Only now has it become possible to speak of nature's celebrating an aesthetic triumph; only now has the abrogation of the principium individuationis become an aesthetic event.
在佳节良晨，灵性第一次有了艺术性的庆典，个性原则的毁灭第一次成为一种艺术现象。
That
terrible
witches'
brew
concocted
of
lust
and
cruelty
has
lost
all
power
under
the
new
conditions.
在这场合，情欲与残暴相结合的猥琐的“妖女的淫药”也失效了。
Yet
the
peculiar
blending
of
emotions
in
the
heart
of
the
Dionysian
reveler--
his
ambiguity
if
you
will--
seems
still
to
hark
back
(
as
the
medicinal
drug
harks
back
to
the
deadly
poison)
to
the
days
when
the
infliction
of
pain
was
experienced
as
joy
while
a
sense
of
supreme
triumph
elicited
cries
of
anguish
from
the
heart.
唯独酒神信徒的离奇混合的二重性情绪，使我们想到哀极则破涕为欢，乐极则喟叹呻吟的心理现象，正如良药使我们想到毒鸩。
For
now
in
every
exuberant
joy
there
is
heard
an
undertone
of
terror,
or
else
a
wistful
lament
over
an
irrecoverable
loss.
这是欢乐极时的惶惑惊呼，或者恨海难填的眷恋哀鸣。
It
is
as
though
in
these
Greek
festivals
a
sentimental
trait
of
nature
were
coming
to
the
fore,
as
though
nature
were
bemoaning
the
fact
of
her
fragmentation,
her
decomposition
into
separate
individuals.
在希腊的节会，性灵仿佛露出一种伤感的迹象，为了自己之化整为零掀起一丝喟叹。
The
chants
and
gestures
of
these
revelers,
so
ambiguous
in
their
motivation,
represented
an
absolute
novum
in
the
world
of
the
Homeric
Greeks;
their
Dionysian
music,
in
especial,
spread
abroad
terror
and
a
deep
shudder.
这些二重性情绪的酒徒的歌声和舞姿，是荷马时代希腊人闻所未闻的新奇事物；尤有甚者，酒神祭音乐激起人们的惶惑和恐惧。
It
is
true:
music
had
long
been
familiar
to
the
Greeks
as
an
Apollinian
art,
as
a
regular
beat
like
that
of
waves
lapping
the
shore,
a
plastic
rhythm
expressly
developed
for
the
portrayal
of
Apollinian
conditions.
虽则我们似乎一向承认音乐是梦境的艺术，但是，严格谈来，这不过是指节奏的律动而言；为了表现梦境境界，便发展了节奏的造型能力。
Apollo's
music
was
a
Doric
architecture
of
sound--
of
barely
hinted
sounds
such
as
are
proper
to
the
cithara.
梦境音乐其实是音调方面的多里斯建筑艺术，仅仅是富于暗示的音调，例如竖琴之音。
Those
very
elements
which
characterize
Dionysian
music
and,
after
it,
music
quite
generally:
the
heart
shaking
power
of
tone,
the
uniform
stream
of
melody,
the
incomparable
resources
of
harmony--
all
those
elements
had
been
carefully
kept
at
a
distance
as
being
inconsonant
with
the
Apollinian
norm.
然而，酒神祭音乐，乃至一般音乐的组成成份，例如，音调之惊心动魄，歌韵之急流直泻，和声之绝妙境界，都被慎重地除掉了，被目为非梦境的因素。
In
the
Dionysian
dithyramb
man
is
incited
to
strain
his
symbolic
faculties
to
the
utmost;
something
quite
unheard
of
is
now
clamoring
to
be
heard:
the
desire
to
tear
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