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According to the doctrine of Schopenhauer, therefore, we understand music as the immediate language of the will, and we feel our fancy stimulated to give form to this invisible and yet so actively stirred spirit-world which speaks to us, and we feel prompted to embody it in an analogous example.
因此，根据叔本华的学说，我们可以把音乐理解为意志的直接语言：我们感到我们的想象力被激发起来，去塑造那有声无形但生动活泼的精神世界，并且我们要用类似的寓言把它形象化。
On the other hand, image and concept, under the influence of a truly corresponding music, acquires a higher significance.
另一方面，在真正符合的音乐的影响下，形象与概念便取得更高度的意义。
Dionysian art therefore is wont to exercise two kinds of influences on the Apollinian art faculty: music incites to the symbolic intuition of Dionysian universality, and music allows the symbolic image to emerge in its highest significance.
所以，醉境艺术往往对梦境艺术的能力产生两种影响：音乐先引起对醉境普遍性的象征性直观，然后音乐也使这种象征形象显出其最高度的意义。
From these facts, intelligible in themselves and not inaccessible to a more penetrating examination, I infer the capacity of music to give birth to myth (the most significant example), and particularly the tragic myth: the myth which expresses Dionysian knowledge in symbols.
从这些不言而喻又可以深究的事实，我便推测音乐有产生神话（即最富有意义的寓言），尤其是悲剧神话之能力：神话就是以象征来表现醉境的认识方式。
In the phenomenon of the lyrist, I have shown how music strives to express its nature in Apollinian images.
关于抒情诗人的现象，我曾经讲过：在抒情诗方面，音乐如何竭力争取用梦境形象来表现它的性质。
If now we reflect that music at its highest stage must seek to attain also to its highest objectification in images, we must deem it possible that it also knows how to find the symbolic expression for its unique Dionysian wisdom; and where shall we seek for this expression if not in tragedy and, in general, in the conception of the tragic?
现在，试设想音乐在最高阶段势必力求达到最高度的象征化。我们就应该认为音乐也大有可能为它特有的酒神智慧找到象征化的表现方法。但是，除了向悲剧和一般悲壮性这些概念以外，试问我们向哪里去寻求这种表现方法呢？
