Dionysian

Later the tragic chorus came to be an aesthetic imitation of that natural phenomenon; which then necessitated a distinction between Dionysian spectators and votaries actually spellbound by the god.

后来悲剧歌队的结构就是在艺术上模仿这种自然现象，这里当然需要分开酒神祭观众与变态的与祭者。

He says that we have separated two important aspects of ourselves: The "Dionysian" and the "Apollonian".

他说我们自身被分成两个重要的部分：“酒神的”和“日神的”。

In his The Birth of Tragedy, Nietzsche highlights two impulses of art, the Apolline and the Dionysian, the two means for man to redeem from the horrible world.

在《悲剧的诞生》中，尼采第一次提出构成艺术的两大元素，日神和酒神，并把它们解释为人生苦难的救赎方式。

The satyr, as the Dionysian chorist, dwells in a reality sanctioned by myth and ritual.

酒神祭歌舞者萨提儿，就生活在神话和崇拜保证之下宗教所认可的一种现实中。

The satyr chorus is, above all, a vision of the Dionysian multitude, just as the world of the stage is a vision of that satyr chorus--a vision so powerful that it blurs the actors' sense of the "reality" of cultured spectators ranged row on row about him.

萨提儿歌队主要是酒神祭群众所见的幻影，而舞台境界则是萨提儿歌队所见的幻影。这幻影的力量如此强大，足以使人眼花缭乱，看不见“现实”的印象和周围座上有教养的人们。

This chasm of oblivion separates the quotidian reality from the Dionysian.

正是这个忘忧的洪沟，分隔开日常生活的世界与醉境的现实。

Out of the Dionysian root of the German spirit a power has arisen which, having nothing in common with the primitive conditions of Socratic culture, can neither be explained nor excused by it, but which is rather felt by this culture as something terribly inexplicable and overwhelmingly hostile--

从德意志精神的醉境根基，有一种力量兴起来，这力量既然与苏格拉底文化的古代条件毫无共同之处，所以既不能用它来说明，也不能以它为借口；反之，这力量对于苏格拉底文化似乎是莫明其妙甚或极端敌对的东西。

We are pierced by the maddening stings of these pains just when we have become, as it were, one with the infinite primordial joy in existence, and when we anticipate, in Dionysian ecstasy, the indestructibility and eternity of this joy.

正当我们仿佛同生存之无限欢欣合而为一之际，正当我们在醉境的陶醉中期待这种快乐永垂不朽之际，在这一刹间，我们就深感到这种痛苦的锋芒的猛刺。

Thus the Apollinian tears us out of the Dionysian universality and lets us find delight in individuals;

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；

We have here an indication that dismemberment-the truly Dionysian suffering-was like a separation into air, water, earth, and fire,

那就是说，这样的解体，亦即酒神所受的苦难，是如同气化、水化、土化、火化那样的，

Remained the nearest to the instinctual, the irrational in music, and thus to the Dionysian spirit in art ( bMusco Carner)

最接近本能的、无理性的音乐，保留戴奥尼索斯艺术中的精神（b穆斯科卡尔内）

And now let us imagine how the ecstatic sounds of the Dionysian rites penetrated ever more enticingly into that artificially restrained and discreet world of illusion, how this clamor expressed the whole outrageous gamut of nature--delight, grief, knowledge--even to the most piercing cry;

现在，试想这个以假象和适度为基础，以艺术为堤防的境界，酒神祭佳节的消魂荡魄的狂欢之声侵入这境界了，在这些歌声中，我们听到一切率性而行的大喜、大悲、大智、大慧、甚至镂心刻骨的呼啸；

Dionysian affirmation of the spirit of the meaning of life is the will to power, the eternal essence of reincarnation and the superhuman.

酒神精神的肯定生命的含义也是权力意志、永恒轮回和超人的要义。

Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization.

我试提出这样的命题，这种假设的自然生灵萨提儿之于有教养的人，正如酒神祭音乐之于希腊文明那样；我们也许从这里找到研究的起点。

In the end, their human organism maimed, their Dionysian impulses defeated with the process of industrialization, they are becoming the living dead.

