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The fact is that for Socrates tragic art failed even to "convey the truth," although it did address itself to those who were "a bit backward,"
但是，在苏格拉底看来，悲剧艺术甚至并没有“说明真理”，更不用说能诉诸“没有多大知识的人”了，
which is to say to non-philosophers: a double reason for leaving it alone.
所以为哲学家所不取；他所以厌恶悲剧就有这两重理由。
Like Plato, he reckoned it among the beguiling arts which represent the agreeable, not the useful,
象柏拉图那样，他认为悲剧属于诱惑人心的艺术之列，它只写娱乐的而不写有用的事情，
and in consequence exhorted his followers to abstain from such unphilosophical stimulants.
所以他要求他的弟子们切戒和毅然弃绝这些毫无哲理的诱惑。
His success was such that the young tragic poet Plato burned all his writings in order to qualify as a student of Socrates.
他成功了，年青的悲剧诗人柏拉图就首先焚掉他的诗稿，然后做苏格拉底的学生。
And while strong native genius might now and again manage to withstand the Socratic injunction, the power of the latter was still great enough to force poetry into entirely new channels.
然而，每当他的不可克服的天才起来反抗苏格拉底的训诫时，这些力量加上他的伟大性格的压力，往往是这样强大，足以强迫他的诗才流入新的前所未有的河道。
