文明史話，古希臘：源起（04）
說到這里我想插一段關(guān)于藝術(shù)家的內(nèi)容。
Here I would like to insert a paragraph about the artist.
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事實(shí)上在十六世紀(jì)之前并沒有嚴(yán)格意義上的藝術(shù)家，我們今天所說的藝術(shù)家在古希臘和古羅馬一般是在工坊中工匠；諸如繪畫，雕塑等藝術(shù)創(chuàng)作被看作是一門手藝，學(xué)習(xí)方式是師傅帶徒弟，從業(yè)者大多是平民。
There was no artist in the strict sense before the sixteenth century, and what we call artists today were generally artisans in workshops in ancient Greece and Rome; artistic creations such as painting and sculpture were seen as a craft, and learning was done by masters with apprentices, and most of the practitioners were common people.
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希臘神話中有九位繆斯女神，她們掌管人類的創(chuàng)作活動(dòng)，其內(nèi)容大多和詩歌，音樂和悲劇有關(guān)。音樂“music”和博物館“museum”這兩個(gè)詞都來自繆斯。而古希臘并沒有司長雕塑和繪畫的繆斯，雕塑家和畫家的工作被視為純粹的體力勞動(dòng)，他們的地位很低，其身份介于自由人和奴隸之間。并且在西方的語境下，藝術(shù)“art”這個(gè)詞原本的意思是“技巧，方法，技術(shù)”。藝術(shù)家“artist”指的是比其他人技巧更熟練的人，這個(gè)詞的含義接近于工匠“artisan”。
There are nine Muses in Greek mythology who govern human creative activity, mostly related to poetry, music, and tragedy. The words "music" and "museum" are both derived from the Muses. There were no Muses of sculpture and painting in ancient Greece. The work of sculptors and painters was regarded as purely manual labor, and their status was low, somewhere between freemen and slaves. And in the Western context, the word "art" originally meant "skill, method, technique". The word "artist" refers to a person who is more skilled than others, and is closer in meaning to the word "artisan".
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藝術(shù)家在中世紀(jì)的時(shí)候通常是屬于所處城市的行會(huì)的手藝人。只有加入行會(huì)才有資格從業(yè)，成為行會(huì)的成員才可以收徒弟或向公眾出售畫作。
Artists in the Middle Ages were usually craftsmen who belonged to the guilds of the city in which they lived. Only by joining a guild were they eligible to practice, and only by becoming a member of a guild could they take on apprentices or sell paintings to the public.
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在文藝復(fù)興時(shí)期的弗洛倫斯，由于畫家的地位太低，他們連自己的行會(huì)都沒有。畫家屬于醫(yī)生與藥劑師行會(huì)，因?yàn)樗麄冃枰獜乃巹熌抢镔徺I顏料；而雕塑家是石匠與木匠行會(huì)的成員。后來藝術(shù)家的地位得到了提升他們才終于有了自己的行會(huì)，圣路加行會(huì)。這個(gè)名字來自于藝術(shù)家的守護(hù)神路加，據(jù)說他畫了圣母的肖像。
In Florence during the Renaissance, the status of painters was so low that they did not even have a guild. Painters belonged to the Guild of Doctors and Apothecaries ("Arte dei Medici e Speziali") as they bought their pigments from apothecaries, while sculptors were members of the Masters of Stone and Wood ("Arte dei Maestri di Pietra e Legname"). Later the status of the artists was elevated and they finally had their guild, the Guild of Saint Luke. The name comes from Luke, the patron saint of artists, who is said to have painted the portrait of the Virgin Mary.
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1563年，喬爾喬·瓦薩里和科西莫·德·美第奇創(chuàng)立了世界上第一所美術(shù)學(xué)院，弗洛倫薩美術(shù)學(xué)院。從此有了美術(shù)教育，美術(shù)從手工藝當(dāng)中獨(dú)立了出來，畫家從工匠當(dāng)中獨(dú)立了出來，真正意義上的藝術(shù)家才得以出現(xiàn)。
In 1563, Giorgio Vasari and Cosimo I de' Medici founded the world's first Academy of Fine Arts, the Accademia di Belle Arti di Firenze. Since then there has been art education, art has become independent from crafts, painters have become independent from artisans, and artists in the true sense of the word have emerged.
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在弗洛倫薩美術(shù)學(xué)院成立的十幾年后，圣路加學(xué)院于1577成立于羅馬；1582年卡拉齊兄弟在博洛尼亞成立了進(jìn)步派美術(shù)學(xué)院（或“卡拉齊美術(shù)學(xué)院”）。
A dozen years after the Accademia di Belle Arti di Firenze, the Accademia di San Luca was founded in Rome in 1577; in 1582 the Carracci brothers founded the Accademia degli Incamminati (or "Accademia dei Carracci") in Bologna.
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這里大家注意，雖然十六世紀(jì)的時(shí)候出現(xiàn)了美術(shù)學(xué)院，而“學(xué)院派”（學(xué)院藝術(shù)）還要等到十七世紀(jì)法蘭西皇家繪畫與雕塑學(xué)院的成立（1648）和太陽王路易十四執(zhí)政時(shí)期。它們之間的區(qū)別在于前者主要是由平民和貴族主導(dǎo)的民辦院校，而后者是由政府主導(dǎo)的官辦院校，學(xué)院派有很強(qiáng)的政治背景。法蘭西皇家繪畫與雕塑學(xué)院就是以圣路加學(xué)院為范本的。
Note that while the Academy of Fine Arts emerged in the sixteenth century, the "Academic Art" had to wait until the establishment of the Académie royale de peinture et de sculpture (1648) and the reign of Louis XIV, the Sun King （le Roi Soleil）, in the seventeenth century. The difference between them is that the former are mainly private institutions dominated by civilians and nobles, while the latter are government-run institutions dominated by the government, and Academic Art has a strong political background. The Académie royale de peinture et de sculpture was founded on the model of the Accademia di San Luca.
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瓦薩里這個(gè)人是個(gè)神人，我再說兩句。瓦薩里是米開朗琪羅的朋友并且他深受米開朗琪羅繪畫風(fēng)格的影響。雖然瓦薩里也流傳下來不少作品，但他最主要的成就卻是在建筑和藝術(shù)史學(xué)領(lǐng)域。
Vasari is important, and I'll say a few more words. Vasari was a friend of Michelangelo's and he was deeply influenced by his painting style. Although Vasari has also handed down several works, his most significant achievements are in the fields of architecture and art historiography.
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瓦薩里除了參與建設(shè)了弗洛倫薩美術(shù)學(xué)院，他還為美第奇家族建造了一座辦公室。意大利語“辦公室”的發(fā)音類似于“烏菲茲”（或“烏菲齊”）。美第奇家族在這里存放了很多他們收集或者委托的繪畫和雕塑作品，后來它變成了著名的烏菲茲美術(shù)館。但這還不是瓦薩里最大的成就。
In addition to his involvement in the construction of the Accademia di Belle Arti di Firenze, Vasari also built an office (uffizi) for the Medici family. The Italian word for "office" is similar to "uffizi". The Medici family stored many of the paintings and sculptures they collected or commissioned, and it later became the famous Uffizi Gallery （Galleria degli Uffizi）. But this is not Vasari's greatest achievement.
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他寫了一本書，內(nèi)容包括了達(dá)·芬奇和米開朗琪羅在內(nèi)的很多藝術(shù)家傳記，叫做《藝苑名人傳》。這本書是意大利早期文藝復(fù)興時(shí)期藝術(shù)家的生活和作品信息的主要來源，它被認(rèn)為是所有藝術(shù)史寫作的開山之作，瓦薩里也被認(rèn)為是第一位藝術(shù)史學(xué)家。他在這本書中第一次使用“Rinascita”（意大利語“重生”）一詞，后來這個(gè)詞變成了一個(gè)我們所熟悉的名稱，“文藝復(fù)興”（Renaissance，法語“重生”）?？赡芡咚_里最大的成就是創(chuàng)造了文藝復(fù)興這個(gè)術(shù)語。這個(gè)術(shù)語在史學(xué)中被廣泛采用，直至今天。
He wrote a book that includes biographies of many artists, including Leonardo da Vinci and Michelangelo, called Lives of the Most Excellent Painters, Sculptors, and Architects. This book is the major source of information on the lives and works of early Italian Renaissance artists, and it is considered the founding work of all art historical writing, and Vasari is considered the first art historian. In this book, he first used the word "Rinascita" (Italian for rebirth), which later became a familiar word, "Renaissance" (rebirth, in French). Perhaps Vasari's greatest achievement was the coining of the term Renaissance. This term has been widely adopted in historiography until today.
