us, whether the power by the counteracting31 influence of which tragedy perished, has for all time strength enough to prevent the artistic32 reawaking of tragedy and of the tragic view of things. If ancient tragedy was driven from its course by the dialectical desire for knowledge and the optimism of science, it might be inferred that there is an eternal conflict between the theoretic and the tragic view of things, and only after the spirit of science has been led to its boundaries, and its claim to universal validity has been destroyed by the evidence of these boundaries, can we hope for a re-birth of tragedy: for which form of culture we should have to use the symbol of the music-practising Socrates in the sense spoken of above. In this contrast, I understand by the spirit of science the belief which first came to light in the person of Socrates,—the belief in the fathomableness of nature and in knowledge as a panacea34.
He who recalls the immediate29 consequences of this restlessly onward-pressing spirit of science will realise at once that myth was annihilated35 by it, and that, in consequence of this annihilation, poetry was driven as a homeless being from her natural ideal soil. If we have rightly assigned to music the capacity to reproduce myth from itself, we may in turn expect to find the spirit of science on the path where it inimically opposes this mythopoeic power of music. This takes place in the development of the New Attic Dithyramb, the music of[Pg 132] which no longer expressed the inner essence, the will itself, but only rendered the phenomenon insufficiently36, in an imitation by means of concepts; from which intrinsically degenerate38 music the truly musical natures turned away with the same repugnance39 that they felt for the art-destroying tendency of Socrates. The unerring instinct of Aristophanes surely did the proper thing when it comprised Socrates himself, the tragedy of Euripides, and the music of the new Dithyrambic poets in the same feeling of hatred40, and perceived in all three phenomena the symptoms of a degenerate culture. By this New Dithyramb, music has in an outrageous41 manner been made the imitative portrait of phenomena, for instance, of a battle or a storm at sea, and has thus, of course, been entirely42 deprived of its mythopoeic power. For if it endeavours to excite our delight only by compelling us to seek external analogies between a vital or natural process and certain rhythmical43 figures and characteristic sounds of music; if our understanding is expected to satisfy itself with the perception of these analogies, we are reduced to a frame of mind in which the reception of the mythical is impossible; for the myth as a unique exemplar of generality and truth towering into the infinite, desires to be conspicuously44 perceived. The truly Dionysean music presents itself to us as such a general mirror of the universal will: the conspicuous event which is refracted in this mirror expands at once for our consciousness to the copy of an eternal truth. Conversely, such a conspicious event is at once divested45 of every mythical[Pg 133] character by the tone-painting of the New Dithyramb; music has here become a wretched copy of the phenomenon, and therefore infinitely poorer than the phenomenon itself: through which poverty it still further reduces even the phenomenon for our consciousness, so that now, for instance, a musically imitated battle of this sort exhausts itself in marches, signal-sounds, etc., and our imagination is arrested precisely46 by these superficialities. Tone-painting is therefore in every respect the counterpart of true music with its mythopoeic power: through it the phenomenon, poor in itself, is made still poorer, while through an isolated47 Dionysian music the phenomenon is evolved and expanded into a picture of the world. It was an immense triumph of the non-Dionysian spirit, when, in the development of the New Dithyramb, it had estranged48 music from itself and reduced it to be the slave of phenomena. Euripides, who, albeit49 in a higher sense, must be designated as a thoroughly50 unmusical nature, is for this very reason a passionate51 adherent52 of the New Dithyrambic Music, and with the liberality of a freebooter employs all its effective turns and mannerisms.
In another direction also we see at work the power of this un-Dionysian, myth-opposing spirit, when we turn our eyes to the prevalence of character representation and psychological refinement53 from Sophocles onwards. The character must no longer be expanded into an eternal type, but, on the contrary, must operate individually through artistic by-traits and shadings, through the nicest precision of all lines, in such a manner[Pg 134] that the spectator is in general no longer conscious of the myth, but of the mighty54 nature-myth and the imitative power of the artist. Here also we observe the victory of the phenomenon over the Universal, and the delight in the particular quasi-anatomical preparation; we actually breathe the air of a theoretical world, in which scientific knowledge is valued more highly than the artistic reflection of a universal law. The movement along the line of the representation of character proceeds rapidly: while Sophocles still delineates complete characters and employs myth for their refined development, Euripides already delineates only prominent individual traits of character, which can express themselves in violent bursts of passion; in the New Attic Comedy, however, there are only masks with one expression: frivolous55 old men, duped panders56, and cunning slaves in untiring repetition. Where now is the mythopoeic spirit of music? What is still left now of music is either excitatory music or souvenir music, that is, either a stimulant57 for dull and used-up nerves, or tone-painting. As regards the former, it hardly matters about the text set to it: the heroes and choruses of Euripides are already dissolute enough when once they begin to sing; to what pass must things have come with his brazen58 successors?
