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Here the tragic myth and the tragic hero intervene between our highest musical emotion and this music--at bottom only as symbols of the most universal facts, of which only music can speak so directly.
这里，在我们最高的音乐兴奋与这种音乐之间，有悲剧神话和悲剧英雄为屏障：——它们其实是只有音乐能够直接陈述的最普遍的事实之象征。
But if our feelings were those of entirely Dionysian beings, myth as a symbol would remain totally ineffective and unnoticed, and would never for a moment keep us from listening to the re-echo of the universalia ante rem [The universals before the thing.].
但是，如果要我们有纯粹酒神式生灵的感情，这种象征的神话，即使在我们身边，既不妨碍我们，也不引起注意，决不会使我们霎时间充耳不闻uniBversaliaanterem（先于事物的普遍性）的回响。
Yet here the Apollinian power erupts to restore the almost shattered individual with the healing balm of blissful illusion: suddenly we imagine we see only Tristan, motionless, asking himself dully: "The old tune, why does it wake me?"
然而，在这场合，为了恢复身心俱瘁的个人，梦神的力量立刻发挥出来了，施以赏心悦目的幻景的灵药：突然间我们仿佛只见愁斯丹（Tristan）动也不动，没精打彩，自言自语说道：“旧调重弹罢了，它唤醒我甚么感想呢？”
And what once seemed to us like a hollow sigh from the core of being now merely wants to tell us how "desolate and empty the sea."
以前它感动我们，象从生存心中发出的深沉的喟叹，现在却似乎只是告诉我们，“这苦海是多么寂寞空虚！”
And where, breathless, we once thought we were being extinguished in a convulsive distention of all feelings, and little remained to tie us to our present existence, we now hear and see only the hero wounded to death, yet not dying, with his despairing cry: "Longing! Longing! In death still longing! for very longing not dying!"
以前我们屏息静听，但愿在感情挣扎中死去，生死之间只有一发相连，现在我们耳闻目睹的，只是那个受伤致命、一息尚存的英雄绝望地喊道：“憧憬啊！憧憬啊！垂死还要憧憬，为了憧憬而不死！”
And where, formerly after such an excess and superabundance of consuming agonies, the jubilation of the horn cut through our hearts almost like the ultimate agony, the rejoicing Kurwenal now stands between us and this "jubilation in itself," his face turned toward the ship which carries Isolde.
以前在饱受凄怆欲绝的悲痛之后，一声画角的欢呼，便刻骨镂心，使我们悲哀到极点，现在快乐的库温那尔（Kurvenal）隔开我们与这“欢呼”，面对着绮瑟（Isolde）所乘的一叶孤帆。
However powerfully pity affects us, it nevertheless saves us in a way from the primordial suffering of the world, just as the symbolic image of the myth saves us from the immediate perception of the highest world-idea, just as thought and word save us from the uninhibited effusion of the unconscious will.
尽管我们深深感到同情的哀伤，但这点同情心总多少救济了我们，得免世界的原始痛苦，正如神话的象征画景使我们得免目击最高的世界观念，正如思想和台词使我们得免放任无意识的意志横流旁溢。
The glorious Apollinian illusion makes it appear as if even the tone world confronted us as a sculpted world, as if the fate of Tristan and Isolde had been formed and molded in it, too, as in an exceedingly tender and expressive material.
壮丽的梦境幻觉，使我们觉得：仿佛这音乐境界，变成了造型境界，在我们面前出现，仿佛愁斯丹和绮瑟的命运，也不过是用最柔软可塑的泥土在那里捏塑而成。
Thus the Apollinian tears us out of the Dionysian universality and lets us find delight in individuals; it attaches our pity to them, and by means of them it satisfies our sense of beauty which longs for great and sublime forms; it presents images of life to us, and incites us to comprehend in thought the core of life they contain.
所以，梦神的力量，从我们手上夺去醉境的普遍性，使我们喜爱个别的东西；它把我们的同情心桎梏在个性上；它以个性事物来满足我们渴望伟大崇高形象的美感；它把个人生平展示给我们，鼓舞我们去沉思默想其中蕴涵的生活真谛。
With the immense impact of the image, the concept, the ethical teaching, and the sympathetic emotion, the Apollinian tears man from his orgiastic self-annihilation and blinds him to the universality of the Dionysian process, deluding him into the belief that he is seeing a single image of the world (Tristan and Isolde, for instance), and that, through music, he is merely supposed to see it still better and more profoundly.
集形象、概念、道德教训，共鸣情感等巨大力量之大成，梦神的威力就能拯拔人们于秘仪纵欲的自我毁灭，引诱他们跨过醉境过程的普遍性，而走入幻觉之中，以为自己见到一幅孤立的世界画景，例如，愁斯丹和绮瑟；而且通过音乐，他们就能够看得更清楚、更深入。
What can the healing magic of Apollo not accomplish when it can even create the illusion that the Dionysian is really in the service of the Apollinian and capable of enhancing its effects--as if music were essentially the art of presenting an Apollinian content?
梦神的治病魔力有甚么做不到的呢？它甚至能使我们产生幻觉，好象酒神真是为梦神服务，而且能够提高梦境的效果；真的，好象音乐根本是描写梦境内容的表现艺术。