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一個(gè)人，一本書，一個(gè)詞語定義了一個(gè)時(shí)代，這是我覺得他最“神”的地方。
One man, one book, one word defines an era, and this is what I find most remarkable about him.
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好了，我們說回古希臘。
Well, let's go back to ancient Greece.
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接下來我們來聊一聊古希臘文明的前身，米諾斯文明，邁錫尼文明和黑暗時(shí)代。有了前面內(nèi)容的鋪墊，這部分內(nèi)容會(huì)很輕松。
Let's talk about the predecessors of ancient Greek civilization, Minoan civilization, Mycenaean civilization, and the Dark Ages. This part will be easy with the previous content to set the stage.
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米諾斯文明
Minoan civilization
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米諾斯文明是愛琴海地區(qū)的青銅時(shí)代文明，它最早可以追溯到公元前3500年左右。其城市文明開始于公元前2000年左右，然后從公元前1450年左右衰落并在公元前1100年左右結(jié)束。如果從其城市文明出現(xiàn)的時(shí)間開始計(jì)算的話，它大概對(duì)應(yīng)古埃及的第十一王朝到第二十王朝這段時(shí)期，或者美索不達(dá)米亞地區(qū)的烏爾第三王朝到中亞述帝國末期的這段時(shí)間。它在20世紀(jì)初由英國考古學(xué)家亞瑟·埃文斯發(fā)現(xiàn)。埃文斯用希臘神話當(dāng)中克里特島克諾索斯國王米諾斯的名字命名了這一古老文明。根據(jù)荷馬的記載，克里特島有90個(gè)城市。
The Minoan civilization was a Bronze Age civilization in the Aegean region, which dates back to around 3500 BC. Its urban civilization began around 2000 BC, then declined from around 1450 BC, and ended around 1100 BC. If we calculate the emergence of urban civilization, it corresponds to the period from the Eleventh Dynasty to the Twentieth Dynasty in ancient Egypt, or from the Third Dynasty of Ur to the end of the Middle Assyrian Empire in Mesopotamia. It was discovered in the early 20th century by the British archaeologist Arthur Evans. Evans named this ancient civilization after Minos, King of Knossos in Crete in Greek mythology. According to Homer, Crete had 90 cities.
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首先的問題是，為什么是米諾斯文明，為什么愛琴文明的中心會(huì)在克里特島。
The first question is why the Minoan civilization and why the center of the Aegean civilization was in Crete.
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克里特島的環(huán)境和希臘本土差不多，可耕種的土地非常有限。如果沒有貿(mào)易這里很難依靠有限的土地產(chǎn)出養(yǎng)活足夠多的人口，也就談不上誕生文明。而克里特島的地理位置非常好，它位于東地中海的海上交通要道，通過貿(mào)易它可以和美索不達(dá)米亞和埃及這兩個(gè)文明地區(qū)發(fā)生接觸。美索不達(dá)米亞和埃及地區(qū)的文明要比愛琴文明早很多，也發(fā)達(dá)得多。如果你玩過《文明6》的話就會(huì)知道一件事，商路除了會(huì)帶來糧食，財(cái)富等物質(zhì)資源，它還會(huì)附帶科技和文化加成。
The environment of Crete is similar to that of mainland Greece, and the land available for cultivation is very limited. Without trade, it would have been difficult to support a large population and give birth to a civilization based on the limited land output. And Crete is very well located, it is on the main sea traffic route of the Eastern Mediterranean, and through trade it can come into contact with Mesopotamia and Egypt, two civilized regions. The civilizations of the Mesopotamia and Egypt regions were much older and more developed than the Aegean civilization. If you have played Civilization 6, you will know one thing, in addition to food, wealth, and other material resources, trade routes will also come with technology and cultural bonuses.
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說到這里，米諾斯文明誕生在克里特島也就不足為奇了。而事實(shí)上米諾斯文明就是靠地中海地區(qū)的貿(mào)易網(wǎng)絡(luò)而存在的。
Having said that, it is not surprising that the Minoan civilization was born in Crete. The Minoan civilization existed through the trade network of the Mediterranean.
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克里特島當(dāng)?shù)氐霓r(nóng)業(yè)和手工業(yè)非常發(fā)達(dá)。公元前1700年以后，他們的文化也已繁榮起來。米諾斯的文化影響了基克拉澤斯群島，古埃及，塞浦路斯，黎凡特以及安納托利亞等地區(qū)。
Local agriculture and handicrafts were very well developed in Crete. Their culture was also very well developed after 1700 BC. Minoan culture influenced the Cyclades, ancient Egypt, Cyprus, the Levant, and Anatolia.
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米諾斯文明的文明成果主要有三部分，宮殿，藝術(shù)以及書寫系統(tǒng)。
The main achievements of the Minoan civilization were palaces, art, and a writing system.
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宮殿在米諾斯文明當(dāng)中具有核心地位，它是一個(gè)擁有諸多功能的綜合體。這一點(diǎn)我們之前也已經(jīng)看到過，比如埃及和美索不達(dá)米亞文明的神廟并不只是進(jìn)行宗教活動(dòng)的場(chǎng)所，它實(shí)際上承擔(dān)了很多今天政府的職能。神廟或者宮殿是古代城市的中心，它們就相當(dāng)于當(dāng)時(shí)的政府，商業(yè)中心，公共活動(dòng)場(chǎng)所甚至是銀行，糧倉和避難所。因此神廟和宮殿也成為了很多文明的象征，比如蘇美爾文明的季古拉特，米諾斯文明的克諾索斯宮殿，雅典的帕特農(nóng)神廟等。
The palace had a central place in the Minoan civilization, a complex with many functions. As we have seen before, the temples of the Egyptian and Mesopotamian civilizations, for example, were not just places for religious activities but performed many of the functions of today's governments. The temple or palace was the center of the ancient city, it was the equivalent of a government, a commercial center, a place of public activity, and even a bank, a granary, and a refuge. Therefore temples and palaces have also become symbols of many civilizations, such as the ziggurats of Sumerian civilization, the Palace of Knossos of Minoan civilization, the Parthenon of Athens, etc.
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米諾斯人建造了很多宏偉的宮殿，有的高達(dá)四層，宮殿房間眾多，可以容納很多人員，房間裝飾有壁畫，比如克里特島上最大的克諾索斯宮殿，以及第二大的斐斯托斯宮殿。這些宮殿承擔(dān)了行政和宗教職能并且將手工作坊和糧食儲(chǔ)藏室整合其中。米諾斯的大部分經(jīng)濟(jì)活動(dòng)都圍繞著宮殿運(yùn)行，埃文斯將這種經(jīng)濟(jì)形態(tài)稱為“宮殿經(jīng)濟(jì)”。
The Minoans built many magnificent palaces, some as high as four stories, with numerous rooms to accommodate many people and rooms decorated with frescoes, such as the largest palace of Knossos on Crete, and the second largest palace of Phaistos. These palaces assumed administrative and religious functions and integrated workshops and food storage. Much of Minoan economic activity revolved around the palaces, and Evans refers to this economic pattern as the "palace economy".
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希臘人對(duì)于米諾斯宮殿復(fù)雜的結(jié)構(gòu)以及當(dāng)?shù)厝说墓３绨莸挠洃浛赡茉诤髞砭统蔀榱讼ＥD神話當(dāng)中關(guān)于“迷宮”和“牛頭怪”等故事的靈感。
Greek memories of the complex structure of the Minoan palaces and the local cult of the bull may have inspired the Greek mythology of the Labyrinth and the Minotaur.
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米諾斯文明還留下了非常豐富的藝術(shù)作品。保存下來的藝術(shù)遺存有陶器，印章，宮殿壁畫，小型雕塑以及珠寶和金屬制品等工藝品。其藝術(shù)和陶器裝飾風(fēng)格對(duì)地中海周邊的文明產(chǎn)生了一定的影響。
The Minoan civilization also left behind a very rich artwork. The preserved art remains include pottery, seals, palace frescoes, small sculptures, and artifacts such as jewelry and metalwork. Its art and pottery decoration style influenced the civilizations around the Mediterranean.
