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In his book Twilight of the Idols, Nietzsche wrote: “Herewith I again stand on the soil out of which my intention, my ability grows – I, the last disciple of the philosopher Dionysus.” (Twilight of the Idols)For the entirety of his writing career, Nietzsche was heavily influenced by the ancient Greek god Dionysus – the “god of many forms” and inexpressible depths. Describing the multifaceted nature of Dionysus, Walter Otto wrote: “All of the antiquity extolled Dionysus as the God who gave man wine. However, he was known also as the raving god whose presence makes a man mad and incites him to savagery and even to lust for blood. He was the confidant and companion of the spirits of the dead…The flowers of spring bore witness to him, too. The ivy, the pine, the fig tree were dear to him. Yet far above all of these blessings in the natural world of vegetation stood the gift of the vine…
尼采在《偶像的黃昏》一書中寫道
我，這個哲學(xué)家狄俄尼索斯最后的信徒--我，這個永恒輪回的老師….
在他的整個寫作生涯中，尼采深受古希臘神狄俄尼索斯 - “多種形式的神”和無法形容的深度--的影響
沃爾特·奧托在書中描述了酒神狄俄尼索斯的多面性
所有的古代人都頌揚狄俄尼索斯，他是賜酒給人類的神。
然而，他也被認(rèn)為是一個瘋狂的神，他的存在使人瘋狂，并煽動人的野蠻本性，甚至對血的欲望。
他是死者靈魂的知己和伴侶......
春天的花朵也向他證明了這一點。
常春藤、松樹、無花果樹都是他所喜愛的。
然而，在自然界所有這些祝福中，最重要的是葡萄樹的恩賜
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Dionysus was the god of the most blessed ecstasy and the most enraptured love. But he was also the persecuted god, the suffering and dying god, and all whom he loved, all who attended him, had to share his tragic fate.”The many myths and cults which surrounded Dionysus exerted a great influence on Ancient Greek society, and in them, Nietzsche perceived something he sensed as lacking in the modern world – a celebration of what he called a “tragic disposition”. Nietzsche stressed the importance of living with a tragic awareness of life and asserted that only through the cultivation of such a state could genuine growth, creativity, greatness, and the capacity to truly affirm life, be attained.
酒神狄俄尼索斯是最幸福、最狂喜的神。
但他也是受迫害的神，受苦受難的神，垂死的神，所有他愛的人，所有侍奉他的人，都不得不與他同甘共苦。
圍繞著酒神的許多神話和祭祀儀式對古希臘社會產(chǎn)生了巨大的影響
在這些作品中，尼采發(fā)現(xiàn)了一些他認(rèn)為在現(xiàn)代世界中缺少的東西，他稱之為悲劇氣質(zhì)的慶祝。
尼采強調(diào)帶著悲劇意識生活的重要性
并斷言，只有通過這種狀態(tài)的培養(yǎng)，才能獲得真正的成長、創(chuàng)造力、偉大和真正肯定生命的能力。
“There is only one hope and one guarantee for the future of that which is human; it lies in this, that the tragic disposition shall not perish.” (Nietzsche)
人類的未來只有一個希望和一個保證;它就在于此，即悲慘的性情不應(yīng)當(dāng)消亡。
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Drawing from Walter Otto’s astounding book, Dionysus: Myth and Cult, as well as from Nietzsche’s philosophical corpus, in this video we will investigate the nature of Dionysus through the various myths and cults which surrounded this god of the ancient world. In the process, we’ll decipher why Nietzsche was consistently enraptured with the figure of Dionysus, and illuminate his ideas on the nature of tragedy and its connection to human greatness and the affirmation of life.“An intoxicated god”, Walter Otto wrote of Dionysus, “a mad god! Truly an idea which demands our deepest thought.” (Walter Otto, Dionysus: Myth and Cult)In contemplating the meaning and significance of Dionysus, the most appropriate place to start is the myth of his birth.
