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And in fact they must have felt this way.
事实上，古希腊人确实似乎有此感想；
The Platonic distinction between the idea and the eidolon idol is deemed rooted in the Greek temperament.
因为，一般地说，柏拉图对“理念”（Idea）与“映象”（eidolon）或形象的区别和评价，是根深蒂固在希腊人心中的。
If we wished to use Plato's terminology we might speak of the tragic characters of the Greek stage somewhat as follows:
借用柏拉图的术语来说，我们不妨这样论述希腊的舞台形象，
the one true Dionysus appears in a multiplicity of characters, in the mask of warrior hero, and enmeshed in the web of individual will.
真实的酒神以各种姿态出现，化装为一个仿佛陷于个人意志之网罗中的战斗英雄。
The god ascends the stage in the likeness of a striving and suffering individual.
在这场合，这个出场的酒神其语言行动都好象一个错误、挣扎、受苦的人。
That he can appear at all with this clarity and precision is due to dream interpreter Apollo, who projects before the chorus its Dionysian condition in this analogical figure.
一般地说，他表现得像史诗人物那样明确而清楚，这不得不归功于梦神阿波罗，因为梦神通过这象征现象对歌队指出它的酒神心情。
Yet in truth that hero is the suffering Dionysus of the mysteries.
然而，其实这个英雄就是秘仪所崇奉的酒神，是曾亲身经历个性化之痛苦的神。
He of whom the wonderful myth relates that as a child he was dismembered by Titans now experiences in his own person the pains of individuation, and in this condition is worshipped as Zagreus.
据一个神秘的神话说，酒神儿时曾被铁旦神族肢解而死，就在这情况下被崇奉为狄奥尼索斯·宰割裂尸（Zagreus）；
