Up to this point I have developed at some length a theme which was sounded at the beginning of this essay: how the Dionysian and Apollinian elements, in a continuous chain of creations, each enhancing the other, dominated the Hellenic mind;
到此为止，我只发挥了我在本文章首的意见，即酒神与梦神两类型文化，新陈代谢而相得益彰，始终统辖着希腊天才。
how from the Iron Age, with its battles of Titans and its austere popular philosophy, there developed under the aegis of Apollo the Homeric world of beauty; how this "naive" splendor was then absorbed once more by the Dionysian torrent, and how, face to face with this new power, the Apollinian code rigidified into the majesty of Doric art and contemplation.
在梦神的爱美冲动统治下，荷马世界从青铜时代及其铁旦神统战争和严厉的民间哲学发展而成；荷马的“素朴”的繁荣又被酒神文化的滔滔狂潮淹没了；于是梦神文化起来反抗这种新势力，终于达到多里斯艺术和多里斯世界观的威严。
If the earlier phase of Greek history may justly be broken down into four major artistic epochs dramatizing the battle between the two hostile principles, then we must inquire further (lest Doric art appear to us as the acme and final goal of all these striving tendencies) what was the true end toward which that evolution moved.
这样，如果把希腊的古代史分为四大艺术阶段，我们现在就有必要进一步去探索这些发展和进步的终极目的，否则我们也许以为那最后达到的时代，多里斯艺术的时代，就是这些艺术冲动的高峰和归宿。
And our eyes will come to rest on the sublime and much lauded achievement of the dramatic dithyramb and Attic tragedy, as the common goal of both urges; whose mysterious marriage, after long discord, ennobled itself with such a child, at once Antigone and Cassandra.
到了那时代，阿提刻悲剧和酒神祭戏曲的崇高而著名的艺术作品出现在我们眼前，它们是这两种倾向的共同目标；久经波折之后，这两种倾向终于庆贺这段神秘的姻缘，产生了这个孩子——她既是安提戈妮（Antigone），又是嘉珊德拉（Cassandra）。