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For, as we have said, music is distinguished from all the other arts by the fact that it is not a copy of the phenomenon, or, more accurately, of the adequate objectivity of the will, but an immediate copy of the will itself, and therefore complements everything physical in the world and every phenomenon by representing what is metaphysical, the thing in itself.
因为，上文说过，音乐与别种艺术的区别在于：音乐不是现象的复制，或者说得更正确些，它不是意志的适当的客观化，而是意志本身的直接写照，从而它对宇宙间一切自然物而言是超自然物，对一切现象而言是物自体。
We might, therefore, just as well call the world embodied music as embodied will; and this is the reason why music makes every painting, and indeed every scene of real life and of the world, at once appear with higher significance, certainly all the more, in proportion as its melody is analogous to the inner spirit of the given phenomenon.
所以，我们大可以把世界称为具体化的音乐，正如把它称为具体化的意志那样；因此就不难说明，为甚么音乐能使每一画面，甚至使现实生活和世界的每一情景，立刻显出更深远的意义。当然，音乐的旋律越肖似某一现象的内在精神，则其意义便越深远。
Therefore we are able to set a poem to music as a song, or a visible representation as a pantomime, or both as an opera.
基于这点，我们就能够配上音乐使诗成为歌，使一般表演成为舞剧，或者使两者成为歌剧。
Such particular pictures of human life, set to the universal language of music, are never bound to it or correspond to it with a stringent necessity; but they stand to it only in the relation of an example chosen at will to a general concept.
这种人生片段之画景，配上音乐的共同语言，并不是非和音乐结合，或者完全符合不可的。它们对音乐的关系，不过像随意举例以说明一个一般概念罢了。
In the determinateness of the real, they represent that which music expresses in the universality of mere form. For melodies are to a certain extent, like general concepts, an abstraction from the actual.
它们以现实的明确性来表现的，音乐则以纯粹形式的普遍性来说明。因为，旋律在某种程度上有如一般概念，乃是现实的一种抽象。
