Only now has it become possible to speak of nature's celebrating an aesthetic triumph; only now has the abrogation of the principium individuationis become an aesthetic event.
在佳节良晨，灵性第一次有了艺术性的庆典，个性原则的毁灭第一次成为一种艺术现象。
That terrible witches' brew concocted of lust and cruelty has lost all power under the new conditions.
在这场合，情欲与残暴相结合的猥琐的“妖女的淫药”也失效了。
Yet the peculiar blending of emotions in the heart of the Dionysian reveler--his ambiguity if you will--seems still to hark back (as the medicinal drug harks back to the deadly poison) to the days when the infliction of pain was experienced as joy while a sense of supreme triumph elicited cries of anguish from the heart.
唯独酒神信徒的离奇混合的二重性情绪，使我们想到哀极则破涕为欢，乐极则喟叹呻吟的心理现象，正如良药使我们想到毒鸩。
For now in every exuberant joy there is heard an undertone of terror, or else a wistful lament over an irrecoverable loss.
这是欢乐极时的惶惑惊呼，或者恨海难填的眷恋哀鸣。
It is as though in these Greek festivals a sentimental trait of nature were coming to the fore, as though nature were bemoaning the fact of her fragmentation, her decomposition into separate individuals.
在希腊的节会，性灵仿佛露出一种伤感的迹象，为了自己之化整为零掀起一丝喟叹。
The chants and gestures of these revelers, so ambiguous in their motivation, represented an absolute novum in the world of the Homeric Greeks; their Dionysian music, in especial, spread abroad terror and a deep shudder.
这些二重性情绪的酒徒的歌声和舞姿，是荷马时代希腊人闻所未闻的新奇事物；尤有甚者，酒神祭音乐激起人们的惶惑和恐惧。
It is true: music had long been familiar to the Greeks as an Apollinian art, as a regular beat like that of waves lapping the shore, a plastic rhythm expressly developed for the portrayal of Apollinian conditions.
虽则我们似乎一向承认音乐是梦境的艺术，但是，严格谈来，这不过是指节奏的律动而言；为了表现梦境境界，便发展了节奏的造型能力。
Apollo's music was a Doric architecture of sound--of barely hinted sounds such as are proper to the cithara.
梦境音乐其实是音调方面的多里斯建筑艺术，仅仅是富于暗示的音调，例如竖琴之音。
Those very elements which characterize Dionysian music and, after it, music quite generally: the heart shaking power of tone, the uniform stream of melody, the incomparable resources of harmony--all those elements had been carefully kept at a distance as being inconsonant with the Apollinian norm.
然而，酒神祭音乐，乃至一般音乐的组成成份，例如，音调之惊心动魄，歌韵之急流直泻，和声之绝妙境界，都被慎重地除掉了，被目为非梦境的因素。
In the Dionysian dithyramb man is incited to strain his symbolic faculties to the utmost; something quite unheard of is now clamoring to be heard: the desire to tear asunder the veil of Maya, to sink back into the original oneness of nature; the desire to express the very essence of nature symbolically.
在酒神颂歌中，人的一切象征能力被激发到最高程度；一些从未体验过的情绪迫不急待地发泻出来——“幻”的幛幔被撕破了，种族灵魂与性灵本身合而为一。
Thus an entirely new set of symbols springs into being. First, all the symbols pertaining to physical features: mouth, face, the spoken word, the dance movement which coordinates the limbs and bends them to its rhythm.
现在，性灵的真谛用象征方法表现出来，我们需要一个新的象征世界，肉体的一切象征能力一起出现，不但双唇，脸部，语言富于象征意义，而且丰富多彩的舞姿也使得手足都成为旋律的运动。
Then suddenly all the rest of the symbolic forces--music and rhythm as such, dynamics, harmony--assert themselves with great energy.
于是，其它象征能力随之而发生，音乐的象征能力突然暴发为旋律、音质与和声。
In order to comprehend this total emancipation of all the symbolic powers one must have reached the same measure of inner freedom those powers themselves were making manifest; which is to say that the votary of Dionysus could not be understood except by his own kind.
为了掌握如何把这一切象征能力一起释放，人必须已达到忘我之境，务求通过这些能力象征地表现出来。
It is not difficult to imagine the awed surprise with which the Apollinian Greek must have looked on him. And that surprise would be further increased as the latter realized, with a shudder, that all this was not so alien to him after all, that his Apollinian consciousness was but a thin veil hiding from him the whole Dionysian realm.
所以，酒神祭的信徒，唯有同道中人能够了解。梦神式的希腊人看到这些酒徒，将感到何等惊愕呵！而尤有甚者，惊愕以外加上疑虑，隐约感到这种情绪毕竟是自己所熟识的，不过自己的梦神意识象一幅幛幔似的掩遮着眼前的陶醉境界！