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In folk poetry we find, moreover, the most intense effort of language to imitate the condition of music.
因此，我们在民歌创作中，看见语言紧张到极点，以模仿音乐。
For this reason Archilochus may be claimed to have ushered in an entirely new world of poetry, profoundly at variance with the Homeric; and by this distinction we have hinted at the only possible relation between poetry and music, word and sound.
所以，从阿奇洛科斯起，开始了抒情诗的新世界，它根本上是同荷马史诗的世界相反的。这样说来，我们已经指出了诗与音乐、词句与声音之间的关系：
Word, image, and idea, in undergoing the power of music, now seek for a kind of expression that would parallel it.
词句，画景，概念，现在找到了类似音乐的表现，而且感受到音乐的力量。
In this sense we may distinguish two main currents in the history of Greek verse, according as language is used to imitate the world of appearance or that of music.
在这意义上，我们可以判别希腊民族语言史上的两个主潮，视乎他们的语言是模仿现象和想象的境界，抑或是模仿音乐的境界。
To understand more profoundly the significance of this distinction, let the reader ponder the utter dissimilarity of verbal color, syntax and phraseology in the works of Homer and Pindar.
你只须深究荷马与品达的语言在色彩、句法、词汇上的不同，便能了解这种对照的意义。
He then cannot fail to conjecture that in the interval there must have sounded the orgiastic flute notes of Olympus, which, as late as Aristotle's time, in the midst of an infinitely more complex music, still rouses men to wild enthusiasm, and which at their inception must have challenged all contemporaries to imitate them by every available poetic resource.
真的，显而易见，在荷马与品达之间的时期，奥林匹斯秘仪的笛声定响彻希腊，甚至在亚里士多德时代，当音乐已经极其发展之时，这笛声还能荡气回肠，使人陶然若醉，而且在其发展的原始阶段，确实曾激发当时人们的一切诗歌表现方法去模仿它。
I wish to instance in this connection a well-known phenomenon of our own era which our modish aestheticians consider most exceptionable.
我请您注意今日一种常见的，而为我们美学所反对的现象。
We have noticed again and again how a Beethoven symphony compels the individual hearers to use pictorial speech--though it must be granted that a collocation of these various descriptive sequences might appear rather checkered, fantastic, even contradictory.
我们常常能体会到：一首贝多芬交响曲使得各个听众不得不用比喻来描述它，即使一篇乐章所产生的种种画景在结构上是如何狂乱斑烂，甚至矛盾百出。
Small wonder, then, that our critics have exercised their feeble wit on these musical images, or else passed over the phenomenon--surely one worthy of further investigation--in complete silence.
搜索枯肠来评论这样的结构，而独忽略了一个确实值得阐明的现象，今日美学的能事尽在于此。
Even in cases where the composer himself has employed pictorial tags in talking about his work-- calling one symphony "Pastoral," one movement "Brook Scene" and another "Jolly Concourse of Peasants"--these tropes are properly reducible to purely musical elements rather than standing for actual objects expressed through music.
不错，纵使这位音乐诗人用形象来说明他的制作，例如，他把某一交响曲命名为“田园交响曲”，或者把其中一乐章称为“溪边景色”，另一乐章称为“乡人欢聚”。这些名称也不过是从音乐产生的象征标题而已，也许并不是指音乐所模仿的对象，
It is true that such musical representations can neither instruct us much concerning the Dionysian content of music nor yet lay claim to any distinctive value as images.
至于醉境音乐的内容，这些标题并没有告诉我们甚么。其实，放在别种画题旁一比，它们也没有甚么特独的价值。
But once we study this discharge of music through images in a youthful milieu, among a people whose linguistic creativity is unimpaired, we can form some idea of how atrophic folk song must have arisen and how a nation's entire store of verbal resources might be mobilized by means of that novel principle, imitation of the language of music.
现在，我们要把这音乐通过形象爆发的过程，让与那些朝气蓬勃、富有语言创造力的民族了。以便推测乐章式的民歌是怎样形成的，一切语言表现力是怎样由“模仿性音乐”这个新原理激发的。
