古希腊悲剧及其重生

On Ancient Greek “Tragoidia” and Its Revival

通过分析希腊悲剧中的日神、酒神精神,尼采指出:荷马所诉诸的日神民族文化的史诗世界,以及随后的抒情诗人阿尔基洛克斯,这似乎是寓音乐于形象的过程,进而他发现,语言作为现象的器官和符号,绝对不能把音乐的至深内容加以披露,而建立在为人类灾难辩护的伦理依据之上的悲剧最能描画这个世界的本质。然而,在欧力彼得斯手中,悲剧死了。尼采驳斥了建立在苏格拉底理论下的有逻辑顺序的欧力彼得斯悲剧,并且,面对建立在"苏格拉底主义"建立起来的自然科学走向悬崖的境况,尼采试图以贝多芬、瓦格纳纯粹的音乐唤起悲剧的重生,使得德意志民族能够从中找到继续前进的新动力。

After the analysis of the image of Apollo and Dionysos in Greek ＂tragoidia＂, Nietzsche found that Homer＇s epic and lyricist Archiloehus＇s works portrayed the world in the form of tunes and notes. Anyhow, words and sentences can not describe the ＂ousia＂ of the earthen world for us thoroughly in tat the essence of the ＂tragoidia＂ lies in the disclosure of heavenly knowledge to mankind so that they can better cope with daunting challenges ahead. However, Euripides killed ＂tragoidia＇. Nietzsche refuted the kind of Euripides＇ ＂tragoidia＂ based on Socrates＇ rationalism, and he sought the dynamic source for the German nation with his inspirations de rived from the purified works of Beethoven, Wagner, etc.