The effects of the Dionysian spirit struck the Apollinian Greeks as titanic and barbaric; yet they could not disguise from themselves the fact that they were essentially akin to chose deposed Titans and heroes.
同样，在梦神式希腊人看来，酒神文化的影响就似乎是铁旦的和野蛮的了，但同时他却不能不承认自己在心灵深处与那些倾覆了的铁旦神统和英雄们息息相通。
They
felt
more
than
that:
their
whole
existence,
with
its
temperate
beauty,
rested
upon
a
base
of
suffering
and
knowledge
which
had
been
hidden
from
them
until
the
reinstatement
of
Dionysus
uncovered
it
once
more.
不仅如此，他也觉得他的一切生活，尽管是美丽的、适度的，毕竟建筑在痛苦与知识之根基上，而酒神文化却对他揭露了这根基。
And
lo
and
behold!
Apollo
found
it
impossible
to
live
without
Dionysus.
试看，梦神就不能离开酒神而生存！
The
elements
of
titanism
and
barbarism
fumed
out
to
be
quite
as
fundamental
as
the
Apollinian
element.
那么，铁旦的和野蛮的教化之重要性，就不下于梦神的教化了。
And
now
let
us
imagine
how
the
ecstatic
sounds
of
the
Dionysian
rites
penetrated
ever
more
enticingly
into
that
artificially
restrained
and
discreet
world
of
illusion,
how
this
clamor
expressed
the
whole
outrageous
gamut
of
nature--
delight,
grief,
knowledge--
even
to
the
most
piercing
cry;
现在，试想这个以假象和适度为基础，以艺术为堤防的境界，酒神祭佳节的消魂荡魄的狂欢之声侵入这境界了，在这些歌声中，我们听到一切率性而行的大喜、大悲、大智、大慧、甚至镂心刻骨的呼啸；
and
then
let
us
imagine
how
the
Apollinian
artist
with
his
thin,
monotonous
harp
music
must
have
sounded
beside
the
demoniac
chant
of
the
multitude!
那么，我们试问：颂歌诗神阿波罗的幽灵似的琴音，同这恶魔似的民歌相比，还有甚么意义呢！
The
muses
presiding
over
the
illusory
arts
paled
before
an
art
which
enthusiastically
told
the
truth,
and
the
wisdom
of
Silenus
cried
"
Woe!"
against
the
serene
Olympians.
在这种在陶醉中说出真理的艺术面前，假象之艺术的女神暗然失色！西列诺斯的智慧，对着这位静穆的奥林匹斯梦神高呼：“哀哉！ 哀哉！”
The
individual,
with
his
limits
and
moderations,
forgot
himself
in
the
Dionysian
vortex
and
became
oblivious
to
the
laws
of
Apollo.
此时，安分守己的个人便陷入陶然忘我之境，顿然忘掉梦神的清规戒律了。
Indiscreet
extravagance
revealed
itself
as
truth,
and
contradiction,
a
delight
born
of
pain,
spoke
out
of
the
bosom
of
nature.
过份变成真理，物极必反，悲中生乐，这是发乎性灵心中的呼吁。
Wherever
the
Dionysian
voice
was
heard,
the
Apollinian
norm
seemed
suspended
or
destroyed.
所以，每当酒神文化入侵之时，梦神文化就被扬弃，被消灭。
Yet
it
is
equally
true
that,
in
those
places
where
the
first
assault
was
withstood,
the
prestige
and
majesty
of
the
Delphic
god
appeared
more
rigid
and
threatening
than
before.
然而，反过来也是如此。每当酒神的进攻受到挫败，梦神的威严就显得空前地盛气凌人。
The
only
way
I
am
able
to
view
Doric
art
and
the
Doric
state
is
as
a
perpetual
military
encampment
of
the
Apollinian
forces.
因此，以我看，我只能把多里斯境界和多里斯艺术理解为梦神文化的惨淡经营的堡垒。
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