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在東地中海沿岸的大部分地區(qū)都發(fā)現(xiàn)了米諾斯文明的陶器遺存，在這些陶器上面布滿了充滿生活氣息和海洋風(fēng)格的圖案。
The remains of Minoan pottery have been found in most areas of the eastern Mediterranean coast, and they are covered with living and marine-style motifs.
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米諾斯文明的壁畫大多遵循一套程式，這一點(diǎn)和古埃及藝術(shù)很像，大多數(shù)人物都是以正面和側(cè)面相結(jié)合的方式呈現(xiàn)出來。但其風(fēng)格非常生動(dòng)，充滿生活氣息。有一點(diǎn)很特別，相比于其他古代文化的壁畫作品，米諾斯的壁畫與戰(zhàn)爭和王宮貴族相關(guān)的內(nèi)容并不多見，并且女性形象的比例是很高的。常見的壁畫題材包括了他們的生活場(chǎng)景，比如采集，跳牛，出海等活動(dòng)以及各種動(dòng)物和海洋生物，無論是人物還是動(dòng)物都表現(xiàn)出了很強(qiáng)的生命力和運(yùn)動(dòng)感?？偟膩碚f米諾斯藝術(shù)所表現(xiàn)出的是一種寧靜美好的氣質(zhì)。
Most of the frescoes of the Minoan civilization follow a set of conventions, much like ancient Egyptian art, where most figures are presented in a combination of frontal and profile views. However, the style is very vivid and full of life. One thing is very special, compared with the fresco works of other ancient cultures, Minoan frescoes have very little content related to war and royal nobility, and the proportion of female figures is very high. Common fresco subjects include scenes from their lives, such as gathering, bull-leaping, sea-going, and other activities, as well as various animals and sea creatures, both figures and animals showing a strong sense of life and movement. In general, Minoan art expresses an aura of tranquility and beauty.
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關(guān)于米諾斯文明的藝術(shù)大家可以參考我之前的一期視頻，《愛琴美術(shù)》。
For more information about the art of Minoan civilization, you can refer to my previous video, "Art of the Ancient Aegean".
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米諾斯人的書寫系統(tǒng)被稱為“線性文字A”，它被記錄在了斐斯托斯圓盤上面。
The Minoan writing system is called "Linear A" and is recorded on the Phaistos Disc.
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米諾斯文明從公元前1450年左右開始衰落，其原因尚不明確。主要的猜測(cè)包括來自希臘大陸的邁錫尼入侵和圣托里尼島的火山噴發(fā)。
The Minoan civilization began to decline around 1450 B.C. The reasons for this are unclear. Major speculations include the Mycenaean invasion from mainland Greece and the volcanic eruption on Santorini.
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總結(jié)一下。關(guān)于米諾斯文明我們需要記住這樣幾點(diǎn)，愛琴海地區(qū)的青銅時(shí)代文明，希臘文明的前身，宏偉的宮殿，線形文字A，精美的藝術(shù)品以及它的發(fā)現(xiàn)者阿瑟·埃文斯。
To summarize. We need to remember such points about Minoan civilization, the Bronze Age civilization of the Aegean region, the predecessor of Greek civilization, the magnificent palaces, Linear A, the fine artwork, and its discoverer Arthur Evans.
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接著我們來聊一聊邁錫尼文明。
Then let's talk about the Mycenaean civilization.
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邁錫尼文明
Mycenaean civilization
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邁錫尼文明是希臘大陸的第一個(gè)文明，它也是愛琴海地區(qū)青銅時(shí)代文明的最后階段，它的存在同樣依賴地中海地區(qū)的貿(mào)易網(wǎng)絡(luò)。其最著名的遺址是邁錫尼，這個(gè)文明便是以它命名的。
The Mycenaean civilization, the first on the Greek mainland, was also the last phase of the Bronze Age civilization in the Aegean region, and its existence was also dependent on the trade network of the Mediterranean. Its most famous site is Mycenae, after which the civilization is named.
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一般認(rèn)為邁錫尼文明是在米諾斯文明和其他地中海文化的影響之下發(fā)展出來的。邁錫尼人是希臘大陸的民族。在文化上邁錫尼文明和米諾斯文明有聯(lián)系，尤其是在藝術(shù)和書寫系統(tǒng)方面，但兩者的文化氣質(zhì)有所不同。米諾斯的文化氣質(zhì)是寧靜美好的，充滿生活氣息和活力，而邁錫尼的文化氣質(zhì)是富麗堂皇的，充滿軍事氣質(zhì)。通過對(duì)比兩者的文化氣質(zhì)我們可以更好地理解他們的文化。
It is generally believed that the Mycenaean civilization developed under the influence of the Minoan civilization and other Mediterranean cultures. The Mycenaeans were a mainland Greek people. The Mycenaean and Minoan civilizations were culturally related, especially in terms of art and writing systems, but the two had different cultural temperaments. The cultural temperament of Minos is peace and beauty, full of life and vitality, while the cultural temperament of Mycenae is splendid and full of military qualities. By comparing the two temperaments we can better understand their cultures.
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邁錫尼文明的存在時(shí)間約從公元前十八世紀(jì)到公元前十一世紀(jì)（大約公元前1750年至公元前1050年）。大概對(duì)應(yīng)古埃及的第十三王朝中期到第二十王朝拉美西斯十一世時(shí)期，或者古巴比倫帝國漢謨拉比國王執(zhí)政末期到中亞述帝國末期的這段時(shí)間。
The Mycenaean civilization existed from about the eighteenth to the eleventh centuries B.C. (approximately 1750 to 1050 B.C.). This roughly corresponds to the period from the middle of the Thirteenth Dynasty to the Twentieth Dynasty of Ramses XI in ancient Egypt, or from the end of the reign of King Hammurabi in the Old Babylonian Empire to the end of the Middle Assyrian Empire.
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這一時(shí)期重要的城市包括了邁錫尼，皮洛斯，梯林斯，忒拜和雅典等。忒拜也稱“底比斯”，這里我為了在名稱上和古埃及的底比斯區(qū)分將希臘地區(qū)的這一地點(diǎn)稱為“忒拜”。邁錫尼的定居點(diǎn)包括了希臘北部的伊庇魯斯和馬其頓，愛琴海諸島，小亞南海岸以及塞浦路斯等地。邁錫尼文明已經(jīng)具備了后來希臘世界的雛形。
Important cities of this period include Mycenae, Pylos, Tiryns, Thebes, and Athens. Thebes is also known as “Dibis”, and I will refer to this site in the Greek region as “Tebai” to distinguish it from Thebes in ancient Egypt. The Mycenaean settlements included Epirus and Macedonia in northern Greece, the Aegean islands, the southern coast of Asia Minor, and Cyprus. The Mycenaean civilization had already taken the shape of the later Greek world.
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邁錫尼的文明成果主要包括了三個(gè)方面，建筑，書寫系統(tǒng)和藝術(shù)遺存。
The achievements of Mycenaean civilization include three main areas, architecture, writing systems, and artistic remains.
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邁錫尼文明是一個(gè)以“王”為中心的社會(huì)，各個(gè)城市都發(fā)展出了嚴(yán)格的等級(jí)、政治、社會(huì)和經(jīng)濟(jì)制度。他們修建了大量的建筑和墓葬。和米諾斯文明類似，宮殿在邁錫尼社會(huì)中發(fā)揮了重要的作用，它承擔(dān)了行政和經(jīng)濟(jì)等重要功能。邁錫尼的宮殿被記錄在了很多的古希臘文學(xué)作品和神話故事當(dāng)中。
The Mycenaean civilization was a society centered on the "king" (anax, wanax), and each city developed a rigidly hierarchical, political, social, and economic system. They built a large number of buildings and tombs. Similar to the Minoan civilization, palaces played an important role in Mycenaean society, assuming important functions such as administration and economy. The Mycenaean palaces are recorded in many ancient Greek literary works and mythological stories.
