Whosoever, with another religion in his heart, approaches these Olympians and seeks among them for moral elevation8, even for sanctity, for incorporeal9 spiritualisation, for sympathetic looks of love, will soon be obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism10, spirituality, or duty: here only an exuberant11, even triumphant12 life speaks to us, in which everything existing is deified, whether good or bad. And so the[Pg 34] spectator will perhaps stand quite bewildered before this fantastic exuberance13 of life, and ask himself what magic potion these madly merry men could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal image of their own existence "floating in sweet sensuality," smiled upon them. But to this spectator, already turning backwards14, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this same life, which with such inexplicable15 cheerfulness spreads out before thee." There is an ancient story that king Midas hunted in the forest a long time for the wise Silenus, the companion of Dionysus, without capturing him. When at last he fell into his hands, the king asked what was best of all and most desirable for man. Fixed16 and immovable, the demon17 remained silent; till at last, forced by the king, he broke out with shrill18 laughter into these words: "Oh, wretched race of a day, children of chance and misery19, why do ye compel me to say to you what it were most expedient20 for you not to hear? What is best of all is for ever beyond your reach: not to be born, not to be, to be nothing. The second best for you, however, is soon to die."
How is the Olympian world of deities21 related to this folk-wisdom? Even as the rapturous vision of the tortured martyr22 to his sufferings.
Now the Olympian magic mountain opens, as it were, to our view and shows to us its roots. The Greek knew and felt the terrors and horrors of existence: to be able to live at all, he had to[Pg 35] interpose the shining dream-birth of the Olympian world between himself and them. The excessive distrust of the titanic23 powers of nature, the Moira throning inexorably over all knowledge, the vulture of the great philanthropist Prometheus, the terrible fate of the wise ?dipus, the family curse of the Atrid? which drove Orestes to matricide; in short, that entire philosophy of the sylvan24 god, with its mythical25 exemplars, which wrought26 the ruin of the melancholy27 Etruscans—was again and again surmounted28 anew by the Greeks through the artistic middle world of the Olympians, or at least veiled and withdrawn29 from sight. To be able to live, the Greeks had, from direst necessity, to create these gods: which process we may perhaps picture to ourselves in this manner: that out of the original Titan thearchy of terror the Olympian thearchy of joy was evolved, by slow transitions, through the Apollonian impulse to beauty, even as roses break forth30 from thorny31 bushes. How else could this so sensitive people, so vehement32 in its desires, so singularly qualified33 for sufferings have endured existence, if it had not been exhibited to them in their gods, surrounded with a higher glory? The same impulse which calls art into being, as the complement34 and consummation of existence, seducing35 to a continuation of life, caused also the Olympian world to arise, in which the Hellenic "will" held up before itself a transfiguring mirror. Thus do the gods justify36 the life of man, in that they themselves live it—the only satisfactory Theodicy! Existence under the bright sunshine[Pg 36] of such gods is regarded as that which is desirable in itself, and the real grief of the Homeric men has reference to parting from it, especially to early parting: so that we might now say of them, with a reversion of the Silenian wisdom, that "to die early is worst of all for them, the second worst is—some day to die at all." If once the lamentation37 is heard, it will ring out again, of the short-lived Achilles, of the leaf-like change and vicissitude38 of the human race, of the decay of the heroic age. It is not unworthy of the greatest hero to long for a continuation of life, ay, even as a day-labourer. So vehemently40 does the "will," at the Apollonian stage of development, long for this existence, so completely at one does the Homeric man feel himself with it, that the very lamentation becomes its song of praise.