取自沃爾特奧托的杰作《酒神:神話和祭祀儀式》，以及尼采的哲學(xué)語料庫
在這段視頻中，我們將通過圍繞這位古代神的各種神話和祭祀儀式來研究酒神狄俄尼索斯的本性。
在此過程中，我們將解讀尼采為何始終癡迷于酒神的形象，并闡明他對悲劇的本質(zhì)及其與人類偉大的聯(lián)系和對生命的肯定的觀點。
沃爾特·奧托筆下的酒神狄俄尼索斯是一個瘋狂的神!一個真正需要我們深思的想法。
在思考酒神狄俄尼索斯的意義和重要性時，最恰當(dāng)?shù)钠瘘c是他出生時的神話。
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Dionysus was conceived by a mortal woman, Semele, and an immortal god, Zeus. While still in the womb of his mother she was destroyed by a torrent of lightning borne from Zeus. In danger of perishing with his mother, Zeus took the unborn Dionysus from the flames which engulfed his mother, and sewed Dionysus onto his thigh; caring for him until he was developed and healthy enough to set forth in the world.A child of both the mortal and divine realm, born first from a mortal woman and then an immortal god, Dionysus was referred to in the ancient world as “the twice-born one”; a god of dual nature and paradox, whose essence from the very start differentiated him from other gods as especially enigmatic.The suffering and death which characterized the myth of the birth of Dionysus prefigured not only his fate, bestowing upon him the epithet the “suffering and dying god”, but the fate of all those who cared for or took an interest in him. Tragedy or madness befell them all. His mother’s sister, Ino, for example, who took it upon herself to care for the newborn, and motherless, Dionysus, died in a fit of madness by plunging herself into the sea with her own infant son in her arms.
狄俄尼索斯的母親是凡人塞墨勒和不朽的宙斯。
當(dāng)她還在他母親的子宮里的時候，母親就被宙斯帶來的閃電洪流摧毀了。
在與母親同亡的危險中，宙斯從吞沒他母親的火焰中取出尚未出生的狄俄尼索斯，把他縫在大腿上;照顧他，直到他長大成人，身體健康，可以去闖世界為止。
酒神狄俄尼索斯是凡人和神界的孩子，先是從一個凡人的女人出生，然后成為一位不朽的神
他是一個雙重性和矛盾性的神，他的本質(zhì)從一開始就把他和其他神區(qū)分開來，特別神秘。
酒神狄俄尼索斯誕生神話中所描述的痛苦和死亡不僅預(yù)示了他的命運，賦予他痛苦和垂死之神的稱號，而且也預(yù)示了所有關(guān)心他或?qū)λ信d趣的人的命運。
悲劇或瘋狂必降臨在他們身上。
例如，他母親的妹妹伊諾就主動承擔(dān)起照顧這位失去母親的狄俄尼索斯新生兒的責(zé)任，而她在一陣瘋狂中死去，將自己的嬰兒抱在懷里，一頭扎進了大海身亡。
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In all the myths, whenever Dionysus appears, he comes violently and in an alarming manner. His presence awakens a sense of urgency, ecstasy, and terror in the hearts of all within his vicinity. The urgency his presence evokes is due to the inexpressible and agonizing secretive nature of his being, of the fact that he symbolizes “the eternal enigmas of duality and paradox”(Walter Otto, Dionysus: Myth and Cult). For what can one do when Dionysus arrives, and one is confronted with a stark awareness of the perplexing nature of reality, but fall back in euphoria or else lose touch in a transitory insanity.“The final secrets of existence and non-existence transfix mankind with monstrous eyes…This spirit of duality which distinguishes Dionysus…is the source of the fascination and the confusion which everything that is Dionysiac evokes, for it is the spirit of a wild being. His coming brings madness.”The madness which his arrival inspires can be fathomed most clearly in the myths of the nymphs and maenads; groups of women who cared for and nurtured the young Dionysus, and who, when he matured into an adult, were possessed by his wild spirit and driven into the mountains, where they nursed the young of wild animals, or else tore them to pieces and devoured their raw flesh.