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他們還建造了很多的防御工事，如要塞和高大的城墻。這些由巨石構(gòu)成的城墻據(jù)說是由獨(dú)眼巨人所修建的。邁錫尼衛(wèi)城的主要入口就是著名的獅子門。
They also built many fortifications, such as fortresses and tall walls. These walls, made of huge stones, are said to have been built by the Cyclops. The main entrance to the Mycenaean Acropolis is the famous Lion Gate.
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另外值得一提的是邁錫尼的墓葬。豎井墓和拱頂墓是邁錫尼最常見的貴族埋葬形式。豎井墓的代表是“墓圈A”和“墓圈B”，拱頂墓的代表是阿特柔斯寶庫。墓葬里面埋藏了各種各樣豪華的陪葬品，死去的男性通常戴著黃金的面具和盔甲，而女人則戴著黃金飾品，這其中就包括阿伽門農(nóng)面具以及黃金酒杯等。這一文明時(shí)期可能成為了許多古希臘文學(xué)和神話的故事背景。學(xué)者們推測(cè)，包括特洛伊戰(zhàn)爭在內(nèi)的很多神話與傳說可能就發(fā)生在這個(gè)時(shí)代。關(guān)于邁錫尼文明的藝術(shù)也請(qǐng)大家參考我之前的一期視頻，《愛琴美術(shù)》。
Also worth mentioning are the Mycenaean tombs. Shaft tombs and beehive tombs (tholos tombs) were the most common forms of noble burial in Mycenae. The shaft tomb is represented by Grave Circle A and Grave Circle B, while the beehive tomb is represented by the Treasury of Atreus. A variety of luxurious burial objects were buried inside the tombs. The dead men usually wore gold masks and armor, while the women wore gold jewelry, which included the Mask of Agamemnon as well as gold cups. This period of civilization may have served as the setting for many stories in ancient Greek literature and mythology. Scholars speculate that many of the myths and legends, including the Trojan War, may have taken place during this era. For the art of the Mycenaean civilization please also refer to my previous video, Art of the Ancient Aegean.
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在書寫系統(tǒng)方面，邁錫尼人借用米諾斯文明的線性文字A開發(fā)了自己的文字，線性文字B。
In terms of writing systems, the Mycenaeans borrowed Linear A from the Minoan civilization to develop their script, Linear B.
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約公元前十一世紀(jì)，邁錫尼文明在東地中海地區(qū)青銅時(shí)代的末期滅亡，希臘地區(qū)隨后進(jìn)入了黑暗時(shí)代。這是一個(gè)沒有文字記錄時(shí)期。
Around the eleventh century B.C., the Mycenaean civilization perished at the end of the Bronze Age in the Eastern Mediterranean, and the Greek region then entered the Dark Ages. This was a period without written records.
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關(guān)于這個(gè)文明的終結(jié)，已經(jīng)提出了各種假說，其中包括了多利安人的入侵，“海洋民族”的活動(dòng)，內(nèi)部動(dòng)亂，自然災(zāi)害以及氣候變化等。
Various hypotheses have been put forward about the end of this civilization, including the invasion of the Dorians, the activities of the "Sea Peoples", internal disturbances, natural disasters, and climate change.
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關(guān)于邁錫尼文明我們主要需要了解的有這樣幾點(diǎn)，宏偉的宮殿，高大的城墻，豎井墓，拱頂墓，奢華的陪葬品，線形文字B以及它的發(fā)現(xiàn)者海因里?！な├锫?。
The main things we need to know about the Mycenaean civilization are these, the magnificent palaces, the tall walls, the shaft tombs, the beehive tombs, the lavish burial goods, the Linear B and its discoverer Heinrich Schliemann.
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青銅時(shí)代的終結(jié)與黑暗時(shí)代
The End of the Bronze Age and the Dark Ages
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邁錫尼文明的毀滅并不是一個(gè)單一的現(xiàn)象。約公元前十二世紀(jì)至公元前十一世紀(jì)這一時(shí)期幾乎所有東地中海地區(qū)的文明，包括巴爾干半島，愛琴海，埃及和安納托利亞地區(qū)的文明都在這一時(shí)期遭受到了嚴(yán)重的破壞，這一系列事件被稱為青銅時(shí)代晚期崩潰。青銅時(shí)代晚期，邁錫尼文明和愛琴海地區(qū)的宮殿經(jīng)濟(jì)崩潰，宮殿和城市被摧毀或遺棄，人們退回到村莊中生活。大約在同一時(shí)間，赫梯文明也遭受了嚴(yán)重的破壞。在埃及，新王國陷入混亂，進(jìn)入了第三中間期。
The destruction of the Mycenaean civilization was not a single phenomenon. Almost all the civilizations of the Eastern Mediterranean region, including those of the Balkans, the Aegean, Egypt, and Anatolia, suffered severe damage during this period from about the twelfth century B.C. to the eleventh century B.C. This series of events is known as the Late Bronze Age Collapse. During the Late Bronze Age, the palace economy of the Mycenaean civilization and the Aegean region collapsed, palaces and cities were destroyed or abandoned, and people retreated to live in villages. At about the same time, the Hittite civilization also suffered severe damage. In Egypt, the New Kingdom fell into chaos and entered the Third Intermediate Period.
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現(xiàn)今的理論認(rèn)為這一系列事件可能和多利安人入侵，海上民族的活動(dòng)，鐵質(zhì)工具的出現(xiàn)以及氣候變化和自然災(zāi)害等因素有關(guān)。
Present-day theories suggest that this series of events may be related to factors such as the Dorian invasion, the activities of Sea Peoples, the advent of iron tools, climate change, and natural disasters.
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其中關(guān)于海上民族的記錄主要來自埃及新王國時(shí)期的資料，學(xué)者們根據(jù)這些記載提出了海上民族的概念。和多利安人入侵一樣，“海上民族”同樣是一個(gè)出現(xiàn)于十九世紀(jì)的歷史概念。這是一個(gè)假想的族群，學(xué)者們將它作為東地中海地區(qū)青銅時(shí)代末期文明崩潰的一種解釋。這種假說認(rèn)為有一個(gè)從海上忽然崛起的族群切斷了這一地區(qū)大部分的貿(mào)易路線并入侵了這里的大多數(shù)文明。
Scholars have developed the concept of Sea Peoples based on the records of these peoples, which are mainly from the New Kingdom period of Egypt. Like the Dorian invasion, the "Sea Peoples" is also a historical concept that emerged in the nineteenth century. It is a hypothetical group that scholars have used as an explanation for the collapse of civilization in the Eastern Mediterranean at the end of the Bronze Age. The hypothesis is that a group that suddenly rose from the sea cut off most of the trade routes in the area and invaded most of the civilizations here.
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*海上民族這一概念首次出現(xiàn)于1855年，提出者伊曼紐爾·德·魯熱（Emmanuel de Rougé），在他的《格林先生最近出版的一些象形文字文本的說明》（Note on Some Hieroglyphic Texts Recently Published by Mr. Greene）。關(guān)于海上民族的記載主要來自于埃及拉美西斯二世（Ramesses II），麥倫普塔（Merneptah）和拉美西斯三世（Ramesses III）時(shí)期的七份資料，共提到九個(gè)民族，Denyen，Ekwesh，Lukka，Peleset，Shekelesh，Sherden，Teresh，Tjeker，Weshesh?；顒?dòng)范圍包括了整個(gè)東地中海地區(qū)。
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但關(guān)于海上民族是否真的存在過以及他們的身份一直眾說紛紜，他們?yōu)楹魏鋈怀霈F(xiàn)又為何忽然消失一直是一個(gè)迷。如同多利安人一樣，有說法認(rèn)為海上民族的形成可能是人口遷徙所致。他們可能是愛琴海地區(qū)的忽然崛起的部落或者是從歐洲向南遷徙的人口或者是希臘人。
However, there are different opinions about the existence and identity of the Sea Peoples, and it is a mystery why they suddenly appeared and why they suddenly disappeared. As with the Dorians, it is thought that the formation of the Sea Peoples may have been the result of migration. They could have been tribes that suddenly emerged from the Aegean region or populations that migrated southward from Europe or the Greeks.
