We are now approaching the central concern of our inquiry, which has as its aim an understanding of the Dionysian-Apollinian spirit, or at least an intuitive comprehension of the mystery which made this conjunction possible.
现在，我们接近研究的真正目的了，我们的目的在于认识酒神兼梦神型的天才及其艺术作品，至少先要了解其初步的神秘结合。
Our
first
question
must
be:
where
in
the
Greek
world
is
the
new
seed
first
to
be
found
which
was
later
to
develop
into
tragedy
and
the
dramatic
dithyramb?
到此，我们将首先探讨这颗新芽怎样先在希腊世界出现，后来又发展为悲剧与酒神祭曲。
Greek
antiquity
gives
us
a
pictorial
clue
when
it
represents
in
statues,
on
cameos,
etc.,
关于这点，古希腊人自己就给我们一个象征的答案。
Homer
and
Archilochus
side
by
side
as
ancestors
and
torchbearers
of
Greek
poetry,
in
the
certainty
that
only
these
two
are
to
be
regarded
as
truly
original
minds,
from
whom
a
stream
of
fire
flowed
onto
the
entire
later
Greek
world.
他们把荷马和阿奇洛科斯的像并列刻在雕塑，饰物等等之上，视为希腊诗歌的始祖和持炬人，他们深深感到只有这两个匠心独运的同辈天才值得尊重，因为一股热情之流从他们发源，流遍希腊晚期的全部历史。
Homer,
the
hoary
dreamer,
caught
in
utter
abstraction,
prototype
of
the
Apollinian
naive
artist,
stares
in
amazement
at
the
passionate
head
of
Archilochus,
soldierly
servant
of
the
Muses,
knocked
about
by
fortune.
荷马，这个潜心默想、白发苍苍的诗人，现在愕然看着狂放豪迈，驰骋人间的尚武诗人阿奇洛科斯的慷慨激昂的才华。
All
that
more
recent
aesthetics
has
been
able
to
add
by
way
of
interpretation
is
that
here
the
"
objective"
artist
is
confronted
by
the
first
"
subjective"
artist.
现代美学只能把这解释为第一个客观诗人与第一个主观诗人分庭抗礼。
We
find
this
interpretation
of
little
use,
since
to
us
the
subjective
artist
is
simply
the
bad
artist,
and
since
we
demand
above
all,
in
every
genre
and
range
of
art,
a
triumph
over
subjectivity,
deliverance
from
the
self,
the
silencing
of
every
personal
will
and
desire.
这种说明对于我们无甚帮助，因为我们认为主观的艺术家不过是可怜的艺术家，而在各种艺术和艺术高峰尤其需要首先克服主观成份，从自我解放出来，制止个人的意志与欲望。
since,
in
fact,
we
cannot
imagine
the
smallest
genuine
art
work
lacking
objectivity
and
disinterested
contemplation.
真的，任何一件微不足道的作品，如果没有客观性，没有纯粹的超然的静观，我们就不相信它是真正艺术。
For
this
reason
our
aesthetic
must
first
solve
the
following
problem:
how
is
the
lyrical
poet
at
all
possible
as
artist--
he
who,
according
to
the
experience
of
all
times,
always
says
"
I"
and
recites
to
us
the
entire
chromatic
scale
of
his
passions
and
appetites?
所以，我们的美学必须首先答复这样的问题，就各时代的经验而言，所谓抒情诗人言必及“我”，总是对我们有声有色地歌唱自己的眷恋爱慕，那么这种诗人又怎能算是艺术家呢？
It
is
this
Archilochus
who
most
disturbs
us,
placed
there
beside
Homer,
with
the
stridor
of
his
hate
and
mockery,
the
drunken
outbursts
of
his
desire.
比之荷马，阿奇洛科斯以他的愤恨轻蔑的呐喊，如醉如狂的热情，使我们惊心动魄；
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