在所有的神話中，每當(dāng)?shù)叶砟崴魉钩霈F(xiàn)時，他總是以一種令人驚恐的、可怕的形式來臨。
他的出現(xiàn)喚醒了周圍所有人心中的緊迫感、狂喜和恐懼。
他的存在所喚起的緊迫性是由于他的存在是無法表達(dá)和痛苦的秘密性質(zhì)，他象征著永恒的謎的二元性和悖論
當(dāng)?shù)叶砟崴魉沟絹頃r，人們可以做些什么，而一個人面對現(xiàn)實中令人困惑的本質(zhì)的嚴(yán)峻意識，但又會在興奮中退縮，或者在短暫的精神錯亂中失去聯(lián)系。
存在與不存在的終極秘密，透過他那一雙畸形的眼睛震驚人類
這種區(qū)分酒神的二元精神是酒神的魅力和困惑的源泉，而酒神的一切都喚起了這種困惑
因為它是狂野存在的精神。他的到來帶來了瘋狂。
他的到來所引發(fā)的瘋狂可以在仙女和仙女們的神話中得到最清晰的理解
一群女人照顧和養(yǎng)育了年輕的狄俄尼索斯，當(dāng)他成熟成人時，被他的野性精神所占據(jù)并被趕入山區(qū)，
她們在那里喂養(yǎng)野獸的幼崽，或者把它們撕成碎片，吃掉它們的生肉。
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“The god who sends the mind reeling, the god who appears to mankind in the most urgent immediacy is welcomed and feted by the women in an absolute ecstasy and excess of rapture. They respond to his coming with the behavior of the insane. The myth tells again and again how his fury ripped them loose from their peaceful domesticity, from the humdrum orderly activities of their daily lives for the purpose of making them into dancers in the wilderness and the loneliness of the mountains, where they find him and rage through the night as members of his revel rout.” The madness of the maenads was not only depicted in bloodthirsty pandemonium, where they devoured the raw flesh of wild animals, and in some myths, the flesh of their own children, but also in paralysis and deathly silence.“Madness dwells in the surge of clanging, shrieking, and pealing sounds; it dwells also in silence. The women who follow Dionysus get their name, maenads, from this madness. Possessed by it, they rush off, whirl madly in circles, or stand still, as if turned into stone.” (Walter Otto, Dionysus: Myth and Cult)The madness of the maenads is derived from the madness of Dionysus.
這位使人心慌意亂的神，這位以最緊急的直接方式出現(xiàn)在人類面前的神，受到了婦女們的歡迎和款待，使她們欣喜若狂。
她們以瘋狂的行為來回應(yīng)狄俄尼索斯的到來。
這個神話一遍又一遍地講述著他的憤怒是如何把他們從平靜的家庭生活中，從他們?nèi)粘Ｉ钪袉握{(diào)有序的活動中解放出來，把他們變成荒野里的舞者，以及山中的孤獨者
在那里，他們找到了狄俄尼索斯，作為他狂歡潰敗的成員，徹夜狂怒。
瑪納德人的瘋狂不僅表現(xiàn)在嗜血的混亂中，他們吞噬野獸的生肉，在一些神話中，他們吞噬自己孩子的肉，還表現(xiàn)在癱瘓和死寂中。
瘋狂存在于鏗鏘、尖叫和號角聲的洶涌之中;它也寄居在寂靜中。
追隨狄俄尼索斯的女人，她們的名字，瑪納德，就是從這種瘋狂中得來的。
她們被狄俄尼索斯迷住了，有的跑開了，有的瘋狂地打轉(zhuǎn)，有的一動不動地站著，好像變成了石頭。
瑪納德人的瘋狂源自狄俄尼索斯的瘋狂。
“The bloodthirstiness of the maenads is the bloodthirstiness of the god himself.”(Walter Otto, Dionysus: Myth and Cult)
瑪納德人的嗜血是神自己的嗜血本性。