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希臘黑暗時(shí)代一般是指從公元前十一世紀(jì)邁錫尼文明結(jié)束到公元前八世紀(jì)這約三百年的時(shí)間（約公元前1050年到公元前776年）。這一歷史時(shí)期對(duì)應(yīng)希臘藝術(shù)的幾何藝術(shù)時(shí)期（也有說法將其稱為“荷馬時(shí)期”）。這里所謂的“黑暗”在很大程度上是指在這一時(shí)期沒有留下文字記錄，而非社會(huì)停止了發(fā)展。
The Greek Dark Ages generally refers to the period of approximately three hundred years from the end of the Mycenaean civilization in the eleventh century B.C. to the eighth century B.C. (approximately 1050 B.C. to 776 B.C.). This historical period corresponds to the Geometric art period of Greek art. The term "dark" here refers largely to the absence of written records during this period, rather than to the cessation of social development.
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關(guān)于古希臘黑暗時(shí)代的結(jié)束和古風(fēng)時(shí)期的開始通常有兩種劃分方式。一種是以公元前776年第一屆古代奧林匹克運(yùn)動(dòng)會(huì)開始為標(biāo)志，這一年通常被認(rèn)為是古希臘確切紀(jì)年的開始。還有一種是以約公元前800年古希臘城邦的崛起為標(biāo)志。這兩種劃分方式都差不多，我選了公元前776年。但是通過前面的講述我認(rèn)為還有第三種劃分方式，就是以公元前九世紀(jì)末或八世紀(jì)初希臘字母的出現(xiàn)為標(biāo)志。我認(rèn)為希臘字母的影響可能比前兩件事還要深遠(yuǎn)。
There are usually two ways of dividing the end of the Dark Ages and the beginning of the Archaic period in ancient Greece. One is marked by the beginning of the first Ancient Olympic Games in 776 B.C. This year is usually considered to be the beginning of the exact chronology of ancient Greece. The other is marked by the rise of the ancient Greek city-states in about 800 BCE. Both divisions are similar, and I have chosen 776 BC. But through the previous narrative, I think there is a third division, which is marked by the appearance of the Greek alphabet in the late ninth or early eighth century BCE. I think the influence of the Greek alphabet may have been more profound than the first two events.
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那這個(gè)黑暗時(shí)代是一副什么圖景呢。約公元前八世紀(jì)的古希臘詩人赫西俄德在他的作品《工作與時(shí)日》當(dāng)中將人類文明劃分為了五個(gè)時(shí)代，黃金時(shí)代，白銀時(shí)代，青銅時(shí)代，英雄時(shí)代和黑鐵時(shí)代。這是人類逐漸墮落的五個(gè)時(shí)代。英雄時(shí)代是特洛伊戰(zhàn)爭和阿喀琉斯，赫克托耳等英雄所生活的時(shí)代，而赫西俄德所生活的時(shí)代為最糟糕的黑鐵時(shí)代。這是他筆下英雄逐漸退場(chǎng)，諸神將人類拋棄的時(shí)代，也是歷史中黑暗時(shí)代和古風(fēng)時(shí)代交替的時(shí)期。這個(gè)時(shí)代用孔子所說的一句話說就是“禮崩樂壞”。但這是赫西俄德的一家之言。
So what is the picture of the Dark Ages? Hesiod, an ancient Greek poet of the eighth century B.C., in his work "Works and Days", divided human civilization into five ages: the Golden Age, the Silver Age, the Bronze Age, the Heroic Age, and the Iron Age. These are the five eras of human degradation. The Heroic Age is the age in which the Trojan War and heroes such as Achilles and Hector lived, while Hesiod lived in the worst of the Iron Age. In his works, this is the era when the heroes have disappeared and the gods have abandoned mankind, and it is also the period of history when the Dark Ages and the Archaic Ages alternated. In the words of Confucius, this era was a time of the "decline of classical music and the rites". But these are Hesiod's own words.
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赫西俄德寫作的這本書有很強(qiáng)的說教意味。赫西俄德的弟弟珀耳塞斯通過賄賂法官讓其做出有利于自己的判決從而分得了更多的家族財(cái)產(chǎn)。赫西俄德認(rèn)為自己遭受了不公，于是寫了這本書來對(duì)自己的弟弟進(jìn)行規(guī)勸。赫西俄德在書中借用希臘神話來告訴珀耳塞斯要通過努力勞動(dòng)來創(chuàng)造財(cái)富，要追求智慧，正義與美德。而當(dāng)時(shí)的背景是希臘社會(huì)正處于轉(zhuǎn)型期，城邦逐漸崛起，社會(huì)處于失范的狀態(tài)。
The book written by Hesiod is very didactic. Hesiod's brother, Perses, bribed the judge to rule in his favor so that he would receive a larger share of the family fortune. Believing that he had suffered an injustice, Hesiod wrote this book to advise his brother. In his book, Hesiod uses Greek mythology to tell Perses to create wealth through hard work and to pursue wisdom, justice, and virtue. And the context was a time when Greek society was in transition when city-states were gradually rising and society was in a state of anomie.
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這里我想說的是文學(xué)固然可以幫助我們更好地理解一個(gè)時(shí)代，但我個(gè)人對(duì)于文學(xué)的態(tài)度是，它可以用來做參考，但不能用來做判斷。因?yàn)楣磐駚砗芏嘀淖骷覍?duì)于他們所處時(shí)代的評(píng)價(jià)都不高，就如狄更斯所說，“那是最好的時(shí)代，也是最壞的時(shí)代”。
What I want to say here is that literature can certainly help us understand an era better, but my attitude toward literature is that it can be used for reference, but not for judgment. Because many famous writers throughout the ages have had a low opinion of their time, as Charles Dickens said, "It was the best of times, it was the worst of times".
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另外，關(guān)于希臘黑暗時(shí)代在這里我想提醒大家一點(diǎn)，人類歷史上有很多個(gè)所謂的“黑暗時(shí)代”，當(dāng)看到一個(gè)歷史時(shí)期被打上了“黑暗”這個(gè)標(biāo)簽的時(shí)候我們最好留個(gè)心眼，因?yàn)椤昂诎怠痹诖蠖鄶?shù)的時(shí)候只是一種修辭，而真實(shí)的歷史時(shí)期是無所謂光明還是黑暗的。因?yàn)闅v史是連續(xù)的。如果一個(gè)時(shí)代真的是“黑暗”的話就相當(dāng)于火熄滅了，故事結(jié)束了，然后就沒有然后了，我們根本不會(huì)知道它存在過。同樣的例子還有中世紀(jì)。
In addition, regarding the Greek Dark Ages, I would like to remind you that there are many so-called "dark ages" in human history, and we need to be careful when we see a historical period labeled as "dark", because "dark" is just a rhetorical term most of the time, and the real historical period is indifferent to light or dark. Because history is continuous. If an era is really "dark" it's like the fire goes out, the story ends, and then there's no more, we won't even know it existed. Similarly, the Middle Ages.
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中世紀(jì)同樣也被長期冠以“黑暗”一詞，但其實(shí)這是文藝復(fù)興時(shí)期的人們對(duì)于前一個(gè)歷史時(shí)期的普遍印象，這種印象從長期來看是一種偏見。實(shí)際上中世紀(jì)的文化成果是很豐富的，近現(xiàn)代的歐洲就是脫胎于中世紀(jì)的。同樣的，古希臘文化的高峰，古典希臘也正是脫胎于黑暗時(shí)代的。很多時(shí)候“黑暗”之后就是“光明”，光明正是脫胎于黑暗之中。因此所謂的“黑暗時(shí)代”在我看來是一個(gè)“承上啟下”的時(shí)代。我們可以使用黑暗時(shí)代這個(gè)通行的名稱，但如果我們將一個(gè)時(shí)代簡單地加上“黑暗”的濾鏡的話就會(huì)丟失很多細(xì)節(jié)。這是我想提醒大家的地方。
The Middle Ages have also long been labeled as "dark", but this was the common impression of the Renaissance people of the previous historical period, and this impression was a prejudice in the long run. The Middle Ages were so rich in cultural achievements that modern Europe was born from the Middle Ages. Likewise, the peak of ancient Greek culture, Classical Greece, was born from the Dark Ages. Very often "dark" is followed by "light", the light is born from the dark. So the so-called "Dark Ages" seems to me to be an "intermediate" era. We can use the common name of the Dark Ages, but if we simply add the filter of "dark" to an era, a lot of details will be lost. That's what I want to remind you of.
