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It is in keeping both with this insight and with general tradition that in the earliest tragedy Dionysus was not actually present but merely imagined.
按照这种认识，按照传统说法，酒神虽然是真正的主角和幻象的焦点，当初，在悲剧的远古时代，他并不真正登场，而只是假定他在场罢了。
Original tragedy is only chorus and not drama at all.
那就是说，悲剧本来只 是“歌队”，而不是“戏剧”。
Later an attempt was made to demonstrate the god as real and to bring the visionary figure, together with the transfiguring frame, vividly before the eyes of every spectator.
后来人们才尝试把这位神当作真人来扮演，使得这个幻想的形象和他的光辉的氛围可以有目共睹。
This marks the beginning of drama in the strict sense of the word.
于是狭义的“戏剧”便开始形成。
It then became the task of the dithyrambic chorus so to excite the mood of the listeners that when the tragic hero appeared they would behold not the awkwardly masked man but a figure born of their own rapt vision.
现在，酒神祭歌队另有任务，他们要把观众的心情激发到醉境狂热的程度，所以，当悲剧英雄出现在舞台上时，观众并不把他看作一个带面具的难看的人物，而当作是他们在心神恍惚中所见的幻影。
If we imagine Admetus brooding on the memory of his recently departed wife, consuming himself in a spiritual contemplation of her form, and how a figure of similar shape and gait is led toward him in deep disguise.
您试想象：阿德墨脱（Admetus）在沉思默想他新亡的妻子亚尔琪斯提（Aloestis），以至形如枯木，心若死灰；急然间，一个蒙面的少妇向他走来，身材体态都象他的妻子。
if we then imagine his tremor of excitement, his impetuous comparisons, his instinctive conviction--then we have an analogue for the excitement of the spectator beholding the god, with whose sufferings he has already identified himself, stride onto the stage.
你试想象：他突然焦急得发抖，激动地较量她的形状，终于本能地断定她就是他的亡妻；——那么你就体会到一种与此类似的情绪：那就是当酒神祭观众看见神走上舞台，而感到宛若与神同甘共苦时的那种情绪。
