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But what relationship can be said to obtain between such an ideal Apollinian drama and the plays of Euripides?
那么，欧里庇德斯的戏曲对梦境戏曲的理想之关系是怎样呢？
The same as obtains between the early solemn rhapsodist and that more recent variety described in Plato's Ion:
正如年青一辈的朗诵者对旧时代人严肃的朗诵者那样罢了。在柏拉图的“伊安篇”中，一个青年朗诵者讲及自己的心情：
"When I say something sad my eyes fill with tears; if, however, what I say is terrible and ghastly, then my hair stands on end and my heart beats loudly."
“当我讲到悲哀的事情，我满眶是热泪；当我讲到可惊可怖的事情，我毛骨悚然，心脏悸动。”
Here there is no longer any trace of epic self forgetfulness, of the true rhapsodist's cool detachment, who at the highest pitch of action, and especially then, becomes wholly illusion and delight in illusion.
在这里，我们再也见不到史诗对假象的神往，也见不到一个真正演员的无动于衷的冷静，这种演员达到最高演艺时，往往成为一种假象和假象的快感。
Euripides is the actor of the beating heart, with hair standing on end.
欧里庇德斯属于那种心悸发耸的演员：
He lays his dramatic plan as Socratic thinker and carries it out as passionate actor.
他计划时是苏格拉底式的思想家；他实施时是动情的演员。
So it happens that the Euripidean drama is at the same time cool and fiery, able alike to freeze and consume us.
不论在计划或实施，他也是一个纯粹艺术家。所以，欧里庇德斯的戏曲是又冷又热的东西，它既能冻结，也能燃烧；
It cannot possibly achieve the Apollinian effects of the epic, while on the other hand it has severed all connection with the Dionysian mode;
它不能达到梦境史诗的效果，但另一方面它尽可能去除醉境情绪的成份。
so that in order to have any impact at all it must seek out novel stimulants which are to be found neither in the Apollinian nor in the Dionysian realm.
所以，为了能够产生效果，它就必须使用一种新的刺激，那是都不在梦神型和酒神型这两种特殊艺术冲动的范围内的。
Those stimulants are, on the one hand, cold paradoxical ideas put in the place of Apollinian contemplation, and on the other fiery emotions put in the place of Dionysian transports.
这些新刺激就是以冷静的奇思代替梦境的静观，以如火的热情代替醉境的陶醉，
These last are splendidly realistic counterfeits, but neither ideas nor affects are infused with the spirit of true art.
况且这些思想和热情都是模仿得极其忠实，绝不是弥漫着艺术气氛的。