As a child, according to the 2nd century Greco Roman poet Oppian, Dionysus delighted in tearing kids into pieces and bringing them back to life again. He was called, among many other names, “the raging one”, “the mad one”, and “the eater of raw flesh”.But to focus too heavily on the bloodthirsty madness of Dionysus and his maenads would be to distort his image. For the madness which inheres in his being and which overtakes all those he comes in contact with, is a double sided madness – capable of the most appalling and dreadful acts, but also of the most fertile, life-enhancing, and creative. The madness which afflicts Dionysus and all those who follow him, is a divine madness.“The madness which is called Dionysus is no sickness, no debility in life, but a companion of life at its healthiest. It is the tumult which erupts from its innermost recesses when they mature and force their way to the surface. It is the madness inherent in the womb of the mother. This attends all moments of creation, constantly changes ordered existence into chaos, and ushers in primal salvation and primal pain—and in both, the primal wildness of being.” (Walter Otto, Dionysus: Myth and Cult)
根據(jù)公元2世紀(jì)希臘羅馬詩人奧庇安的記載，當(dāng)?shù)叶砟崴魉惯€是個孩子的時候就喜歡把孩子撕成碎片，然后把他們帶回人間。
在眾多的名字中，他被稱為“暴怒者”、“瘋子”、“生肉食者”。
但如果過于關(guān)注酒神狄俄尼索斯和他的女祭司們嗜血的瘋狂行為，就會扭曲他的形象。
因為，他內(nèi)在的、超越他所接觸到的一切的瘋狂，是一種雙面的瘋狂，它能做出最可怕、最可怕的行為，但也能產(chǎn)生最豐富、最能提高生活質(zhì)量和最富創(chuàng)造力的行為。
酒神狄俄尼索斯和所有跟隨他的人所遭受的瘋狂，是一種神圣的瘋狂。
酒神狄俄尼索斯的瘋狂不是疾病，不是虛弱，而是生命中最健康的伴侶。
它是一種騷動，當(dāng)它成熟時，從它的最深處爆發(fā)出來，迫使它浮出水面。
這是母親子宮里所固有的瘋狂。
這伴隨著所有的創(chuàng)造時刻，不斷地將有序的存在變成混亂，并帶來原始的救贖和原始的痛苦，以及兩者之中的原始野性。
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When life begins to stagnate and decay, when one finds oneself in chains, self-imposed or otherwise, when society becomes increasingly repressive and antithetical to the individual’s ability to flourish, Dionysus arrives to break the chains, refresh and replenish the life that was in danger of dying. In the Bacchae of Euripides, after being thrown in prison by the king, the maenads suddenly find their chains mysteriously absent, and witness the prison doors which surround them open of their own accord. In myths Dionysus frequently plays the role of “the liberator”, another of the many titles bestowed on him by the Ancient Greeks.The liberating spirit of Dionysus is embodied in his role as the god of wine, which has the power to animate, arouse, and inspire. It is said that in public festivals which paid homage to Dionysus, streams of wine flowed spontaneously, and grape vines blossomed and ripened in a single day. But, like all aspects which inhere in the figure of Dionysus, wine too has a dual nature: it can enchant, but excessive use can also lead to inebriated destruction and ruin.If the “god of many forms” can be said to have a basic nature and essence, it is this: that paradox and duality are embodied in his being. “The fullness of life and the violence of death” are one and the same, undifferentiated, within him.
