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In considering the extraordinary boldness with which Aeschylus places the Olympian world on his scales of justice,
试想深思的希腊人的秘教有其牢不可破的哲理基础，
we must remember that the profound Greek had an absolutely stable basis of metaphysical thought in his mystery cults and that he was free to discharge all his skeptical velleities on the Olympians.
而且他们的种种怀疑论有时甚或向奥林匹斯神灵突然进攻；那么，埃斯库罗斯这样大胆地把奥林匹斯神界放在他的正义天秤上来衡量，那就不足为奇了。
The Greek artist, especially, experienced in--respect of these divinities an obscure sense of mutual dependency,
尤其是希腊的艺术家，在想到这些神灵时，不免模糊地感到神与人是互相依存的；
a feeling which has been perfectly symbolized in the Prometheus of Aeschylus.
正是埃斯库罗斯的“普罗密修斯”象征着这种感想，
The titanic artist was strong in his defiant belief that he could create men and, at the least, destroy Olympian gods;
这位铁旦艺神觉得自己具有果敢的信心，相信自己能够创造人类而且最低限度能够毁灭神灵，
this he was able to do by virtue of his superior wisdom, which, to be sure, he must atone for by eternal suffering.
凭他那高度的聪明是可以做到的，当然他因此就不得不永远受苦来赎罪。
The glorious power to do, which is possessed by great genius, and for which even eternal suffering is not too high a price to pay，
伟大天才的这句壮语“我能”，即使以永恒痛苦为代价来换取，也是值得的，
the artist's austere pride--is of the very essence of Aeschylean poetry,
这是艺术家的严肃的自豪感：这就是埃斯库罗斯的剧诗的精华和灵魂。
while Sophocles in his Oedipus intones a paean to the saint.
另一方面，索福克勒斯在“奥狄浦斯”一剧中则高唱圣者的凯旋歌的前奏曲。
But even Aeschylus' interpretation of the myth fails to exhaust its extraordinary depth of terror.
然而，埃斯库罗斯这样解释这个神话，还未能说尽它深不可测的恐怖；
