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The satyr and the idyllic shepherd of later times have both been products of a desire for naturalness and simplicity.
萨提儿和近代牧歌中的牧童，两者都是对原始自然因素的怀眷之产物。
But how firmly the Greek shaped his wood sprite, and how self-consciously and mawkishly the modern dallies with his tender, fluting shepherd!
然而，希腊人多么坚定而果敢地拥抱林野之人，而现代人却多么腼腆而畏缩地戏弄慢吹横笛、多情善感的牧童的媚态。
For the Greek the satyr expressed nature in a rude, uncultivated state:
希腊人在萨提儿身上见到的，是未受知识玷染，未入文明门阀的自然：
he did not, for that reason, confound him with the monkey.
但是我们不应因此就把萨提儿同原始人混为一谈。
Quite the contrary, the satyr was man's true prototype, an expression of his highest and strongest aspirations.
反之，萨提儿是人类的本相，是人类的最高最强的激情之体现。
He was an enthusiastic reveler, filled with transport by the approach of the god; a compassionate companion re enacting the sufferings of the god; a prophet of wisdom born out of nature's womb; a symbol of the sexual omnipotence of nature, which the Greek was accustomed to view with reverent wonder.
是因接近神灵而乐极忘形的饮客，是与神灵同甘共苦的多情的伴侣，是宣泄性灵深处的智慧之先知，是自然的万能性爱之象征，希腊人往往对它另眼相看，肃然起敬。
