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The new un-Dionysian spirit, however, reveals itself more plainly in the dénouements of the new dramas.
然而，这种新的非酒神精神在新悲剧的结局上表现得最为明显。
In the Old Tragedy one could sense at the end that metaphysical comfort without which the delight in tragedy cannot be explained at all.
在旧悲剧的结局上，你总能感到一种超脱的慰藉；没有这，悲剧的快感就无从解释。
The reconciling tones from another world sound purest, perhaps, in the Oedipus at Colonus.
也许在“奥狄普斯在科罗诺斯”一剧中，你还听到一种从彼岸传来的最纯粹的和谐情调。
Now that the genius of music has fled from tragedy, tragedy, strictly speaking, is dead: for from what source shall we now draw this metaphysical comfort?
现在，音乐天才既已逃出悲剧，严格地说，悲剧也就与世长辞；因为人们还能够从甚么源泉来吸取这种超脱的慰藉呢？
The new spirit, therefore, sought for an earthly resolution of the tragic dissonance. The hero, after being sufficiently tortured by fate, earned a well-deserved reward through a splendid marriage or tokens of divine favor.
所以，人们只好向尘世寻求解决悲剧失调的方法，英雄饱受命运磨折之后终于得到好报，美满的姻缘，或者皇天的赐福。
The hero had turned gladiator on whom, after he had been nicely beaten and covered with wounds, freedom was occasionally bestowed. The deus ex machina took the place of metaphysical comfort.
英雄变成了格斗奴隶，在他惨遭痛击遍体鳞伤之后，主人偶或予以自由。“神机妙算”代替了超脱的慰藉。
I will not say that the tragic world view was everywhere completely destroyed by this intruding un-Dionysian spirit: we only know that it had to flee from art into the underworld as it were, in the degenerate form of a secret cult.
我并不是说，悲剧的世界观在任何场合都被这种入侵的非酒神精神彻底粉碎，我们只知道，它已经逃出艺术的领域，仿佛潜入冥土，变成一种蜕化的秘仪。
Over the widest extent of the Hellenic character, however, there raged the consuming blast of this spirit, which manifests itself in the form of "Greek cheerfulness," which we have already spoken of as a senile, unproductive love of existence.
然而，这种精神的摧枯拉朽的风暴扫荡着希腊民族性的最广大领域，它以“希腊的乐观”的姿态出现。上文已经讲过，这不过是一种衰老的、无生产力的生存欲望而已。
