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Before giving a name to that other spectator, let us stop a moment and call to mind what we have said earlier of the incommensurable and discrepant elements in Aeschylean tragedy.
在指出这另一个观众的名字之前，让我们稍停片刻。回忆一下上文讲过的，埃斯库罗斯悲剧本质中一些不调和与不可测的因素所产生的印象。
Let us recollect how strangely we were affected by the chorus and by the tragic hero of a kind of tragedy which refused to conform to either our habits or our tradition--until,
试想我们自己对悲剧歌队和悲剧英雄所感的诧异，我们总觉得，这两者同我们的习惯，甚至同传统，都是不调协的，
that is, we discovered that the discrepancy was closely bound up with the very origin and essence of Greek tragedy, as the expression of two interacting artistic impulses, the Apollinian and the Dionysian.
直到我们重新发现这种二重性原来是希腊悲剧的根源和本质，是梦神型与酒神型两种彼此交错的艺术冲动之表现。
Euripides' basic intention now becomes as clear as day to us: it is to eliminate from tragedy the primitive and pervasive Dionysian element,
从悲剧中排除这种原始的万能的酒神成份，并且在非醉境的艺术、道德观和世界观上建立一种新的纯粹的因素：
and to rebuild the drama on a foundation of non-Dionysian art, custom and philosophy.
这就是现在了如指掌地揭露在我们眼前的欧里庇德斯的倾向。
