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Should we desire to combine the two conceptions that have just been shown to have influenced the origin of opera, it would merely remain for us to speak of an idyllic tendency of the opera.
假如我们想把上述对歌剧起源有影响的两种观念合为一个概念，我们就不妨说“歌剧的牧歌倾向”；
In this connection we need only avail ourselves of the expressions and explanation of Schiller.
在这点上，我们不妨只使用席勒的术语和解释。
Nature and the ideal, he says, are either objects of grief, when the former is represented as lost, the latter unattained; or both are objects of joy, in that they are represented as real.
席勒说：“自然与理想，或者是悲哀之对象，假定前者已丧失而后者未达到；或者是快乐之对象，假定这两者都是实在的。
The first case furnishes the elegy in its narrower signification, the second the idyll in its widest sense.
第一种情形提供狭义的哀歌，第二种情形提供了广义的牧歌。”
Here we must at once call attention to the common characteristic of these two conceptions in the genesis of opera, namely, that in them the ideal is not felt as unattained or nature as lost.
这里，立刻引起注意的是这两个概念在歌剧起源上的共同特点：我们会感觉到，理想并非未达到，而自然也并非丧失。
This sentiment supposes that there was a primitive age of man when he lay close to the heart of nature, and, owing to this naturalness, had at once attained the ideal of mankind in a paradisiacal goodness and artistry.
就这种感想而言，人类有个原始时代，其时人接近大自然的心灵，在自然状态中同时达到人类的理想，处于乐园的善行和艺术气氛中；
From this perfect primitive man all of us were supposed to be descended.
这就要假定我们人人都是这样完美的原始人之后裔。
We were even supposed to be faithful copies of him; only we had to cast off a few things in order to recognize ourselves once more as this primitive man, on the strength of a voluntary renunciation of a superficial learnedness, of superabundant culture.
其实，我们都是他们的忠实的肖象，不过我们必须抛掉一些东西，才能再度认识自己就是原始人的面影：这就视乎我们是不是自愿舍弃多余的学问和多余的文化了。
It was to such a concord of nature and the ideal, to an idyllic reality, that the cultured Renaissance man let himself be led back by his operatic imitation of Greek tragedy.
文艺复兴时代有教养的人们，用歌剧来模仿希腊悲剧，以便回到自然与理想之和谐，回到牧歌的现实；
He mad use of this tragedy as Dante made use of Vergil, in order to be conducted to the gates of paradise; while from this point he continued unassisted and passed over from an imitation of the highest Greek art-form to a "restoration of all things," to an imitation of man's original art-world.
他利用希腊悲剧，象但丁利用维琪尔，靠他引路达到天国之门；同时从这地点，他独自摸索，继续前进，从模仿悲剧这种最高希腊艺术形式走向“恢复一切文化遗产”，走向模仿人类的原始艺术境界。
What a cheerful confidence there is about these daring endeavors, in the very heart of theoretical culture!--
在理论文化的核心，这些大胆的尝试具有何等愉快的信心啊！——
solely to be explained by the comforting belief, that "man-in-himself" is the eternally virtuous hero of the opera, the eternally piping or singing shepherd, who must always in the end rediscover himself as such, should he ever at any time really lost himself;
我们只能说，这是出于一种聊以自慰的信仰：以为“自在的人”永远是德高望重的歌剧英雄，永远是吹笛轻歌的牧童，即使他间或真的一时丧失常态，但他总是终于恢复本色的
to be considered solely as the fruit of that optimism, which here rises like a sweetishly seductive column of vapor from the depth of the Socratic world view.
我们只能说，这是乐观主义的结果，仿佛是从苏格拉底世界观的深渊升起的一绪香气袭人的云霞。
