Much will have been gained for aesthetics once we have succeeded in apprehending directly--rather than merely ascertaining--that art owes its continuous evolution to the Apollinian- Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation.
假如我们不仅达到逻辑的判断，而且达到直觉的直接确定，认为艺术的不断发展，与梦神阿波罗和酒神狄奥尼索斯这两类型有关，正如生育有赖于雌雄两性，在持续的斗争中，只是间或和解；那么，我们对于美学将大有贡献。
I
have
borrowed
my
adjectives
from
the
Greeks,
who
developed
their
mystical
doctrines
of
art
through
plausible
embodiments,
not
through
purely
conceptual
means.
这两个名词，我们假借自古希腊人，它们使得明敏的心灵能领悟到希腊艺术观的深奥的秘仪当然不是在概念上。
It
is
by
those
two
art
sponsoring
deities,
Apollo
and
Dionysus,
that
we
are
made
to
recognize
the
tremendous
split,
as
regards
both
origins
and
objectives,
between
the
plastic,
Apollinian
arts
and
the
nonvisual
art
of
music
inspired
by
Dionysus.
而是从他们的极其明确的神象上从阿波罗和狄奥尼索斯这两个希腊艺术神。我们认识到，古希腊世界，阿波罗的雕刻艺术和狄奥尼索斯的非造型的音乐艺术之间，就其起源和目的来说，形成一种强烈的对照。
The
two
creative
tendencies
developed
alongside
one
another,
usually
in
fierce
opposition,
each
by
its
taunts
forcing
the
other
to
more
energetic
production,
both
perpetuating
in
a
discordant
concord
that
agon
which
the
term
art
but
feebly
denominates:
until
at
last,
by
the
thaumaturgy
of
an
Hellenic
act
of
will,
the
pair
accepted
the
yoke
of
marriage
and,
in
this
condition,
begot
Attic
tragedy,
which
exhibits
the
salient
features
of
both
parents.
这两种如此不同的倾向彼此并行，但多半是公开决裂。互相刺激而获得不断的新生，在斗争中使得这种矛盾永久存在，而“艺术”这个共同名词不过是表面上为它们架桥梁；直到最后，凭借希腊“意志”的玄妙奇迹，这两者又结合起来，终于产生既是狄奥尼索斯型又是阿波罗型的阿提刻悲剧艺术作品。
To
reach
a
closer
understanding
of
both
these
tendencies,
let
us
begin
by
viewing
them
as
the
separate
art
realms
of
dream
and
intoxication,
two
physiological
phenomena
standing
toward
one
another
in
much
the
same
relationship
as
the
Apollinian
and
Dionysian.
为了更深体会这两种倾向，让我们首先把它们看作两个分歧的艺术境界，梦境与醉境，这两种生理现象显出一种对照，类似阿波罗型与狄奥尼索斯型的对照。
It
was
in
a
dream,
according
to
Lucretius,
that
the
marvelous
gods
and
goddesses
first
presented
themselves
to
the
minds
of
men.
That
great
sculptor,
Phidias,
beheld
in
a
dream
the
entrancing
bodies
of
more
than
human
beings,
and
likewise,
if
anyone
had
asked
the
Greek
poets
about
the
mystery
of
poetic
creation,
they
too
would
have
referred
him
to
dreams
and
instructed
him
much
as
Hans
Sachs
instructs
us
in
Die
Meistersinger:
鲁克勒提乌斯（
Luorotius）曾设想：庄严的神象，首先是在梦中对人类的心灵显现的，伟大的雕刻家也是在梦中见到这些超人灵物的辉煌形体。假如你向这位古希腊诗人询问诗的创作之秘密，他同样会提出梦境，正象亨斯．萨克斯（
HansSachs）在善歌者（
Meistersinger）中所说的那样，对你指教：
The
poet's
task
is
this,
my
friend,
朋友呵，这正是诗人的责任；
to
read
his
dreams
and
comprehend.
去阐明和记下自己的梦境。
The
truest
human
fancy
seems,
信我吧，人间最真实的幻影，
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