當(dāng)生活開始停滯和衰退，當(dāng)一個人發(fā)現(xiàn)自己被束縛，自我強加或其他，當(dāng)社會變得越來越壓抑，與個人繁榮的能力背道而馳
酒神狄俄尼索斯來到這里，要打破鎖鏈，讓瀕臨死亡的生命重新煥發(fā)生機。
在《歐里庇德斯的酒神錄》中，在被國王關(guān)進監(jiān)牢之后，曼納德夫婦突然發(fā)現(xiàn)他們的鎖鏈神秘地消失了，他們親眼目睹了監(jiān)獄的大門自動打開了。
在神話中，酒神狄俄尼索斯經(jīng)常扮演解放者的角色，這是古希臘人賦予他的眾多頭銜之一。
酒神狄俄尼索斯的解放精神體現(xiàn)在他作為酒神的角色上，酒神具有激勵、喚起人的力量。
據(jù)說，在向酒神狄俄尼索斯致敬的公共節(jié)日里，一串串的葡萄如酒般自發(fā)地流淌著，葡萄藤在一天之內(nèi)就開了花，成熟了。
但是，就像酒神狄俄尼索斯形象中的所有方面一樣，酒也具有雙重性質(zhì):它可以使人著迷，但過度使用也會導(dǎo)致醉酒的破壞和毀滅。
如果說許多形式的上帝具有一個基本的本性和本質(zhì)，那就是:矛盾和二元性體現(xiàn)在他的存在之中。
在他里面，生命的豐滿和死亡的暴力是同一的，沒有區(qū)別的。
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Dionysus is the god of tragic contrast. In the words of Otto:“It is true that the worlds of the other gods are not without paradox. But none of these worlds is as disrupted by it as the world of Dionysus. He, the nurturer and the god of rapture; he, the god who is forever praised as the giver of wine which removes all sorrow and care; He, the nurturer and the god of rapture; he, the god who is forever praised as the giver of wine which removes all sorrow and care; No single Greek god even approaches Dionysus in the horror of his epithets, which bear witness to a savagery that is absolutely without mercy. No single Greek god even approaches Dionysus in the horror of his epithets, which bear witness to a savagery that is absolutely without mercy. He is called the “render of men”, “the eater of raw flesh”, “who delights in the sword and bloodshed”. Correspondingly we hear not only of human sacrifice in his cult but also of the ghastly ritual in which a man is torn to pieces.”
狄俄尼索斯是悲劇對比之神。用奧托的話來說
的確，其他神的世界并非沒有矛盾。
但沒有一個世界像酒神狄俄尼索斯的世界那樣，是被其破壞的。
他，是養(yǎng)育者和狂喜之神;他是永遠(yuǎn)被贊美的神，是賜酒給人的神，能除去人一切的憂愁和憂慮的神
他，是拯救者和治療者，“凡人的喜悅”，“許多歡樂之神”，舞者和欣喜若狂的愛人，“富有的人”，“恩人” - 這位神是所有神中最令人愉快的，同時也是眾神中最可怕的。
沒有一個希臘的神在他綽號的恐怖中敢于接近狄俄尼索斯，這證明了一種絕對無情的野蠻。
事實上，人們必須喚起對永恒黑暗的巨大恐懼的記憶，才能找到與之相媲美的東西。
他被稱為“享有進貢者”，“食生肉者”，那愛刀劍和流血的神。
相應(yīng)地，我們不僅在他的祭禮中聽到活人獻(xiàn)祭，而且還聽說過一個人被撕成碎片的可怕儀式。
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To understand the significance of Dionysus in the modern day, both Walter Otto and Nietzsche thought we must seek out the worldview which lay behind the myths and cults surrounding the god.“The visage of every true god is the visage of a world. There can be a god who is mad only if there is a mad world which reveals itself through him. Where is this world? Can we still find it? Can we appreciate its nature?” The vision of the cosmos Nietzsche perceived as revealing itself through Dionysus was a tragic worldview he believed capable of restoring the dignity and capacity for heroism which the modern world has largely lost.The vision of the cosmos Nietzsche perceived as revealing itself through Dionysus was a tragic worldview he believed capable of restoring the dignity and capacity for heroism which the modern world has largely lost.The vision of the cosmos Nietzsche perceived as revealing itself through Dionysus was a tragic worldview he believed capable of restoring the dignity and capacity for heroism which the modern world has largely lost.
