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Thus we use the experiences of the truly aesthetic listener to bring to mind the tragic artist himself as he creates his figures like a fecund divinity of individuation (so his workcan hardly be understood as an "imitation of nature") and as his vast Dionysian impulse then devours his entire world of phenomena, in order to let us sense beyond it, and through its destruction, the highest artistic primal joy, in the bosom of the primordially One.
所以，我们从真正审美观众的自身经验，可以想象出悲剧艺术家本身：他象一个多产的个性化之神，塑造出他的人物形象，在这意义上，他的作品就很难说是“模仿自然”了；另一方面，他的强大的醉境冲动吸取了整个现象界，以便预示在现象的彼岸，因现象的毁灭，将出现太一怀抱中之艺术根源的最高快感。
Of course our aestheticians have nothing to say about this return to the primordial home, or the fraternal union of the two art-deities, nor of the excitement of the hearer which isApollinian as well as Dionysian; but they never tire of characterizing the struggle of the hero with fate, the triumph of the moral world order, or the purgation of the emotions through tragedy, as the essence of the tragic.
当然，关于梦神和酒神亲如兄弟的关系，他们如何重返故乡，以及观众的梦境的或醉境的兴奋，我们的美学家不能撰一词，可是他们却不厌其烦地缕述英雄与命运的斗争，道德世界的秩序之胜利，悲剧所起的感情净化作用，而视之为真正的悲壮。
And their indefatigability makes me think that perhaps they are not aesthetically sensitive at all, but react merely as moral beings when listening to a tragedy.
这种老生常谈，使我想到他们可能是毫无美感的人，他们在听悲剧时，堪称为卫道之士。
Never since Aristotle has an explanation of the tragic effect been offered from which aesthetic states or an aesthetic activity of the listener could be inferred.
自亚里士多德以来，从没有人提出一种关于悲剧效果的解释，根据艺术实况，根据审美活动，以推断观众的心理。
Now the serious events suare supposed to prompt pity and fear to discharge themselves in a way that relieves us; now we are supposed to feel elevated and inspired by the triumph of good and noble principles, at the sacrifice of the hero in the interest of a moral vision of the universe.
有时，人们认为“怜悯与恐惧”是庄严剧情所促使的，减轻痛苦的感情渲泄；有时，认为我们看到良善高尚的道义的胜利，看到英雄为道德的世界观而牺牲，便感到扬举和兴奋。
I am sure that for countless men precisely this, and only this, is the effect of tragedy, but it plainly follows that all these men, together with their interpreting aestheticians, have had no experience of tragedy as a supreme art.
固然，我深信，对于大多数人，悲剧的效果正是这点，而且仅仅是这点；但是，由此可见，这些人，连同对他们解释的美学家，并没有把悲剧作为最高的艺术来欣赏。
The pathological discharge, the catharsis of Aristotle, of which philologists are not sure whether it should be included among medical or moral phenomena, recalls a remarkable notion of Goethe's. "
所谓病理的渲泄，亚里斯多德的catharsis－，——语文学家不知应该把它归入医学的，还是道德的现象，——使人想起歌德那有名的猜断。
Without a lively pathological interest," he says, "I, too, have never yet succeeded in elaborating a tragic situation of any kind, and hence I have rather avoided than sought it. Can it perhaps have been yet another merit of the ancients that the deepest pathos was with them merely aesthetic play, while with us the truth of nature must cooperate in order toproduce such a work?"
他说：“我对于病理学不大感兴趣，我也从未成功地写出任何一种悲剧场面，所以我与其探讨，毋宁避免这个问题。也许这是古代人的另一优点吧：在他们最高的感染力不过是一种审美的游戏；在我们，就必须借助于逼真的描写，始能产生这样的作品？”
We can now answer this profound final question in the affirmative after our glorious experiences, having found to our astonishment that the deepest pathos can indeed be merely aesthetic play in the case of musical tragedy.
就歌乐悲剧而论，我们往往发现最深的感染力其实只是审美的游戏。
Therefore we are justified in believing that now for the first time the primal phenomenon of the tragic can be described with some degree of success. Anyone who still persists in talking only of those vicarious effects proceeding from extra-aesthetic spheres, and who does not feel that he is above the pathological-moral process, should despair of his aesthetic nature: should we recommend to him as an innocent equivalent the interpretation of Shakespeare after the manner of Gervinus and the diligent search for poetic justice?
现在根据我们这辉煌的经验，就可以肯定歌德的意味深长的问题，现在根据我们这辉煌的经验，就可以肯定歌德的意味深长的问题，所以我们颇有理由相信：现在我们可以初步成功地描述悲剧的原始现象。现在，如果还有人总是高谈那些在美感领域以外的代替的效果，觉得自己不能超过病理学道德学的解释，他定必对自己的审美能力感到失望；那末，我们就劝告他依照格尔维诺斯（Gerinus）的方法解释莎士比亚，努力去探讨诗的正义，这是无伤大雅的。