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在這一時(shí)期宮殿和城市被廢棄，王制解體，可能發(fā)生過的饑荒和戰(zhàn)亂導(dǎo)致人口急劇下降，希臘與外界的文化和貿(mào)易聯(lián)系也幾近中斷。但通過近年來的考古發(fā)現(xiàn)表明這一時(shí)期的希臘大陸比此前人們所普遍認(rèn)為的要繁榮得多，與外界的聯(lián)系也更廣泛。希臘人在黑暗時(shí)代進(jìn)行了廣泛的殖民，伊奧利亞人和愛奧尼亞人在這一時(shí)期渡過了愛琴海并在小亞西岸建立了殖民地。希臘與黎凡特和塞浦路斯的聯(lián)系約從公元前900年開始恢復(fù)，隨后陶輪技術(shù)，鐵質(zhì)工具和腓尼基字母也正是在此期間傳入希臘的。
During this period palaces and cities were abandoned, the kingship disintegrated, possible famines and wars led to a sharp decline in population, and Greece's cultural and trade ties with the outside world were virtually broken. However, recent archaeological discoveries have shown that mainland Greece was much more prosperous and more widely connected to the outside world during this period than had previously been generally believed. The Greeks colonized extensively during the Dark Ages, and the Aeolians and Ionians crossed the Aegean Sea and established colonies on the west coast of Asia Minor during this period. Greek contacts with the Levant and Cyprus were restored from around 900 B.C., followed by the introduction of potter's wheel technology, iron tools, and the Phoenician alphabet during this period.
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在藝術(shù)方面相較于米諾斯和邁錫尼時(shí)期精美的藝術(shù)，黑暗時(shí)代的藝術(shù)風(fēng)格要單調(diào)不少。壁畫和陶器圖案沒有了此前生動(dòng)的造型和豐富的顏色，取而代之的是簡單的線條。
In terms of art, compared to the exquisite art of the Minoan and Mycenaean periods, the art style of the Dark Ages was much simpler. Frescoes and pottery patterns without the previous vivid shapes and rich colors, were replaced by simple lines.
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舊有的社會(huì)秩序解體，為接下來的希臘城邦和雅典民主的崛起留出了空間。
The disintegration of the old social order left room for the rise of the Greek city-states and Athenian democracy that followed.
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總的來說，古希臘文明的根基在黑暗時(shí)代就已經(jīng)埋下了。
In general, the roots of ancient Greek civilization were planted in the Dark Ages.
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接下來我們需要對(duì)前面的內(nèi)容進(jìn)行一次梳理。
Next, we need to take a look at the previous content.
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青銅時(shí)代晚期這一時(shí)期發(fā)生的事非常散亂。但如果我們復(fù)盤一下的話就會(huì)發(fā)現(xiàn)在這些非常零散的線索和事件背后所發(fā)生的事其實(shí)就是一系列因素讓東地中海地區(qū)的三股主要?jiǎng)萘χ匦孪戳艘淮闻啤＿@是一個(gè)“一破一立”的過程。
The events of the Late Bronze Age are very scattered. But if we review it, we will find that what happened behind these very scattered clues and events was a series of factors that reshuffled the three major powers in the Eastern Mediterranean. This is a process of "breaking and establishing".
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首先我們來梳理一下東地中海地區(qū)的幾股勢(shì)力以及它們的關(guān)系。如果我把美索不達(dá)米亞算作“西亞”的話，其他兩股就是“埃及”和“希臘”。當(dāng)然你也可以把邁錫尼文明之前的希臘算作愛琴。
First of all, let's sort out the forces in the Eastern Mediterranean and their relations. If I count Mesopotamia as "Western Asia", the other two groups are "Egypt" and "Greece". You can also count Greece before Mycenaean civilization as Aegean.
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這里我想提到一個(gè)概念叫中間地帶（也可以叫過渡地帶，緩沖地帶，中間環(huán)節(jié)，樞紐，橋梁，走廊，通道，紐帶），它指的是系統(tǒng)的幾個(gè)部分之間起到連接作用的部分。各部分之間不是直接發(fā)生作用，而是通過中間地帶發(fā)生作用。
Here I would like to introduce a concept called intermediate zone (also called transition zone, buffer zone, intermediate part, hub, bridge, corridor, passage, or ties), which refers to the portion of the system that acts as a link between several parts. The parts do not interact directly with each other but through an intermediate zone.
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拿游戲舉例就是MOBA游戲里面雙方基地之間的部分就是中間地帶，這包括了上、中、下三路和野區(qū)。雙方的玩家并不直接發(fā)生接觸，而是有一個(gè)發(fā)展和互動(dòng)的過程，這個(gè)過程就是在中間地帶完成的。一方的力量是通過中間地帶間接投送給對(duì)方的。足球等運(yùn)動(dòng)也有這樣一個(gè)過程。游戲和歷史一樣是一個(gè)動(dòng)態(tài)變化的過程。隨著游戲進(jìn)程的發(fā)展，中間地帶會(huì)隨著雙方力量的此消彼長而不斷變化。當(dāng)中間地帶不斷被壓縮，甚至是消失的時(shí)候也就意味著一局游戲臨近結(jié)束。戰(zhàn)略存在于中間地帶。如果中間地帶消失，臉貼臉的情況下就只有戰(zhàn)術(shù)了。
Take the game, for example, is that in MOBA games, the portion between the bases of both sides is the intermediate zone, which includes the top, middle and bottom lanes, and the jungle. The players on both sides do not directly come into contact, but there is a process of development and interaction, which is done in the intermediate zone. The power of one side is indirectly invested in the other side through the intermediate zone. Sports such as soccer also have such a process. The game, like history, is a dynamic process of change. As the game progresses, the intermediate zone changes as the power of the two sides ebbs and flows. When the intermediate zone is compressed, or even disappears, it means that the game is coming to an end. Strategy exists in the intermediate zone. If the intermediate zone disappears, there are only tactics in a face-to-face situation.
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在東地中海地區(qū)，小亞和愛琴就是中間地帶。小亞是陸上樞紐，愛琴是海上樞紐。西亞，埃及和希臘正是通過小亞和愛琴進(jìn)行互動(dòng)，彼此塑造，相互交流，方式包括了貿(mào)易，戰(zhàn)爭和殖民等，并且他們?cè)谝欢螘r(shí)期之內(nèi)形成了一種動(dòng)態(tài)平衡。
In the Eastern Mediterranean region, Asia Minor and Aegean are the intermediate zones. Asia Minor was the land hub and the Aegean was the sea hub. It was through Asia Minor and the Aegean that Western Asia, Egypt, and Greece interacted, shaped, and exchanged with each other, through trade, war, and colonization, and they formed a dynamic equilibrium （dynamic balance） over a while.
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動(dòng)態(tài)平衡是一個(gè)化學(xué)術(shù)語。它指的是在一個(gè)可逆反應(yīng)當(dāng)中，當(dāng)正向反應(yīng)和逆向反應(yīng)以相同的速率進(jìn)行，且反應(yīng)物和生成物的濃度保持恒定的一種狀態(tài)。這個(gè)狀態(tài)也叫化學(xué)平衡。這個(gè)概念很重要，它可以應(yīng)用在很多領(lǐng)域。
Dynamic equilibrium is a chemical term. It refers to a state in a reversible reaction when the forward and reverse reactions proceed at the same rate and the concentrations of reactants and products do not change. This state is also called chemical equilibrium. This concept is important and it can be applied in many fields.
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首先是“動(dòng)態(tài)”和“平衡”。在達(dá)成動(dòng)態(tài)平衡的時(shí)候并不是反應(yīng)速率為零或者反應(yīng)停止了，而是在微觀上表現(xiàn)為正負(fù)反應(yīng)速率相等，反應(yīng)物濃度和生成物濃度不會(huì)隨時(shí)間而進(jìn)一步變化，因而系統(tǒng)的性質(zhì)沒有可見的變化，在宏觀上就表現(xiàn)為一種穩(wěn)定狀態(tài)。
The first is "dynamic" and "balanced". When dynamic equilibrium is reached, it is not that the reaction rate is zero or the reaction has stopped, but that the forward and reverse reactions proceed at the same rate on the microscopic scale, and the concentrations of reactants and products do not change further with time, so that there is no observable change in the properties of the system, and it appears as a steady state on the macroscopic scale.
