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Let us now look more closely at the Socratic tendency by means of which Euripides fought and conquered Aeschylean tragedy.
现在，让我们进一步考察这种苏格拉底倾向。欧里庇德斯就是以它为武器来斗争，而战胜埃斯库罗斯的悲剧的。
What, under the most auspicious conditions, could Euripides have hoped to effect in founding his tragedy on purely un-Dionysian elements?
欧里庇德斯的计划，就其实施的最高理想来说，是把戏曲只放在非酒神倾向的基础上；那末，我们就要追问，其目的何在呢？
Once it was no longer begotten by music, in the mysterious Dionysian twilight, what form could drama conceivably take?
试问，如果戏曲不是在酒神祭的神秘暮色时从音乐胎中诞生，此外还有甚么形式的戏曲呢？
Only that of the dramatized epic, an Apollinian form which precluded tragic effect.
只有史诗剧了吧。但是，在史诗的梦境艺术领域里，悲剧的效果当然是达不到的。
It is not a question here of the events represented.
因为悲剧效果与史诗事迹的题材是不相配合的。
I submit that it would have been impossible for Goethe, in the fifth act of his projected Nausicäa, to render tragic the suicide of that idyllic being: the power of the epic Apollinian spirit is such that it transfigures the most horrible deeds before our eyes by the charm of illusion, and redemption through illusion.
真的，我可以说，歌德在他筹划的“瑙丝嘉雅”一剧中，就不可能把第五幕末场这牧歌人物的自杀写得富有悲剧效果。梦境史诗的表现能力，是非常伟大的，它可以凭借假象的快感和假象的救济，使得最可怕的事物在我们眼前化为幻境。
The poet who writes dramatized narrative can no more become one with his images than can the epic rhapsodist.
但是史诗剧诗人，正如史诗朗诵者那样，就不能与诗中情景完全融合了；
He too represents serene, wide eyed contemplation gazing upon its images.
他始终抱着冷静的、无动于中的静观态度，冷眼旁观面前的景象。
The actor in such dramatized epic remains essentially a rhapsodist; the consecration of dream lies upon all his actions and prevents him from ever becoming in the full sense an actor.
同样，史诗剧的演员归根结蒂还是一个朗诵者；内心梦境的情热尽在他的一切行动上，所以他并不全是一个演员。
