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Perhaps we may touch on this fundamental problem by asking: what aesthetic effect results when the essentially separate art-forces, the Apollinian and the Dionysian, enter into simultaneous activity?
我们不妨以一个问题来接触这个基本问题：当这两种根本不同的艺术力量，梦境与醉境，一起发生作用之时，将产生甚么美感效果呢？
Or more briefly: how is music related to image and concept?
或者更简单地说：音乐对于形象和概念的关系是怎样的呢？
Schopenhauer, whom Richard Wagner, with special reference to this point, praises for an unsurpassable clearness and clarity of exposition, expresses himself most thoroughly on the subject in the following passage which I shall cite here at full length (Welt als Wille und Vorstellung, I, p. 309):
理查·瓦格纳，特别关于这个问题，盛赞叔本华的阐明是不可超越地明晰和精辟。叔本华在下面这段中讲得最为详细，我试征引他的全文如下：
"according to all this, we may regard the phenomenal world, or nature, and music as two different expressions of the same thing, which is therefore itself the only medium of their analogy, so that a knowledge of it is demanded in order to understand that analogy.
“按照这一切，我们可以把现象界或自然界与音乐看作是同一东西（按，指意志）的两种不同表现，因此意志是这两者的类似之唯一媒介；要了解那种类似，就需要对它有所认识。
Music, therefore, if regarded as an expression of the world, is in the highest degree a universal language, which is related indeed to the universality of concepts, much as they are related to the particular things.
所以，如果把音乐看作世界的表现，那末音乐便是一种最高度的共同语言；它对概念的普遍性之关系，决不是抽象概念的空洞的普遍性，