最终在工业化进程中，他们的肉体伤残，生命活力丧失，成为“活死人”。

In Dionysian art and its tragic symbolism the same nature cries to us with its true, undissembled voice: "Be as I am! Amid the ceaseless flux of phenomena I am the eternally creative primordial mother, eternally impelling to existence, eternally finding satisfaction in this change of phenomena!"

反之，在醉境艺术及其悲剧的象征中，性灵却以坦率挚诚的声音对我们喊道：“学我的榜样吧！在瞬息万变的现象中，我是永远创造，永远求生，历万劫而不朽的根源之母！”

their Dionysian music, in especial, spread abroad terror and a deep shudder.

尤有甚者，酒神祭音乐激起人们的惶惑和恐惧。

In tragedy, Apollonian image is only the means of expressing the Dionysian impulse.

在悲剧中，日神形象仅是表达酒神冲动的手段；

Which of the plays that we have read so far would seem the most Dionysian?

我们至今读过的戏剧中,哪部最具酒神风格?

Nietzsche highlights two impulses of art: the Apollonian Art and the Dionysian Art.

同时，尼采强调了艺术的两种动力，即日神艺术与酒神艺术。

The Dionysian Greek, desiring truth and nature at their highest power, sees himself metamorphosed into the satyr

但是酒神祭的希腊人却追求最强有力的真实和自然，所以他们见到自己变为萨提儿。

Euripides' basic intention now becomes as clear as day to us: it is to eliminate from tragedy the primitive and pervasive Dionysian element, and to rebuild the drama on a foundation of non-Dionysian art, custom and philosophy.

从悲剧中排除这种原始的万能的酒神成份，并且在非醉境的艺术、道德观和世界观上建立一种新的纯粹的因素：这就是现在了如指掌地揭露在我们眼前的欧里庇德斯的倾向。

In this respect the Aeschylean Prometheus appears as a Dionysian mask, while in his deep hunger for justice Aeschylus reveals his paternal descent from Apollo, god of individuation and just boundaries.

就这点来说，埃斯库罗斯的普罗密修斯乃是酒神的伪装，同时，就上述的正义感而言，明眼人不难看出诗人业已泄漏了普罗密修斯的家世：他是个性原则之神和正义界限之神阿波罗的后裔。

Instead, just live vicariously through this Dionysian testament to living by your wits: 40 minutes where rags become riches and the world is your reward.

否则，你只能在酒神节中的狂欢中籍着自己的一点小聪明过日子：在这40分钟的音乐里，碎屑变成财富，这个世界则都是对你的奖赏！

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。

Tragic art, originally and essentially , belongs to the Dionysian art, imbued with Dionysian spirit.

悲剧艺术无论就其根源还是就其性质而言, 都是一种酒神艺术, 其根本的精神乃是一种酒神精神.

Where the Dionysian powers rise up as impetuously as we experience them now, Apollo, too, must already have descended among us, wrapped in a cloud; and the next generation will probably behold his most ample beautiful effects.

当酒神的威力以我们所目睹之势，高涨起来，梦神也定必披上云彩，降临到人间，未来的世代行将见到他的最丰富最美丽的效果。

The Dionysian musician, himself imageless, is nothing but original pain and reverberation of the image.

酒神型音乐家则无需形象，他自己就是纯粹观照的原始痛苦及其原始反响。

Civilization is conquered by barbarism, good is defeated by evil, and Apollonian spirit is suppressed by Dionysian spirit.

文明被野蛮所占领；友善被邪恶所征服；日神精神被酒神精神所压制。

Already in Sophocles we find some embarrassment with regard to the chorus, which suggests that the Dionysian floor of tragedy is beginning to give way.

关于歌队的难题，早已在索福克勒斯的作品中表现出来：——一个重要的迹象是在他的剧中，悲剧的醉境基础已经开始崩溃了。