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So far we have examined the Apollinian and Dionysian states as the product of formative forces arising directly from nature without the mediation of the human artist.
直到现在，我们曾把梦境和它的对立面醉境看作两种发乎自然，并无人工参与的艺术创造力。
At this stage artistic urges are satisfied directly, on the one hand through the imagery of dreams, whose perfection is quite independent of the intellectual rank, the artistic development of the individual;
在这些力量中，发乎自然的艺术冲动，获得最方便最直接的满足：一方面是梦境的绘画境界，它的美满是不依赖个人的知识高超和艺术修养的；
on the other hand, through an ecstatic reality which once again takes no account of the individual and may even destroy him, or else redeem him through a mystical experience of the collective.
另一方面是醉境的现实，它也是绝不尊重个人能力，甚或竭力把个性摧毁，然后通过一种神秘的万类统一感来救济他。
In relation to these immediate creative conditions of nature every artist must appear as "imitator," either as the Apollinian dream artist or the Dionysian ecstatic artist, or, finally (as in Greek tragedy, for example) as dream and ecstatic artist in one.
对这两种自然的、直接的艺术境界而言，每个艺术家都是“摹仿者”，换句话说，他或是梦神式的梦境艺术家，或是酒神式的醉境艺术家，或者最后既是梦境的又是醉境的艺术家，例如希腊悲剧作家；就悲剧家而言。
We might picture to ourselves how the last of these, in a state of Dionysian intoxication and mystical self-abrogation, wandering apart from the reveling throng, sinks upon the ground, and how there is then revealed to him his own condition--complete oneness with the essence of the universe--in a dream similitude.
我们不妨设想，他初时沉湎在酒神的醉境和神秘的忘我之境，孑然一身，离开了狂歌纵饮的群伍；然后，由于梦神的梦境的感召，他自己的境界，也就是说，他与宇宙根源的统一，立刻在他眼前显现为一幅象征的梦景图画。
Having set down these general premises and distinctions, we now turn to the Greeks in order to realize to what degree the formative forces of nature were developed in them.
一般性的前提和对照既已说明，现在让我们进而研究古希腊人，看看发乎自然的艺术冲动在希腊人中间发展到何等高度。
Such an inquiry will enable us to assess properly the relation of the Greek artist to his prototypes or, to use Aristotle's expression, his "imitation of nature."
因此，我们便有可能更深入地了解和估计希腊艺术家对其原型的关系，亦即亚里士多德所谓“摹仿自然”。
Of the dreams the Greeks dreamed it is not possible to speak with any certainty, despite the extant dream literature and the large number of dream anecdotes.
虽则古希腊人有不少写梦作品和记梦奇谈，我们讨论他们的梦却只能凭猜测，即使不无恰当的论断。
But considering the incredible accuracy of their eyes, their keen and unabashed delight in colors, one can hardly be wrong in assuming that their dreams too showed a strict consequence of lines and contours, hues and groupings, a progression of scenes similar to their best bas reliefs.
试想他们洞烛隐微不爽丝毫的造型眼力，试想他们对色彩的坦率鲜明的喜爱，我们就不禁设想（后世人们应引以为耻）：甚至他们的梦也有线条、轮廓、颜色、布局等等的逻辑关系，也有一种类似最精美的希腊浮雕的连环画景。
The perfection of these dream scenes might almost tempt us to consider the dreaming Greek as a Homer and Homer as a dreaming Greek; which would be as though the modern man were to compare himself in his dreaming to Shakespeare.
而且是这样的美满，所以我们颇有理由，——假如可以用比喻来说。——去称做梦的希腊人为荷马，称荷马为做梦的希腊人。这总比现代人在谈及自己的梦时竟敢自比为莎士比亚，有更深远的意义。