為了理解酒神在現(xiàn)代的意義，沃爾特·奧托和尼采都認(rèn)為，我們必須尋找隱藏在圍繞神的神話和祭祀儀式背后的世界觀。
每一位真神的面貌都是一個世界的面貌。
只有在一個瘋狂的世界通過他顯現(xiàn)出來的時候，才會有一個瘋狂的神。
這個世界在哪里？我們還能找到它嗎？我們還能欣賞到它的本質(zhì)嗎？“
尼采認(rèn)為通過酒神展現(xiàn)自己的宇宙觀是一種悲劇性的世界觀，他相信這種世界觀能夠恢復(fù)現(xiàn)代世界已經(jīng)失去的尊嚴(yán)和英雄主義的能力。
這種酒神悲劇世界觀的核心是赫拉克利特的一段話中所包含的一項原則:任何事物都有其內(nèi)在的對立面。
在狄俄尼索斯的神話中，瘋狂、毀滅和死亡籠罩著他所接觸的所有人，同樣，治愈、解脫、幸福和消除所有悲傷和憂慮的可能性也籠罩著他。
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Dionysus is “the great ambivalent one” who is both “the divine archetype of all triumphant heroes” and simultaneously the “suffering and dying god”. The god of tragic contrast is symbolic of the tragic contrast within all things.He expresses the truth that opposition and harmony, creation and destruction, ecstasy and terror, life and death, are inseparable from each other.Such a tragic insight into the nature of things can stimulate what Nietzsche called a “Dionysian affirmation of life” – a complete affirmation of the totality of being where the negative and destructive elements are not slandered, explained away, or rejected, but seen as a necessary component of the good, the true, and the beautiful, and therefore as ultimately desirable.
狄俄尼索斯是一個偉大的矛盾的人，他既是所有勝利英雄的神圣原型，同時也是受苦受難和垂死的神。
悲劇對比之神是一切事物內(nèi)部悲劇對比的象征。
他表達(dá)了對立與和諧、創(chuàng)造與毀滅、狂喜與恐怖、生與死這些密不可分的真理。
這種對事物本質(zhì)的悲劇性洞察，可以激發(fā)尼采所謂的對生命的酒神式的肯定，對存在的整體的完全肯定，在那里，消極和破壞性的元素不會受到誹謗、誤解或拒絕
而是被認(rèn)為是美好，真實，美麗的必要組成部分，因此最終是可取的。
“The saying Yes to life even in its strangest and hardest problems; the will to life…that is what I call Dionysian.” (Twilight of the Idols)
對生活說“是”，即使在面對最奇怪和最困難的問題時;生命的意志，我稱之為酒神的意志。
But a “tragic disposition” and Dionysian affirmation of life is not easy to cultivate, requiring a strength of which most are incapable. To attain the capacity to gaze simultaneously into and affirm equally both the “horrors of night” and the “heights of bliss”, to join together “peak and abyss” (Nietzsche), or in the words of Thomas Carlyle, to see the universe as a “mystic temple and hall of doom” and still say Yes to it, requires the rare state of being Nietzsche called “the great health”.All those who lack this health would be destroyed by a tragic vision of the cosmos. A mere glimpse into the abysses of life would cause them to slander existence like those whom Zarathustra called “the preachers of death” – individuals who in the midst of pain, suffering, or tragic insight, assert “Life is refuted!” , and advocate renunciation and world-weariness.“They negate life;”, Nietzsche wrote of all those who preach world-weariness, “they slander it, hence they are my antipodes.” (Nietzsche contra Wagner)“They negate life;”, Nietzsche wrote of all those who preach world-weariness, “they slander it, hence they are my antipodes.” (Nietzsche contra Wagner)“How differently Dionysus spoke to me! How alien all this resignation was to me!” (Nietzsche)
但是，悲劇氣質(zhì)和酒神式的對生活的肯定是不容易培養(yǎng)的，這需要一種大多數(shù)人都無法具備的力量。
獲得同時凝視和同樣肯定”黑夜的恐怖“和”幸福的高度“的能力，把”高峰和深淵“連接起來
或者用托馬斯·卡萊爾的話來說，把宇宙看作神秘的神殿和死亡之殿，并且仍然對它說“是”，需要尼采罕見的被稱為“偉大的健康”狀態(tài)。
所有缺乏這種健康的人都將被宇宙的悲慘景象所毀滅。
只要一瞥生命的深淵，就會使他們誹謗存在，就像查拉圖斯特拉所說的”那些在痛苦、苦難或悲劇洞見中斷言生命遭到駁斥的死亡個體的布道者”一樣!，提倡放棄和厭世。
他們否定生命;尼采寫到所有那些宣揚厭世的人，他們詆毀生命，因此他們是我的對立面。
尼采在狄俄尼索斯身上發(fā)現(xiàn)了一個象征，象征著他反對所有鼓吹放棄的人。
狄俄尼索斯對我說話的方式是多么不同啊!這一切聽天由命對我來說是多么陌生啊!
