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And the myth should show us this life in order to thus transfigure it? But if not, in what then lies the aesthetic pleasure with which we let these images, too, pass before us?
那么，神话指示出这种生活，是为了替我们美化它吗？否则，我们将如何解释，甚至这样的形象也带给我们审美快感呢？
I asked about the aesthetic pleasure, though I know full well that many of these images also produce at times a moral delight, for example, under the form of pity or moral triumph.
我讨论的是审美快感，我也深深知道：除了审美快感以外，许多这类形象间或还能唤起一种道德快感，例如怜悯，或道义胜利之类。
But those who would derive the effect of the tragic solely from these moral sources--which, to be sure, has been the custom in aesthetics all too long--should least of all believe that they have thus accomplished something for art, which above all must demand purity in itssphere.
然而，如果你认为悲剧效果完全出自这种道德根源，像许久以来在美学上所认为当然如此，那末，你切莫以为，你因此就对艺术颇有贡献。因为艺术首先必须坚持它范围内的纯粹性。
If you would explain the tragic myth, the first requirement is to seek the pleasure that is peculiar to it in the purely aesthetic sphere, without transgressing into the region of pity, fear, or the morally sublime. How can the ugly and the disharmonic, the content of the tragic myth, stimulate aesthetic pleasure?
为了说明悲剧神话，第一个要求是：它的特殊快感。必须在纯粹审美范围内寻求，而不应侵入怜悯和恐惧，或道德崇高等领域。然而，丑恶和不和谐、悲剧神话的内容，又怎能唤起审美快感呢？
Here it becomes necessary to take a bold running start and leap into a metaphysics of art,by repeating the sentence written above, that existence and thee world seem justified only as an aesthetic phenomenon.
现在，我们必须勇往直前，跃入艺术哲学的领域。所以，我要重复我上文的命题：只有作为一种审美现象，人生与世界才显得合情合理。
In this sense, it is precisely the tragic myth that has to convince us that even the uglyand disharmonic are part of an artistic game that the will in the eternal amplitude of itspleasure plays with itself.
在这一意义上，悲剧神话的功能，就在于使我们相信：甚至丑恶与不和谐也是一种艺术游戏，意志便以此自娱，而永远充满快乐。
But this primordial phenomenon of Dionysian art is difficult to grasp, and there is only one direct way to make it intelligible and grasp it immediately: through the wonderful significance of musical dissonance. Quite generally, only music, placed beside the world, can give us an idea of what is meant by the justification of the world as an aesthetic phenomenon.
然而，这种难以领悟的醉境艺术的原始现象，在所谓“音乐的不和谐”的特殊意义上，立刻显得无比地明晰，而且可以直接体会；正如，一般地说，唯有以音乐同世界对照，我们对于所谓为世界辩护的审美现象之意义，才能有一个概念。
The joy aroused by the tragic myth has the same origin as the joyous sensation of dissonance in music.
悲剧神话所唤起的快感，与音乐上不和谐所唤起的快感，本是同出于一个根源。
The Dionysian, with its primordial joy experienced even in pain, is the common source of music and tragic myth.
酒神祭的热情，及其在痛苦中体验到的原始快感，就是音乐与悲剧神话的共同根源。
