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It was in accordance with the laically unmusical crudeness of these views that the combination of music, image, and words was effected in the beginnings of the opera.
在歌剧初兴之时，合音乐、绘画、诗歌于一炉共冶，就是依照一般不懂音乐的外行人的粗野意见来处理的。
In the spirit of this aesthetic the first experiments were made in the leading amateur circles of Florence by the poets and singers patronized there.
依照这种美学的精神，在佛罗伦斯外行人的上流社会里，那些托庇的诗人和歌唱家从事最先的试验。
The man incapable of art creates for himself a kind of art precisely because he is the inartistic man as such.
人没有艺术能力而为自己创造一种艺术，正因为他本身是不懂艺术的人。
Because he does not sense the Dionysian depth of music, he changes his musical taste into an appreciation of the understandable word-and-tone-rhetoric of the passions in the stilo rappresentativo, and into the voluptuousness of the arts of song.
因为他不能揣摩醉境音乐的深奥，所以他的音乐趣味就变成了欣赏抒情调中容易了解的热情之绮声艳语，和歌唱艺术的靡靡之音；
Because he is unable to behold a vision, he forces the machinist and the decorative artist into his service.
因为他没有能力见到幻象，所以他强迫舞台布景师和装饰艺术家为他服务；
Because he cannot comprehend the true nature of the artist, he conjures up the "artistic primitive man" to suit his taste, that is, the man who sings and recites verses under the influence of passion.
因为他不懂得掌握艺术的真正身质，所以他便依照自己的艺术趣味幻想出那种“爱好艺术的原始人”，也就是说，在热情的影响下歌唱和吟诵诗句的人们。
He dreams himself back into a time when passion sufficed to generate songs and poems; as if emotion had ever been able to create anything artistic.
他梦想回到当热情足以产生歌和诗的古代，仿佛感情向来就能够创造出艺术性作品似的！
The premise of the opera is a false belief concerning the artistic process: the idyllic belief that every sentient man is an artist.
‘歌剧的前提是一种关于艺术创作过程的错误信念，其实就是牧歌式的信念：以为凡是有所感触的人都是艺术家。
This belief would make opera the expression of the taste of the laity in art, dictating their laws with the cheerful optimism of the theoretical man.
就这种信仰而言，歌剧便成为艺术上庸俗趣味的表现，于是以理论家的乐观主义欣欣然对艺术发号施令。
