悲剧的诞生The Birth Of Tragedy 第37期:酒神信徒的幻想

Such are the dispositions and insights of the reveling throng of Dionysus; and the power of these dispositions and insights transforms them in their own eyes, until they behold themselves restored to the condition of genii, of satyrs.

这群纵饮的酒神信徒是在这样的心情和认识下狂欢作乐的：醇酒的力量使得他们就在自己眼前起了变化，所以他们在幻想中见到自己仿佛是再造的自然精灵，是萨提儿。

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。

What must be kept in mind in all these investigations is that the audience of Attic tragedy discovered itself in the chorus of the orchestra.

不过我们必须时常记住：阿提刻观众在歌队身上重新发现自己的面影。

Audience and chorus were never fundamentally set over against each other:

观众与歌队毕竟不是对立的：

All was one grand chorus of dancing, singing satyrs, and of those who let themselves be represented by them.

因为大家一起不过是一个伟大崇高的载歌载舞的萨提儿歌队，或者都是让萨提儿歌队代表自己而已。

This granted, Schlegel's dictum assumes a profounder meaning.

在这一点上，希勒格尔的见解启示了更深刻的意义：

The chorus is the "ideal spectator" inasmuch as it is the only seer--seer of the visionary world of the proscenium.

他认为歌队是“理想的观众”，因为他们是唯一的旁观者，剧中幻境的旁观者。