Up to this point I have developed at some length a theme which was sounded at the beginning of this essay: how the Dionysian and Apollinian elements, in a continuous chain of creations, each enhancing the other, dominated the Hellenic mind;
到此为止，我只发挥了我在本文章首的意见，即酒神与梦神两类型文化，新陈代谢而相得益彰，始终统辖着希腊天才。
how
from
the
Iron
Age,
with
its
battles
of
Titans
and
its
austere
popular
philosophy,
there
developed
under
the
aegis
of
Apollo
the
Homeric
world
of
beauty;
how
this
"
naive"
splendor
was
then
absorbed
once
more
by
the
Dionysian
torrent,
and
how,
face
to
face
with
this
new
power,
the
Apollinian
code
rigidified
into
the
majesty
of
Doric
art
and
contemplation.
在梦神的爱美冲动统治下，荷马世界从青铜时代及其铁旦神统战争和严厉的民间哲学发展而成；荷马的“素朴”的繁荣又被酒神文化的滔滔狂潮淹没了；于是梦神文化起来反抗这种新势力，终于达到多里斯艺术和多里斯世界观的威严。
If
the
earlier
phase
of
Greek
history
may
justly
be
broken
down
into
four
major
artistic
epochs
dramatizing
the
battle
between
the
two
hostile
principles,
then
we
must
inquire
further
(
lest
Doric
art
appear
to
us
as
the
acme
and
final
goal
of
all
these
striving
tendencies)
what
was
the
true
end
toward
which
that
evolution
moved.
这样，如果把希腊的古代史分为四大艺术阶段，我们现在就有必要进一步去探索这些发展和进步的终极目的，否则我们也许以为那最后达到的时代，多里斯艺术的时代，就是这些艺术冲动的高峰和归宿。
And
our
eyes
will
come
to
rest
on
the
sublime
and
much
lauded
achievement
of
the
dramatic
dithyramb
and
Attic
tragedy,
as
the
common
goal
of
both
urges;
whose
mysterious
marriage,
after
long
discord,
ennobled
itself
with
such
a
child,
at
once
Antigone
and
Cassandra.
到了那时代，阿提刻悲剧和酒神祭戏曲的崇高而著名的艺术作品出现在我们眼前，它们是这两种倾向的共同目标；久经波折之后，这两种倾向终于庆贺这段神秘的姻缘，产生了这个孩子——她既是安提戈妮（
Antigone），又是嘉珊德拉（
Cassandra）。
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