We can learn something about that naïve artist through the analogy of dream.
关于这种素朴的艺术家，若以梦境为喻，可以给我们一些启发。
We
can
imagine
the
dreamer
as
he
calls
out
to
himself,
still
caught
in
the
illusion
of
his
dream
and
without
disturbing
it, "
试设想一个做梦的人；他沉湎于梦境而不愿惊扰其梦，对自己说：
This
is
a
dream,
and
I
want
to
go
on
dreaming,"
“是梦吧，我索性梦下去呵！”
and
we
can
infer,
on
the
one
hand,
that
he
takes
deep
delight
in
the
contemplation
of
his
dream,
我们由此可以推断：他在梦的静观中体验到一种深刻的内心快感；
on
the
other,
that
he
must
have
forgotten
the
day,
with
its
horrible
importunity,
so
to
enjoy
his
dream.
另一方面，为了能在静观中心满意足地梦下去，他必须完全忘掉白昼现实以及迫人的忧患。
Apollo,
the
interpreter
of
dreams,
will
furnish
the
clue
to
what
is
happening
here.
所以，凭解梦神阿波罗的指导，我们对这一切现象可以作如下的阐明：
Although
of
the
two
halves
of
life--
the
waking
and
the
dreaming--
the
former
is
generally
considered
not
only
the
more
important
but
the
only
one
which
is
truly
lived,
I
would,
at
the
risk
of
sounding
paradoxical,
propose
the
opposite
view.
虽然在生活的两面，在醒和梦中，前者确实似乎是无比地更可取，更重要、更可贵、更值得体味，而且是唯一身受的生活；然而，若论我们身为其现象的存在之神秘根源，我坦白地主张我们对于梦也应予以相当的重视。
The
more
I
have
come
to
realize
in
nature
those
omnipotent
formative
tendencies
and,
with
them,
an
intense
longing
for
illusion,
the
more
I
feel
inclined
to
the
hypothesis
that
the
original
Oneness,
the
ground
of
Being,
ever
suffering
and
contradictory,
time
and
again
has
need
of
rapt
vision
and
delightful
illusion
to
redeem
itself.
虽则这似乎是奇谈妙论。因为我在性灵方面愈觉察出这种万能的艺术冲动，见到它力求表现为假象并且通过假象而得救的热情，我便愈觉得有必要作如下的形而上学假设：真正的存在和太一，这种永劫和矛盾，同样也需要醉心的幻影，快乐的假象，不断地来救济它。
Since
we
ourselves
are
the
very
stuff
of
such
illusions,
we
must
view
ourselves
as
the
truly
non-
existent,
that
is
to
say,
as
a
perpetual
unfolding
in
time,
space,
and
causality--
what
we
label
"
empiric
reality."
我们既然置身在这种假象中，而且是由它构成的，就势必觉得它是真正的虚无，是时间、空间、因果的无穷变幻，换句话说，是经验的实在。