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The listener who insists on distinctly hearing the words under the music has his desire fulfilled by the singer
听众希望能听清楚音乐之下的歌词，歌者就满足他的希望，
in that the latter speaks rather than sings, intensifying the pathetic expression of the words by means of this half-song.
因为歌者与其是唱歌，毋宁是说话，在半唱半说中加强感伤词句的印象。
By this intensification of the pathos he facilitates the understanding of the words and overcomes the remaining half of the music.
感染力既加强，他就使人更容易了解歌词的意义，从而战胜了余下一半的音乐，
The specific danger now threatening him is that in some unguarded moment he may stress the music unduly, which would immediately entail the destruction of the pathos of the speech and the distinctness of the words;
现在威胁着他的特殊危机是他有时一不留神会过分强调了音乐。这就势必破坏语言的感染力和字句的明晰性；
while, on the other hand, he feels himself continually impelled to musical discharge and a virtuoso exhibition of his vocal talent.
但是，另一方面，他往往感到一种冲动，要唱出音乐的调子和表演歌喉的造诣。
Here the "poet" comes to his aid, who knows how to provide him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.
在这场合，“诗人”来帮助他了，诗人知道怎样供给他许多机会来作抒情的感叹，字句的反复吟哦等等，
--at which places the singer, now in the purely musical element, can rest himself without paying any attention to the words.
——在这些地方，歌者现在处于纯音乐气氛中，就可轻松一些，不必兼顾歌词了。
This alternation of emotionally impressive speech which, however, is only half sung, with interjections which are wholly sung, an alternation characteristic of the stilo rappresentativo,
只是半唱的情感动人的语言，完全唱腔的感叹调子，彼此交替（这是抒情调的特色之所在），
this rapidly changing endeavor to affect now the concepts and imagination of the hearer, now his musical sense, is something so utterly unnatural and likewise so intrinsically contradictory both to the Apollinian and Dionysian artistic impulses, that one has to infer an origin of the recitative lying outside all artistic instincts.
时而诉诸听众的理解力和想象力，时而诉诸他的音乐感：——这种迅速变化的唱法，是极其不自然的，而且本质上是同梦境和醉境的艺术冲动互相矛盾的，所以我们必须推断吟诵调的起源乃是在一切艺术本能的范围之外。
According to this description, the recitative must be defined as a mixture of epic and lyric delivery,not by any means as an intrinsically stable mixture,
由此观之，吟诵调应该界说为史诗朗诵与抒情诗吟诵相混合，当然这绝不是内在的稳定的相混合，
a state not to be attained in the case of such totally disparate elements, but as an entirely superficial mosaic conglutination,such as is totally unprecedented in the domain of nature and experience.
因为两种完全差异的成份是不能达到这情况的，这是象镶嵌细工表面上粘在一块罢了。这样的粘合在自然领域和经验领域中没有前例。
But this was not the opinion of the inventors of the recitative:
然而，这并不是吟诵调发明者的意见。
they themselves, together with their age, believed rather that the mystery of antique music has been solved by this stilo rappresentativo,
他们自己及其时代宁肯相信；这种抒情调已经解答了古代音乐之谜。
in which, so they thought, was to be found the only explanation of the enormous influence of an Orpheus, an Amphion, and even of Greek tragedy.
奥斐斯，安斐翁，甚至希腊悲剧之巨大影响，只能以此解释。