The new un-Dionysian spirit, however, manifests itself most clearly in the dénouements of the new dramas. In the Old Tragedy one could feel at the close the metaphysical comfort, without which the delight in tragedy cannot be explained at all; the conciliating tones from another world sound purest,[Pg 135] perhaps, in the ?dipus at Colonus. Now that the genius of music has fled from tragedy, tragedy is, strictly59 speaking, dead: for from whence could one now draw the metaphysical comfort? One sought, therefore, for an earthly unravelment of the tragic dissonance; the hero, after he had been sufficiently37 tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered60 about and covered with wounds, freedom was occasionally bestowed61. The deus ex machina took the place of metaphysical comfort. I will not say that the tragic view of things was everywhere completely destroyed by the intruding62 spirit of the un-Dionysian: we only know that it was compelled to flee from art into the under-world as it were, in the degenerate form of a secret cult33. Over the widest extent of the Hellenic character, however, there raged the consuming blast of this spirit, which manifests itself in the form of "Greek cheerfulness," which we have already spoken of as a senile, unproductive love of existence; this cheerfulness is the counterpart of the splendid "na?veté" of the earlier Greeks, which, according to the characteristic indicated above, must be conceived as the blossom of the Apollonian culture growing out of a dark abyss, as the victory which the Hellenic will, through its mirroring of beauty, obtains over suffering and the wisdom of suffering. The noblest manifestation of that other form of "Greek cheerfulness," the Alexandrine, is the cheerfulness of the theoretical man: it exhibits the same symptomatic characteristics as I have just inferred[Pg 136] concerning the spirit of the un-Dionysian:—it combats Dionysian wisdom and art, it seeks to dissolve myth, it substitutes for metaphysical comfort an earthly consonance, in fact, a deus ex machina of its own, namely the god of machines and crucibles63, that is, the powers of the genii of nature recognised and employed in the service of higher egoism; it believes in amending64 the world by knowledge, in guiding life by science, and that it can really confine the individual within a narrow sphere of solvable problems, where he cheerfully says to life: "I desire thee: it is worth while to know thee."
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1
phenomena
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| n.现象 | |
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2
torpid
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| adj.麻痹的，麻木的，迟钝的 | |
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bustle
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| v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹 | |
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primordial
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| adj.原始的；最初的 | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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exuberant
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| adj.充满活力的；（植物）繁茂的 | |
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ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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eternity
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| n.不朽，来世；永恒，无穷 | |
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9
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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forth
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| adv.向前；向外，往外 | |
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transparent
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| adj.明显的，无疑的；透明的 | |
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lucidity
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| n.明朗，清晰，透明 | |
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14
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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analogous
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| adj.相似的；类似的 | |
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previously
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| adv.以前，先前（地） | |
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tempt
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| vt.引诱，勾引，吸引，引起…的兴趣 | |
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postulate
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| n.假定，基本条件；vt.要求，假定 | |
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19
testimony
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| n.证词；见证，证明 | |
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20
philological
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| adj.语言学的，文献学的 | |
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21
infinitely
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| adv.无限地，无穷地 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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23
demolished
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| v.摧毁( demolish的过去式和过去分词 )；推翻；拆毁（尤指大建筑物）；吃光 | |
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24
symbolic
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| adj.象征性的，符号的，象征主义的 | |
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mythical
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| adj.神话的；虚构的；想像的 | |
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manifestation
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| n.表现形式；表明；现象 | |
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lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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attic
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| n.顶楼，屋顶室 | |
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immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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30
attaining
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| （通常经过努力）实现( attain的现在分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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counteracting
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| 对抗，抵消( counteract的现在分词 ) | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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cult
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| n.异教，邪教；时尚，狂热的崇拜 | |
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panacea
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| n.万灵药；治百病的灵药 | |
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annihilated
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| v.（彻底）消灭( annihilate的过去式和过去分词 )；使无效；废止；彻底击溃 | |
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insufficiently
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| adv.不够地，不能胜任地 | |
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sufficiently
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| adv.足够地，充分地 | |
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degenerate
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| v.退步，堕落；adj.退步的，堕落的；n.堕落者 | |
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repugnance
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| n.嫌恶 | |
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40
hatred
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| n.憎恶，憎恨，仇恨 | |
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41
outrageous
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| adj.无理的，令人不能容忍的 | |
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42
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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43
rhythmical
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| adj.有节奏的，有韵律的 | |
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conspicuously
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| ad.明显地，惹人注目地 | |
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45
divested
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| v.剥夺( divest的过去式和过去分词 )；脱去（衣服）；2。从…取去…；1。（给某人）脱衣服 | |
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46
precisely
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| adv.恰好，正好，精确地，细致地 | |
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isolated
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| adj.与世隔绝的 | |
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48
estranged
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| adj.疏远的，分离的 | |
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49
albeit
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| conj.即使；纵使；虽然 | |
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50
thoroughly
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| adv.完全地，彻底地，十足地 | |
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51
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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52
adherent
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| n.信徒，追随者，拥护者 | |
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53
refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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54
mighty
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| adj.强有力的；巨大的 | |
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frivolous
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| adj.轻薄的；轻率的 | |
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56
panders
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| v.迎合（他人的低级趣味或淫欲）( pander的第三人称单数 )；纵容某人；迁就某事物 | |
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57
stimulant
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| n.刺激物，兴奋剂 | |
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brazen
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| adj.厚脸皮的，无耻的，坚硬的 | |
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59
strictly
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| adv.严厉地，严格地；严密地 | |
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60
battered
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| adj.磨损的；v.连续猛击；磨损 | |
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61
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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62
intruding
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| v.侵入，侵扰，打扰( intrude的现在分词)；把…强加于 | |
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63
crucibles
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| n.坩埚，严酷的考验（ crucible的名词复数 ） | |
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amending
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| 改良，修改，修订( amend的现在分词 )； 改良，修改，修订( amend的第三人称单数 )( amends的现在分词 ) | |
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