When after all a new genre sprang into being which honored tragedy as its parent, the child was seen with dismay to bear indeed the features of its mother, but of its mother during her long death struggle.
然而，在悲剧死后，一种新的艺术繁盛起来，它奉悲剧为先妣，为主母。人们诧异地觉察到她酷肖她母亲的容貌，可是那是她长久在垂死挣扎中的愁容。
The death struggle of tragedy had been fought by Euripides, while the later art is known as the New Attic comedy.
欧里庇德斯亲身经历过悲剧的垂死挣扎之苦。这种后起的艺术叫做阿提刻新喜剧。
Tragedy lived on there in a degenerate form, a monument to its painful and laborious death.
悲剧的蜕化的形式还留存在它上面，好象是悲剧非常悲惨的暴卒之纪念碑！
In this context we can understand the passionate fondness of the writers of the new comedy for Euripides.
从这种渊源关系，不难理解，为甚么新喜剧的诗人们对欧里庇德斯抱着这样热情的倾慕。
Now the wish of Philemon--who was willing to be hanged for the pleasure of visiting Euripides in Hades, providing he could be sure that the dead man was still in possession of his senses--no longer seems strange to us.
所以，我们也不再诧异斐勒蒙（Philemon）的愿望：他说只要他能够在冥土中拜访欧里庇德斯，他宁愿立刻自谥，但愿他能确实知道人在死后仍有理性。
If one were to attempt to say briefly and merely by way of suggestion what Menander and Philemon had in common with Euripides, and what they found so exemplary and exciting in him,
然而，如果我们只要简单扼要地说明，而不要求穷其究竟，欧里庇德斯与米南 德（Menander）及斐勒蒙有甚么共同的地方，是甚么使他们这样兴奋地去模仿；
one might say that Euripides succeeded in transporting the spectator onto the stage.
那末，我们只须指出：欧里庇德斯把观众带上舞台。