评论
打印
This actual world, then, the world of particular things, affords the object of perception, the special and individual, the particular case, both to the universality of the concepts and to the universality of the melodies.
现实界，因而个别事物的世界，对概念的普遍性和旋律的普遍性两者，提供了视觉的对象、特殊和个别的事物、单独的情形。
But these two universalities are in a certain respect opposed to each other; for the concepts contain particulars only as the first forms abstracted from perception, as it were, the separated shell of things; thus they are, strictly speaking, abstracta: music, on the other hand, gives the inmost kernel which precedes all forms, or the heart of things.
但是这两种普遍性在某些关系上是彼此相反的：因为概念不过是以从知觉抽象得来的最初形式来概括事物，好象是从事物剥下来的外壳而已，所以它们是实实在在的sbstraota（抽象）；反之，音乐却提供了先于一切形象的最深入的核心，或者说，事物的心灵。
This relation may be very well expressed in the language of the schoolmen, by saying, the concepts are the universalia post rem, but music gives the univesralia ante rem, and the real world the universalia in re.
这一关系用繁琐哲学者的术语来说明最为恰当：概念是univerBsaliapostrem（后于事物的普遍性），而音乐则提供 universaliaanterem（先于事物的普遍性），而现实界则是universaliainre（在事物中的普遍性）。
But that in general a relation is possible between a composition and a visible representation rests, as we have said, upon the fact that both are simply different expressions of the same inner being of the world.
然而，一般地说，乐曲与表演之间的关系所以可能成立，如上文所说，在于这两者不过是同一世界的内在本质之完全不同的表现。
When now, in the particular case, such a relation is actually given, that is to say, when the composer has been able to express in the universal language of music the stirrings of will which constitute the heart of an event, then the melody of the song, the music of the opera, is expressive.
设使在特殊情形下，这样的一种关系是确实存在的，也就是说，设使作曲者能够用音乐的共同语言来表现那构成某一特殊事件之核心的意志活动；那末，这种歌的旋律，这种歌剧的音乐，才是富有表情的。
But the analogy discovered by the composer between the two must have proceeded from the direct knowledge of the nature of the world unknown to his reason, and must not be an imitation produced with conscious intention by means of concepts, otherwise the music does not express the inner nature, the will itself, but merely gives an inadequate imitation of its phenomenon.
然而，由作曲者发现的这两者之间的类似点，必须出自他对理性所不能领悟的世界本质有直接认识，而决不应该凭借概念有意地作间接模仿；否则音乐便不能表现意志本身的内在本 质，而仅仅是不实不尽地模仿意志的现象而已。
All truly imitative music does this."
一切专事模仿的音乐作品就有此毛病”（“意志及表象之世界”）。