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Within the myths and cults of Dionysus Nietzsche intuited the presence of a “great health” which he believed saturated Ancient Greek culture, enabling the Greek individual to cultivate the strength required to not only endure, but worship as divine, the tragic contrast embedded in the nature of reality:“The fullness of life and the violence of death are equally terrible in Dionysus. The Greek endured this reality in its total dimensions and worshipped it as divine.”(Walter Otto, Dionysus: Myth and Cult)The tragic sensibility which pervaded early Ancient Greek culture can be perceived in their worship of procreation, and their recognition that pain and suffering are necessarily intrinsic to all forms of birth and creation. “What suffering this race must have endured”, Nietzsche wrote of the Ancient Greeks, “in order to create such beauty.”In Twilight of the Idols, Nietzsche explained the feeling of sacredness the Ancient Greeks felt towards the pain which precedes birth and creation:In Twilight of the Idols, Nietzsche explained the feeling of sacredness the Ancient Greeks felt towards the pain which precedes birth and creation:In the doctrine of the mysteries, pain is pronounced holy: the pangs of the woman giving birth consecrate all pain; and conversely all becoming and growing — all that guarantees a future — involves pain.
在狄俄尼索斯·尼采的神話和祭祀儀式中，他直覺地發(fā)現(xiàn)了一種偉大的健康的存在，他相信這種健康滲透了古希臘文化，使希臘人能夠培養(yǎng)忍受的力量
而且作為對神的崇拜，悲劇的對比也嵌入了現(xiàn)實的本質(zhì)
在狄俄尼索斯身上，生命的豐滿和死亡的暴力同樣可怕。希臘人從整體上忍受了這一現(xiàn)實，并把它當(dāng)作神來崇拜。
早期古希臘文化中彌漫的悲劇情感可以從他們對生育的崇拜中看出，他們認(rèn)識到痛苦和苦難是一切形式的生產(chǎn)和創(chuàng)造所固有的。
尼采寫道，為了創(chuàng)造這樣的美，這個民族必須忍受什么樣的苦難。
在《偶像的黃昏》中，尼采解釋了古希臘人對出生和創(chuàng)造之前的痛苦的神圣感
因此，對希臘人來說，性的象征是最神圣的象征，在生殖、懷孕和生產(chǎn)的過程中，每一個元素都能引起最高和最莊嚴(yán)的感情。
在神秘的教義中，痛苦是顯而易見的：女性生育的痛苦使所有的痛苦都神圣化;相反，所有形成和成長 - 所有這些都保證了未來 - 涉及到痛苦。
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That there may be the eternal joy of creating, that the will to life may eternally affirm itself, the agony of the woman giving birth must also be there eternally. All this is meant by the word Dionysus.” (Twilight of the Idols)For Nietzsche Dionysus symbolizes the justification of pain and suffering both on a personal level, be it the agony of the woman giving birth or the pain and suffering which precedes the creation of oneself or a work of art, as well as on a cosmic level. A Dionysian worldview reveals a universe in which the “boundless fecundity of the world will” builds up and tears down life forms, worlds, and galaxies in an innocence and agony that conveys the idea that pain and suffering are