It is at this point that philit is at this point that philosophical ideas begin to entwine themselves about art, forcing the latter to cling closely to the trunk of dialectic.
这里，哲学思想长满在艺术之上，强迫它依附辩证法的主干。
The Apollinian tendency now appears disguised as logical schematism, just as we found in the case of Euripides a corresponding translation of the Dionysian affect into a naturalistic one.
梦境的倾向已经在逻辑三段论的外壳里化成蛹。我们在欧里庇德斯方面也见到类似的情况，此外还见到醉境成份转化为自然主义的情感。
Socrates, the dialectical hero of the Platonic drama, shows a close affinity to the Euripidean hero, who is compelled to justify his actions by proof and counterproof, and for that reason is often in danger of forfeiting our tragic compassion.
苏格拉底、柏拉图戏剧中的辩证法英雄，使人想起类似欧里庇德斯悲剧英雄的气概：他们都必须用理由和反驳来维护自己的行为，所以往往有丧失我们的悲剧同情之危险；
For who among us can close his eyes to the optimistic element in the nature of dialectics, which sees a triumph in every syllogism and can breathe only in an atmosphere of cool, conscious clarity?
因为谁会误解辩证法本质中的乐观成份，即每次结局的祝捷欢呼，而独能在冷静的清醒和自觉中呼吸自如呢？
Once that optimistic element had entered tragedy, it overgrew its Dionysian regions and brought about their annihilation and, finally, the leap into genteel domestic drama Consider the consequences of the Socratic maxims:
这种乐观成份一旦侵入悲剧中，就势必逐渐蔓延到醉境的境界，而且必然迫使悲剧自趋灭亡，——直至它跳入资产阶级戏剧的深渊而丧命。我们只须看看苏格拉底格言的恶果，
virtue is knowledge; all sins arise from ignorance; only the virtuous are happy"--these three basic formulations of optimism spell the death of tragedy.
他说：“德即是知，犯罪是由于无知，有德的人定是快乐的人。”悲剧的灭亡就是由于这三个乐观主义基本公式。
The virtuous hero must henceforth be a dialectician; virtue and knowledge, belief and ethics, be necessarily and demonstrably connected; Aeschylus' transcendental concept of justice be reduced to the brash and shallow principle of poetic justice with its regular deus ex machina.
因为，现在有德的英雄必须是个辩证法者；现在德与 知之间，信仰与德性之间，必须有必然的明显的结合；现在，埃斯库罗斯的先验的正义观，业已沦为所谓“诗的主义”这浮浅狂妄的原则，及其惯用的“神机妙算”了。