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同理，干電池在“沒電”的時(shí)候并不是其內(nèi)部的化學(xué)反應(yīng)停止了，而是在微觀上其內(nèi)部的正負(fù)反應(yīng)速率相等，達(dá)成了動(dòng)態(tài)平衡，宏觀上就表現(xiàn)為沒電了。
Similarly, when a dry cell is "dead", it is not that its internal chemical reaction has stopped, but that its internal forward and reverse reactions are proceeding at the same rate at the microscopic scale, reaching a dynamic equilibrium, which is shown as dead at the macroscopic scale.
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不論是一個(gè)地區(qū)還是一個(gè)文明都會(huì)在一段時(shí)期內(nèi)保持一種穩(wěn)定的狀態(tài)。而一個(gè)地區(qū)的不同文明或者其中的一個(gè)文明都可以看作一個(gè)系統(tǒng)，這取決于我們以多大的尺度來看待它們。
Both a region and a civilization will remain in a stable state for some time. And the different civilizations in a region or one of them can be seen as a system, depending on how large a scale we look at them.
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這里還有兩個(gè)相關(guān)的概念需要我們了解，一個(gè)是靜態(tài)平衡，一個(gè)是穩(wěn)態(tài)。
Two other related concepts that we need to understand here are static equilibrium （static balance）and homeostasis.
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放在桌子上的書是一種靜態(tài)平衡（或靜力平衡）或者說機(jī)械平衡，這也就是通常所說的相對(duì)靜止（或靜止）。這是最常見的一種平衡。
The book placed on the table is a static equilibrium or mechanical equilibrium, which is also commonly referred to as relative stationery （or stationary）. This is the most common type of equilibrium.
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而穩(wěn)態(tài)是生物學(xué)概念。它指的是生命系統(tǒng)通過穩(wěn)定機(jī)制主動(dòng)維持其內(nèi)環(huán)境保持相對(duì)穩(wěn)定的一種狀態(tài)。這也是一種動(dòng)態(tài)平衡，但和化學(xué)平衡所不同的是，化學(xué)平衡是一種被動(dòng)的平衡，存在于封閉系統(tǒng)當(dāng)中，這是沒有生命的；而穩(wěn)態(tài)是一種主動(dòng)的平衡，存在于開放系統(tǒng)當(dāng)中，是有生命的。舉例來說就是環(huán)境的溫度是在不斷變化的，而我們的體溫卻總是能夠維持在一個(gè)相對(duì)穩(wěn)定的溫度。我們所處的環(huán)境總是在變化，但我們的情緒卻能在大多數(shù)時(shí)候保持穩(wěn)定。維持體溫恒定和情緒穩(wěn)定的過程是需要我們的身體通過一系列穩(wěn)定機(jī)制主動(dòng)調(diào)節(jié)的，這是一個(gè)主動(dòng)平衡的過程。穩(wěn)態(tài)在系統(tǒng)論和心理學(xué)等領(lǐng)域也是很重要的概念。
And homeostasis is a biological concept. It refers to a state in which a living system actively maintains the relative stability of its internal environment through stabilizing mechanisms. It is also a dynamic equilibrium, but unlike chemical equilibrium, which is a passive equilibrium that exists in a closed system and is lifeless, homeostasis is an active equilibrium that exists in an open system and is alive. For example, the temperature of the environment is constantly changing, while our body temperature always remains relatively constant. The environment is changing, but our emotions stay stable most of the time. The process of maintaining a constant body temperature and emotional stability requires our body to actively regulate it through a series of stabilizing mechanisms, a process of active equilibrium. Homeostasis is also an important concept in fields such as systems theory and psychology.
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就文化系統(tǒng)而言，古代文化系統(tǒng)的穩(wěn)定狀態(tài)更偏加向于被動(dòng)平衡。這主要是由于制度和技術(shù)等方面的限制，這時(shí)的文化系統(tǒng)更多的是去被動(dòng)地適應(yīng)環(huán)境。而近現(xiàn)代的文化系統(tǒng)由于制度和技術(shù)更加先進(jìn)，尤其是在現(xiàn)代政府出現(xiàn)之后，它們的穩(wěn)定狀態(tài)更偏向于主動(dòng)平衡。就像具有生命一樣，現(xiàn)代政府會(huì)有一套類似生物體的由感受器-處理器-效應(yīng)器三部分組成的“穩(wěn)態(tài)控制機(jī)制”，它可以很好的感知外部環(huán)境的變化并及時(shí)調(diào)整狀態(tài)，并且能夠?qū)ο到y(tǒng)內(nèi)的各種變化做出及時(shí)的反應(yīng)，保持內(nèi)環(huán)境的相對(duì)穩(wěn)定。相比于古代的文化系統(tǒng)，現(xiàn)代的文化系統(tǒng)會(huì)顯得更加智能。
As far as cultural systems are concerned, the steady state of ancient cultural systems is more oriented toward passive equilibrium. This is mainly due to institutional and technological constraints when the cultural system was more to passively adapt to the environment. Modern cultural systems, on the other hand, are more oriented toward active equilibrium in their steady state due to more advanced institutions and technologies, especially with the advent of modern governments. Just like life, the modern government has a set of "homeostatic control mechanisms" composed of receptor-processor-effector similar to that of living organisms, which can well sense changes in the external environment and adjust the state in time and can respond to various changes in the system in time to maintain the relative stability of the internal environment. Compared to ancient cultural systems, modern cultural systems would appear to be more intelligent.
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平衡和靜止是暫時(shí)的，是有條件的，而變化和運(yùn)動(dòng)才是常態(tài)。在講完被動(dòng)和主動(dòng)兩種動(dòng)態(tài)平衡之后我們還需要知道條件的變化會(huì)對(duì)平衡有何影響。接下來我們就來了解“變化”和“新的平衡”。
Balances and stasis are temporary, while changes and movements are the norm. After understanding the two types of dynamic equilibrium, passive and active, we need to know how changes in conditions affect the equilibrium. Next, we will learn about "change" and "new equilibrium".
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在化學(xué)中平衡的移動(dòng)可以用勒夏特列原理來描述。
The movement of equilibrium in chemistry can be described by Le Chatelier's principle.
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這個(gè)原理是說當(dāng)系統(tǒng)處于化學(xué)平衡狀態(tài)的時(shí)候，當(dāng)其中一個(gè)因素產(chǎn)生變化的時(shí)候，平衡就會(huì)向減弱這種變化的方向移動(dòng)來抗衡（或抵消）這種變化，系統(tǒng)達(dá)成新的平衡狀態(tài)。比如系統(tǒng)中的壓力變大了，平衡就向減小壓力的方向移動(dòng)以減小壓力帶來的變化。我們把這個(gè)原理提煉一下，可以說當(dāng)條件（或因素）發(fā)生變化的時(shí)候，舊有的平衡狀態(tài)被打破，平衡移動(dòng)，然后達(dá)成新的平衡。這是被動(dòng)平衡的移動(dòng)方式。
This principle means that when a system is in chemical equilibrium when one of the factors changes, the equilibrium moves in the direction of weakening the change to counteract it and the system reaches a new equilibrium. For example, if the pressure in the system becomes greater, the equilibrium moves in the direction of decreasing pressure to reduce the change caused by pressure. Let's summarize this principle by saying that when conditions (or factors) change, the old equilibrium is broken, the balance shifts, and then a new equilibrium is reached. This is the way the balance moves in passive equilibrium.
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而在生物學(xué)中平衡的移動(dòng)是通過正反饋和負(fù)反饋等機(jī)制來實(shí)現(xiàn)的。通過這些機(jī)制生物在一定程度上能夠主動(dòng)適應(yīng)環(huán)境的變化并進(jìn)行狀態(tài)的切換。
And in biology, the movement of equilibrium is achieved through mechanisms such as positive and negative feedback. Through these mechanisms, organisms can actively adapt to changes in the environment and switch states to a certain extent.
