So far we have examined the Apollinian and Dionysian states as the product of formative forces arising directly from nature without the mediation of the human artist.
直到现在，我们曾把梦境和它的对立面醉境看作两种发乎自然，并无人工参与的艺术创造力。
At
this
stage
artistic
urges
are
satisfied
directly,
on
the
one
hand
through
the
imagery
of
dreams,
whose
perfection
is
quite
independent
of
the
intellectual
rank,
the
artistic
development
of
the
individual;
在这些力量中，发乎自然的艺术冲动，获得最方便最直接的满足：一方面是梦境的绘画境界，它的美满是不依赖个人的知识高超和艺术修养的；
on
the
other
hand,
through
an
ecstatic
reality
which
once
again
takes
no
account
of
the
individual
and
may
even
destroy
him,
or
else
redeem
him
through
a
mystical
experience
of
the
collective.
另一方面是醉境的现实，它也是绝不尊重个人能力，甚或竭力把个性摧毁，然后通过一种神秘的万类统一感来救济他。
In
relation
to
these
immediate
creative
conditions
of
nature
every
artist
must
appear
as
"
imitator,"
either
as
the
Apollinian
dream
artist
or
the
Dionysian
ecstatic
artist,
or,
finally
(
as
in
Greek
tragedy,
for
example)
as
dream
and
ecstatic
artist
in
one.
对这两种自然的、直接的艺术境界而言，每个艺术家都是“摹仿者”，换句话说，他或是梦神式的梦境艺术家，或是酒神式的醉境艺术家，或者最后既是梦境的又是醉境的艺术家，例如希腊悲剧作家；就悲剧家而言。
We
might
picture
to
ourselves
how
the
last
of
these,
in
a
state
of
Dionysian
intoxication
and
mystical
self-
abrogation,
wandering
apart
from
the
reveling
throng,
sinks
upon
the
ground,
and
how
there
is
then
revealed
to
him
his
own
condition--
complete
oneness
with
the
essence
of
the
universe--
in
a
dream
similitude.
我们不妨设想，他初时沉湎在酒神的醉境和神秘的忘我之境，孑然一身，离开了狂歌纵饮的群伍；然后，由于梦神的梦境的感召，他自己的境界，也就是说，他与宇宙根源的统一，立刻在他眼前显现为一幅象征的梦景图画。
Having
set
down
these
general
premises
and
distinctions,
we
now
turn
to
the
Greeks
in
order
to
realize
to
what
degree
the
formative
forces
of
nature
were
developed
in
them.
一般性的前提和对照既已说明，现在让我们进而研究古希腊人，看看发乎自然的艺术冲动在希腊人中间发展到何等高度。
Such
an
inquiry
will
enable
us
to
assess
properly
the
relation
of
the
Greek
artist
to
his
prototypes
or,
to
use
Aristotle's
expression,
his
"
imitation
of
nature."
因此，我们便有可能更深入地了解和估计希腊艺术家对其原型的关系，亦即亚里士多德所谓“摹仿自然”。
Of
the
dreams
the
Greeks
dreamed
it
is
not
possible
to
speak
with
any
certainty,
despite
the
extant
dream
literature
and
the
large
number
of
dream
anecdotes.
虽则古希腊人有不少写梦作品和记梦奇谈，我们讨论他们的梦却只能凭猜测，即使不无恰当的论断。
But
considering
the
incredible
accuracy
of
their
eyes,
their
keen
and
unabashed
delight
in
colors,
one
can
hardly
be
wrong
in
assuming
that
their
dreams
too
showed
a
strict
consequence
of
lines
and
contours,
hues
and
groupings,
a
progression
of
scenes
similar
to
their
best
bas
reliefs.
试想他们洞烛隐微不爽丝毫的造型眼力，试想他们对色彩的坦率鲜明的喜爱，我们就不禁设想（后世人们应引以为耻）：甚至他们的梦也有线条、轮廓、颜色、布局等等的逻辑关系，也有一种类似最精美的希腊浮雕的连环画景。
The
perfection
of
these
dream
scenes
might |