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The sculptor, as well as his brother, the epic poet, is committed to the pure contemplation of images.
造型艺术家，乃至与他近似的史诗诗人，沉湎在形象的纯粹观照里。
The Dionysian musician, himself imageless, is nothing but original pain and reverberation of the image.
酒神型音乐家则无需形象，他自己就是纯粹观照的原始痛苦及其原始反响。
Out of this mystical process of un-selving, the poet's spirit feels a whole world of images and similitudes arise, which are quite different in hue, causality, and pace from the images of the sculptor or narrative poet.
抒情的天才独能感觉到一个画景象征世界从神秘的玄同忘我之境中产生。这一境界另有一种色彩，一种因果，一种速度，与造型艺术家和史诗诗人的世界绝不相同。
While the last lives in those images, and only in them, with joyful complacence, and never tires of scanning them down to the most minute features, while even the image of angry Achilles is no more for him than an image whose irate countenance he enjoys with a dreamer's delight in appearance--so that this mirror of appearance protects him from complete fusion with his characters--the lyrical poet, on the other hand, himself becomes his images, his images are objectified versions of himself.
因为后者生活在这些画景中，而只有在画景中才欣然自得，他静观万象，秋毫不爽，却依依不舍，乐此而不疲。甚至愤怒的阿客琉斯的形象，在他看来，也不过是一幅画景而已。他怀着追求幻梦的快感来欣赏阿客琉斯的愤怒表情。所以，在这幻影的掩护下，他就不致与诗中人物共甘苦，同呼吸。反之，抒情诗人所描写的画景不是别的，正是他本人，而且仿佛只是他自己的各种投影，
Being the active center of that world he may boldly speak in the first person, only his "I" is not that of the actual waking man, but the "I" dwelling, truly and eternally, in the ground of being.
因此他好象就是宇宙的运动的中心，可以高谈自我，不过，这个“我”，当然不是清醒的实践中人的“我”，而是潜藏在万象根基中唯一真正存在的永恒的“我”，
It is through the reflections of that "I" that the lyric poet beholds the ground of being.
而凭借这个我的反映，抒情的天才就能够洞察万象的根基。
Let us imagine, next, how he views himself too among these reflections--as non-genius, that is, as his own subject matter, the whole teeming crowd of his passions and intentions directed toward a definite goal; and when it now appears as though the poet and the nonpoet joined to him were one, and as though the former were using the pronoun "I," we are able to see through this appearance, which has deceived those who have attached the label "subjective" to the lyrical poet.
现在，我们再假定：他在这些形象中也见到自己是非天才，换句话说，见到他的“主体”，他那一股主观的热情与激动，对着某一在他看来似乎是真实的对象而发；那时，抒情的天才就仿佛与非天才结合为一，而天才仿佛是自动地说出“我”这个字。然而，这个表面现象再不能把我们引入迷途，虽则有些人确实会被它迷惑，而把抒情诗人称为主观诗人。
The man Archilochus, with his passionate loves and hates, is really only a vision of genius, a genius who is no longer merely Archilochus but the genius of the universe, expressing its pain through the similitude of Archilochus the man.
其实，热情磅礴，既爱人类又恨人类的阿奇洛科斯，不过是天才的一个幻影而已；此时此际，他已经再也不是阿奇洛科斯，而是世界天才假借阿奇洛科斯其人象征地说出自己的原始痛苦；
Archilochus, on the other hand, the subjectively willing and desiring human being, can never be a poet.
但是具有主观意志和欲望的人阿奇洛科斯，却无论何时也不能是个诗人。
Nor is it at all necessary for the poet to see only the phenomenon of the man Archilochus before him as a reflection of Eternal Being: the world of tragedy shows us to what extent the vision of the poet can remove itself from the urgent, immediate phenomenon.
然而，这位抒情诗人也不一定只能见到通过阿奇洛科斯其人反映永恒存在的这一现象；希腊悲剧就证明了：抒情诗人的幻想世界，同这种当然与它有密切关系的现象，相去甚远。