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反饋是指在一個(gè)系統(tǒng)中，輸出返回到輸入端重新作為輸入并以某種方式影響系統(tǒng)功能的過程。輸入和輸出形成反饋回路。當(dāng)反饋回路使輸出與輸入的作用方向相同時(shí)為正反饋；當(dāng)回路使輸出與輸入的作用方向相反時(shí)為負(fù)反饋。
Feedback is the process in a system where the output is returned to the input to re-act as input and affect the system function in some way. Inputs and outputs form a feedback loop. When the feedback loop makes the output act in the same direction as the input, it is positive feedback; when the loop makes the output act in the opposite direction of the input, it is negative feedback.
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舉例來說，正反饋的回路會(huì)使因素A產(chǎn)生更多的因素B，因素B又會(huì)產(chǎn)生更多的因素A。一個(gè)擾動(dòng)和變化在系統(tǒng)中所產(chǎn)生的影響會(huì)在正反饋回路中被不斷地強(qiáng)化，促進(jìn)，放大，加劇。正反饋非常不穩(wěn)定，它通常意味著失控和爆炸。比如核鏈?zhǔn)椒磻?yīng)，化學(xué)品爆炸，人群踩踏，經(jīng)濟(jì)體系中的銀行擠兌，繁榮和蕭條等現(xiàn)象。正因?yàn)樗浅２环€(wěn)定，所以在生物體中正反饋機(jī)制大多存在于性命攸關(guān)的時(shí)候，比如凝血和女性生產(chǎn)的過程。
For example, a positive feedback loop will cause factor A to produce more factor B, which in turn will produce more factor A. The effects of a perturbation and change in a system are continuously reinforced, facilitated, amplified, and exacerbated in a positive feedback loop. Positive feedback is so unstable that it usually means loss of control and explosion. Examples include nuclear chain reactions, chemical explosions, crowd stampedes, bank runs in the economic system, booms and busts, and other phenomena. Because it is so unstable, positive feedback mechanisms in living organisms are mostly present at critical times of life, such as the process of coagulation and female birth.
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而負(fù)反饋的機(jī)制和正反饋相反。在負(fù)反饋的回路中，因素A會(huì)減少因素B的產(chǎn)生。一個(gè)擾動(dòng)和變化在系統(tǒng)中所產(chǎn)生的影響在負(fù)反饋回路中會(huì)被減弱，抑制。負(fù)反饋會(huì)促進(jìn)系統(tǒng)的穩(wěn)定性，因而它是穩(wěn)態(tài)機(jī)制的重要組成部分。比如人體內(nèi)的血壓，血糖和體溫都是通過負(fù)反饋機(jī)制進(jìn)行調(diào)節(jié)的。當(dāng)感受器感受到上述指標(biāo)升高（或降低）時(shí)，調(diào)節(jié)中樞會(huì)發(fā)出指令讓效應(yīng)器使其降低（或升高）并維持在合適的水平。而一旦負(fù)反饋回路異常或者失效，就有可能出現(xiàn)高血壓，糖尿病和發(fā)熱。現(xiàn)代國家的各種監(jiān)管機(jī)構(gòu)就是這個(gè)系統(tǒng)的負(fù)反饋機(jī)制。
The mechanism of negative feedback, on the other hand, is the opposite of positive feedback. In a negative feedback loop, factor A will reduce the production of factor B. The effects of a disturbance and change in the system are diminished and suppressed in a negative feedback loop. Negative feedback promotes the stability of the system and thus it is an important part of the homeostatic mechanism. For example, blood pressure, blood glucose, and body temperature are all regulated by negative feedback mechanisms in the body. When a receptor senses an increase (or decrease) in one of these indicators, the regulatory center sends a command to the effector to lower (or raise) it and maintain it at the appropriate level. If the negative feedback loop is abnormal or fails, hypertension, diabetes and fever may occur. The various regulatory agencies of the modern state are the negative feedback mechanisms of the system.
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我們把視線移回東地中海。西亞，埃及和希臘這三方在一段時(shí)期里形成了一種動(dòng)態(tài)平衡，而一些因素打破了這種平衡。這些因素可能就包括了海上民族的興起，希臘北部地區(qū)多利安人的入侵以及自然災(zāi)害等。這些因素使東地中海地區(qū)的文明都遭到了重創(chuàng)。
Let's move our eyes back to the Eastern Mediterranean. The three parties - Western Asia, Egypt, and Greece - formed a dynamic balance over a period, which was upset by some factors. These factors may include the rise of the Sea Peoples, the invasion of the Dorians in northern Greece, and natural disasters. These factors caused all civilizations in the Eastern Mediterranean region to suffer a severe blow.
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那這些因素還作用在了哪里呢。或許你已經(jīng)想到了，這些因素讓中間地帶消失了。小亞的赫梯毀滅了，陸上樞紐消失了。愛琴地區(qū)，包括克里特，塞浦路斯和愛琴海諸島都遭到入侵和劫掠，海上貿(mào)易路線中斷了，海上樞紐也消失了。東地中海地區(qū)的秩序也就崩潰了。
So where else did these factors work? Perhaps you've thought of them. These factors make the intermediate zone disappear. The Hittites of Asia Minor were destroyed, and the land hub disappeared. The Aegean region, including Crete, Cyprus, and other Aegean islands was invaded and plundered, the sea trade routes were interrupted, and the sea hubs disappeared. The order of the Eastern Mediterranean region collapsed.
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從另一個(gè)方面來說，這些可能的因素也為后來的文明發(fā)展騰出了空間。舊的秩序崩潰了，新的秩序得以建立。古希臘正是在青銅時(shí)代晚期的崩潰之后，東地中海地區(qū)新的平衡建立的過程中崛起的。隨著新秩序的逐步建立，愛琴和小亞這兩個(gè)地區(qū)重新發(fā)揮樞紐的作用，商路重建了，文化交流恢復(fù)了，希臘字母出現(xiàn)了，隨后是第一屆古代奧林匹克運(yùn)動(dòng)會(huì)的舉辦，荷馬史詩的創(chuàng)作和希臘城邦的崛起。
On the other hand, these possible factors also made room for the development of later civilizations. The old order collapsed and a new one was established. It was in the process of establishing a new equilibrium in the Eastern Mediterranean following the collapse of the Late Bronze Age that ancient Greece rose to prominence. With the gradual establishment of the new order, the two regions of the Aegean and Asia Minor reasserted their role as hubs, commercial routes were re-established, cultural exchanges resumed, the Greek alphabet appeared, followed by the first ancient Olympic Games, the composition of Homer's epic poems and the rise of Greek city-states.
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總的來說，相比于美索不達(dá)米亞文明和埃及文明，古希臘的前身，米諾斯文明和邁錫尼文明是一個(gè)“邊緣文明”。它們的起步比較晚，地理位置也并不優(yōu)越，所擁有的資源也不多。相比之下，米諾斯文明和邁錫尼文明沒有什么出色的地方，在它們的身上還看不出來后來古希臘文明的成就。那希臘文明究竟是如何發(fā)展成為后來的樣子的，這是我們之后的視頻要關(guān)注的問題，也就是我在視頻開頭提到的，古希臘為什么是古希臘。
In general, compared to Mesopotamian and Egyptian civilizations, the predecessors of ancient Greece, Minoan, and Mycenaean civilizations were "fringe civilizations". They started late, their geographical location was not superior, and the resources they possessed were not much. In comparison, the Minoan and Mycenaean civilizations had nothing outstanding, and the achievements of the later ancient Greek civilization could not be seen in their bodies. So how exactly did Greek civilization develop into what it became, that's what we're going to focus on in the video afterward, which is what I mentioned at the beginning of the video, why ancient Greece is ancient Greece.
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本期視頻我們從地區(qū)，希臘人，米諾斯文明，邁錫尼文明和黑暗時(shí)代這幾個(gè)方面對(duì)古希臘的源起有了一個(gè)大概的了解。對(duì)于這部分內(nèi)容我個(gè)人認(rèn)為比較難的是線索的梳理以及如何認(rèn)識(shí)這段歷史，不過好歹我把它啃下來了。有了這期視頻做鋪墊，接下來內(nèi)容的展開就會(huì)順利很多。
This video gives an overview of the origins of ancient Greece in terms of the region, the Greeks, the Minoan civilization, the Mycenaean civilization, and the Dark Ages. The hard part for me was sorting out the clues and how to understand the history of the period, but at least I got it done. With this video setting the stage, the following content will unfold much more smoothly.
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我們下期視頻再見。
See you in the next video.
