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Let the attentive friend imagine the effect of a true musical tragedy purely and simply, ashe knows it from experience.
请关心的朋友单凭自己的经验，想象一部真正的歌乐悲剧的效果。
I think I have so portrayed the phenomenon of this effect in both its phases that he cannow interpret his own experiences.
我想，我已经从两方面描写了这效果的现象，所以您现在能够说明您的经验了。
For he will recollect how with regard to the myth which passed in front of him, he felt himself exalted to a kind of omniscience, as if his visual faculty were no longer merely asurface faculty but capable of penetrating into the interior, and as if he now saw before him, with the aid of music, the waves of the will, the conflict of motives, and the swelling flood of the passions, sensually visible, as it were, like a multitude of vividly moving lines and figures; and he felt he could dip into the most delicate secrets of unconscious emotions.
您会记得：看到在您面前表演的神话，您觉得自己被提高到一种“全知”的境界，仿佛您的视觉能力不仅是一种外在的能力，而是能够洞烛内蕴的，仿佛现在您凭借音乐的帮助，目击意志的沸腾，动机的斗争，激情的澎湃，一切了如指掌，宛若见到无数生动活泼的线条和图形在眼前，因此您能够潜入下意识情绪最微妙的秘奥之处。
While he thus becomes conscious of the highest exaltation of his instincts for clarity and transfiguration, he nevertheless feels just as definitely that this long series of Apollinian artistic effects still does not generate that blessed continuance in will-less contemplation which the plastic artist and the epic poet, that is to say, the strictly Apollinian artists,evoke in him with their artistic productions: to wit, the justification of the world of theindividuatio attained by this contemplation--which is the climax and essence of Apollinian art.
正当您感到自己对具体化和形象化的要求达到最高度时，您就同样明确地觉得：这一系列的梦境艺术的效果，还是不能产生无意识的静观的幸福心境，象造型艺术家和史诗诗人，也就是说，真正梦境艺术家，以其作品所能唤起的那样；这种心情，就是在无意识的静观中达到的个性（individuatio）境界之明证亦即梦境艺术的高峰和精髓。
He beholds the transfigured world of the stage and nevertheless denies it. He sees the tragic hero before him in epic clearness and beauty, and nevertheless rejoices in his annihilation. He comprehends the action deep down, and yet likes to flee into the incomprehensible. He feels the actions of the hero to be justified, and is nevertheless still more elated when these actions annihilate their agent. He shudders at the sufferings which will befall the hero, and yet anticipates in them a higher, much more overpowering joy. He sees more extensively and profoundly than ever, and yet wishes he were blind.
您看到形象化的舞台境界，可是您否定它。您见到眼前的悲剧英雄具有史诗的明确性和美，可是您对英雄的灭亡感到快慰。您极其深入地了解剧中情节，可是您愿意逃入不可知的境界。您觉得英雄的行为合情合理，可是当这些行为促使英雄灭亡时，您反而更为精神抖擞。您对于英雄所受的苦难悚然惊心，可是您预感到英雄将带来一种更强烈的快乐。您比平时见到更广更深，可是您宁愿视而不见。
How must we derive this curious internal bifurcation, this blunting of the Apollinian point, if not from the Dionysian magic that, though apparently exciting the Apollinian emotions to their highest pitch, still retains the power to force into its service his excess of Apollinian force?
我们如何推究这种奇异的自我分裂，这种梦境高峰的崩溃呢，它可不是由于酒神的魔力吗？
The tragic myth is to be understood only as a symbolization of Dionysian wisdom through Apollinian artifices. The myth leads the world of phenomena to its limits where it denies itself and seeks to flee back again into the womb of the true and only reality, where it then seems to commence its metaphysical swansong, like Isolde:
这种魔力虽则表面上掀起梦境情绪，使它达到顶点，却能够强迫过分的梦境力量为它服务。所以，悲剧神话只能理解为以梦境艺术为媒介的酒神智慧之象征；神话把现象界引到它的极限，直到它否定自己，而竭力再度投奔真正唯一的实在之怀抱，于是它象绮瑟那样，似乎要高唱它的超脱的辞世曲了：
In the rapture ocean'sbillowing roll,in the fragrance waves'ringing sound,in the world breath'swafting whole--to drown, to sink--unconscious--highest joy!在欢乐之海的澎湃波涛中，在大气之流的宏亮回声里，在宇宙呼吸的吹拂的一切，沉溺了，淹没了。无常识的，最高的狂喜！
