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Enchantment is the precondition of all dramatic art.
这种魔力是一切戏剧艺术的先决条件。
In this enchantment the Dionysian reveler sees himself as satyr, and as satyr, in turn, he sees the god.
在这魔力下，酒神祭饮者看见自己变成萨提儿。而且，又以萨提儿的地位来观照神。
In his transformation he sees a new vision, which is the Apollinian completion of his state.
也就是说，他在变化时看见身外的一个新幻象，这是他的心情达到了梦境的高峰。
And by the same token this new vision completes the dramatic act.
到了这新幻象，这出活剧便完结了。
Thus we have come to interpret Greek tragedy as a Dionysian chorus which again and again discharges itself in Apollinian images.
照这观点来看，我们必须把希腊悲剧看作酒神歌队不断在梦境幻象中再三突变。
Those choric portions with which the tragedy is interlaced constitute, as it were, the matrix of the dialogue, that is to say, of the entire stage-world of the actual drama.
所以，那些交织在悲剧中的合唱部分，就仿佛是全部所谓对白。即，整个舞台境 界，戏曲本部的娘胎。
This substratum of tragedy irradiates, in several consecutive discharges, the vision of the drama--a vision on the one hand completely of the nature of Apollinian dream-illusion and therefore epic, but on the other hand, as the objectification of a Dionysian condition, tending toward the shattering of the individual and his fusion with the original Oneness.
在连续突变中，这个悲剧根源就放射出戏剧的幻境，这幻境完全是梦境，既是梦境，所以带有史诗的性质。然而，另一方面，它是醉境心情的具体化，并不就是梦境的假象救济；反之，它显示个人的毁灭以及个人与万有根源的结合。
Tragedy is an Apollinian embodiment of Dionysian insights and powers, and for that reason separated by a tremendous gulf from the epic.
所以，悲剧乃是醉境中的认识和影响具体化为梦境，因此悲剧与史诗 之间隔着一个深渊。