Here we must observe that this harmony which is so eagerly contemplated42 by modern man, in fact, this oneness of man with nature, to express which Schiller introduced the technical term "na?ve," is by no means such a simple, naturally resulting and, as it were, inevitable43 condition, which must be found at the gate of every culture leading to a paradise of man: this could be believed only by an age which sought to picture to itself Rousseau's émile also as an artist, and imagined it had found in Homer such an artist émile, reared at Nature's bosom44. Wherever we meet with the "na?ve" in art, it behoves us to recognise the highest effect of the Apollonian culture, which in the first place has always to overthrow45 some Titanic empire and slay46 monsters, and[Pg 37] which, through powerful dazzling representations and pleasurable illusions, must have triumphed over a terrible depth of world-contemplation and a most keen susceptibility to suffering. But how seldom is the na?ve—that complete absorption, in the beauty of appearance—attained! And hence how inexpressibly sublime47 is Homer, who, as unit being, bears the same relation to this Apollonian folk-culture as the unit dream-artist does to the dream-faculty of the people and of Nature in general. The Homeric "na?veté" can be comprehended only as the complete triumph of the Apollonian illusion: it is the same kind of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a phantasm: we stretch out our hands for the latter, while Nature attains48 the former through our illusion. In the Greeks the "will" desired to contemplate41 itself in the transfiguration of the genius and the world of art; in order to glorify49 themselves, its creatures had to feel themselves worthy39 of glory; they had to behold themselves again in a higher sphere, without this consummate50 world of contemplation acting51 as an imperative52 or reproach. Such is the sphere of beauty, in which, as in a mirror, they saw their images, the Olympians. With this mirroring of beauty the Hellenic will combated its talent—correlative to the artistic—for suffering and for the wisdom of suffering: and, as a monument of its victory, Homer, the na?ve artist, stands before us.
点击收听单词发音
1 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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2 behold | |
v.看,注视,看到 | |
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3 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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4 adorn | |
vt.使美化,装饰 | |
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5 friezes | |
n.(柱顶过梁和挑檐间的)雕带,(墙顶的)饰带( frieze的名词复数 ) | |
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6 deity | |
n.神,神性;被奉若神明的人(或物) | |
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7 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
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8 elevation | |
n.高度;海拔;高地;上升;提高 | |
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9 incorporeal | |
adj.非物质的,精神的 | |
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10 asceticism | |
n.禁欲主义 | |
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11 exuberant | |
adj.充满活力的;(植物)繁茂的 | |
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12 triumphant | |
adj.胜利的,成功的;狂欢的,喜悦的 | |
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13 exuberance | |
n.丰富;繁荣 | |
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14 backwards | |
adv.往回地,向原处,倒,相反,前后倒置地 | |
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15 inexplicable | |
adj.无法解释的,难理解的 | |
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16 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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17 demon | |
n.魔鬼,恶魔 | |
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18 shrill | |
adj.尖声的;刺耳的;v尖叫 | |
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19 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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20 expedient | |
adj.有用的,有利的;n.紧急的办法,权宜之计 | |
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21 deities | |
n.神,女神( deity的名词复数 );神祗;神灵;神明 | |
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22 martyr | |
n.烈士,殉难者;vt.杀害,折磨,牺牲 | |
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23 titanic | |
adj.巨人的,庞大的,强大的 | |
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24 sylvan | |
adj.森林的 | |
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25 mythical | |
adj.神话的;虚构的;想像的 | |
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26 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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27 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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28 surmounted | |
战胜( surmount的过去式和过去分词 ); 克服(困难); 居于…之上; 在…顶上 | |
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29 withdrawn | |
vt.收回;使退出;vi.撤退,退出 | |
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30 forth | |
adv.向前;向外,往外 | |
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31 thorny | |
adj.多刺的,棘手的 | |
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32 vehement | |
adj.感情强烈的;热烈的;(人)有强烈感情的 | |
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33 qualified | |
adj.合格的,有资格的,胜任的,有限制的 | |
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34 complement | |
n.补足物,船上的定员;补语;vt.补充,补足 | |
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35 seducing | |
诱奸( seduce的现在分词 ); 勾引; 诱使堕落; 使入迷 | |
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36 justify | |
vt.证明…正当(或有理),为…辩护 | |
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37 lamentation | |
n.悲叹,哀悼 | |
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38 vicissitude | |
n.变化,变迁,荣枯,盛衰 | |
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39 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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40 vehemently | |
adv. 热烈地 | |
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41 contemplate | |
vt.盘算,计议;周密考虑;注视,凝视 | |
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42 contemplated | |
adj. 预期的 动词contemplate的过去分词形式 | |
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43 inevitable | |
adj.不可避免的,必然发生的 | |
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44 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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45 overthrow | |
v.推翻,打倒,颠覆;n.推翻,瓦解,颠覆 | |
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46 slay | |
v.杀死,宰杀,杀戮 | |
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47 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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48 attains | |
(通常经过努力)实现( attain的第三人称单数 ); 达到; 获得; 达到(某年龄、水平、状况) | |
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49 glorify | |
vt.颂扬,赞美,使增光,美化 | |
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50 consummate | |
adj.完美的;v.成婚;使完美 [反]baffle | |
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51 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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52 imperative | |
n.命令,需要;规则;祈使语气;adj.强制的;紧急的 | |
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