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Instinctively he would project the shape of the god that was magically present to his mind onto that masked figure of a man, dissolving the latter's reality into a ghostly unreality.
他不由得要把他心灵中若即若离的整个酒神形象，赋予他眼前那个带面具的演员，从而把演员的现实化为一种超自然的非现实。
This is the Apollinian dream state, in which the daylight world is veiled and a new world--clearer, more comprehensible, more affecting than the first, and at the same time more shadowy--falls upon the eye in ever changing shapes.
这就达到了那掩盖现实世界的梦境境界，于是一个新的世界，一个比旧世界更清楚、更明了、更能感人、而又更象幻影的世界，便在我们眼前诞生，再诞生，不断变化。
Thus we may recognize a drastic stylistic opposition: language, color, pace, dynamics of speech are polarized into the Dionysian poetry of the chorus, on the one hand, and the Apollinian dream world of the scene on the other.
因此，我们在悲剧中见到两种完全相反的风格；语言、情调、说话的活泼和流畅，分成两种完全相反的表现领域。一方面是酒神歌队的抒情诗，另一方面是梦神戏剧的幻境。
The result is two completely separate spheres of expression.
现在，酒神的激情既已具体化为梦神的景象，这些景象便再也不是像歌队的音乐那样的“一片永恒的海洋，一种变幻的生存，赤热的生命”。
The Apollinian embodiments in which Dionysus assumes objective shape are very different from the continual interplay of shifting forces in the music of the chorus, from those powers deeply felt by the enthusiast, but which he is incapable of condensing into a clear image.
它们再也不是像受了灵感的酒神信徒在神将降临时所预感到的那种可以意会而不可以目睹的力量。现在，剧中的情景显得像史诗那样清楚而明确。
The adept no longer obscurely senses the approach of the god: the god now speaks to him from the proscenium with the clarity and firmness of epic, as an epic hero, almost in the language of Homer.
现在，酒神再也不是凭灵感之力来说话，而是像史诗英雄那样差不多用荷马的话来交谈。