part of the primordial essence of things, and that to remove them would be to remove life itself in all its beauty and grandeur.and that to remove them would be to remove life itself in all its beauty and grandeur.To attain a Dionysian affirmation of life and not only accept the “horrible, evil, problematic” aspects of existence as necessary, but affirm them as a highly desirable part of the whole, is an ideal that is likely not achievable as a permanent state of being. The proclivity of human beings, in the midst of intense suffering, to become resentful “preachers of death” and long for some form of escape, is far too strong to overcome once and for all. But if a Dionysian affirmation of the world is possible, even as a fleeting and temporary experience, the struggle and effort required to achieve this mode of being is well worth the effort.For the heights that one scales when one is able to look into the dreadful abysses of life, to experiment with the most painful thoughts and the most extreme form of nihilism, and still be able to emerge from such depths and affirm life – saying Yes to it in its totality – is arguably the highest state a human being can attain:
為了能有創(chuàng)造的永恒的快樂，對生命的意志能永遠(yuǎn)堅定，分娩的婦女的痛苦也必須永遠(yuǎn)存在。所有這些都是狄俄尼索斯這個詞的意思。
尼采認(rèn)為，狄俄尼索斯象征著痛苦和其正當(dāng)性，無論是在個人層面，分娩的痛苦，還是在創(chuàng)造自己或藝術(shù)作品之前的痛苦和苦難，以及在宇宙層面都適用。
酒神式的世界觀揭示了這樣一個宇宙，在這個宇宙中，世界的無限繁盛將在天真和痛苦中建立并摧毀生命形式、世界和星系，這傳達(dá)了痛苦和苦難是事物原始本質(zhì)的一部分的觀點
除去它們就等于除去了生命本身所有的美麗和壯麗。
由于這個悲劇世界觀“悲劇氣質(zhì)的人肯定這世界上最苦難的地方”,意識到,只要他擁有偉大的健康,那么痛苦,苦難,和悲劇不僅歡迎而且崇拜他為生命的偉大的興奮劑,經(jīng)歷那些試圖摧毀他的意外只會使他變得更強
要獲得酒神式的對生命的肯定，不僅要接受存在的“可怕，邪惡，有問題”的方面，
而且要肯定它們是整體中非?？扇〉囊徊糠?，這是一種理想，作為一種永久的存在狀態(tài)是不可能實現(xiàn)的。
人類在極度痛苦中，容易成為憎恨的“死亡布道者”，渴望某種形式的逃脫，這種傾向太過強烈，無法一勞永逸地克服。
但是，如果酒神對世界的肯定是可能的，即使只是一種短暫的經(jīng)驗，那么為達(dá)到這種存在方式所需要的斗爭和努力就是值得的。
因為只有當(dāng)一個人能夠看到生活的可怕深淵時，他才能攀到生活的高處
嘗試最痛苦的思想和最極端的虛無主義形式，仍然能夠從這樣的深度中浮現(xiàn)出來，并肯定生命
從整體上對生命說“是”，可以說是人類所能達(dá)到的最高境界
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In a passage from The Will to Power titled “My new path to a “Yes””, Nietzsche conveyed this idea:“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…The highest state a philosopher can attain: to stand in a Dionysian relationship to existence – my formula for this is amor fate [love of fate].” (The Will to Power)
在《權(quán)力意志》的一篇題為《我通往“肯定”的新道路》的文章中，尼采表達(dá)了這一觀點
正如我迄今所理解和經(jīng)歷的那樣，哲學(xué)是對存在中最令人厭惡和最臭名昭著的方面的自愿探索
我所體驗的這種實驗哲學(xué)，在實驗上甚至可以預(yù)見到最根本的虛無主義的可能性
但這并不意味著它必須在否定，在說不，在否定的意志中停止。
相反，它想要跨越到與此相反的境界，達(dá)到酒神式的對現(xiàn)實世界的肯定，沒有消減，沒有例外，沒有選擇......
哲學(xué)家可以達(dá)到的最高境界就是站在酒神式的與生存的關(guān)系中 - 對我而言就是對命運的熱愛。
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