酒神

He had lost the sense of what the Chorus was in the hands of the great masters, say in the Bacchae or the Eumenides. He mistakes, again, the use of that epiphany of a God which is frequent at the end of the single plays of Euripides, and which seems to have been equally so at the end of the trilogies of Aeschylus. Having lost the living tradition, he sees neither the ritual origin nor the dramatic value of these divine epiphanies. He thinks of the convenient gods and abstractions who sometimes spoke the prologues of the New Comedy, and imagines that the God appears in order to unravel the plot. As a matter of fact, in one play which he often quotes, the _Iphigenia Taurica_, the plot is actually distorted at the very end in order to give an opportunity for the epiphany.

亚里士多德还忘了合唱队是由那掌握命运者来控制，比如酒神的女祭司或者复仇女神欧墨尼得斯；他弄错了神的显现的用处，欧里庇德斯的单幕悲剧结尾处常有神显现，埃斯库罗斯三部曲的结尾好像与此相似，由于失去了活生生的传统，亚里士多德没有意识到神灵显现的仪式渊源和戏剧价值，而把神认为是有时去朗诵新喜剧开场白的这样一种方便和抽象，想象神的出现是为了解开情节的死结，而事实上，在他经常引用的《在奥利斯的伊菲革涅亚》里，情节实际上在结尾处被搅乱，目的是为了给神一个显现的机会。

A priest or votary of ''.

酒神的牧师，酒神的信徒

The second part indicates the Dionysian revival in the modern Irish context: the primitive Dionysian rituals, his carnival ecstasy, his sensual abandon and his pursuit of eternity all revive in Ulysses in the forms of bar cultures, the Irish folk humor, the characters'grotesque bodies and carnivalesque chronotope.

第二部分指出酒神原始的酣醉、乐曲和舞蹈等仪式上的复兴；酒神古老的仪式、狂喜、感官放纵和对永恒的追求演变成现代爱尔兰社会的酒吧文化、民间欢歌乐舞、&怪诞身体&和&狂欢时空体&。

A frenzied,impassioned choric hymn and dance of ancient Greece in honor of Dionysus.

赞美酒神的合唱诗古希腊为纪念酒神狄俄尼索斯，而唱的狂暴而令人激动的合唱颂歌和跳的舞

A canticle or prayer sung or intoned in this manner.A frenzied, impassioned choric hymn and dance of ancient Greece in honor of Dionysus.

赞美酒神的合唱诗古希腊为纪念酒神狄俄尼索斯，而唱的狂暴而令人激动的合唱颂歌和跳的舞

On the other hand, Dionysiac Theory is an important source for Bakhtin's Carnival Theory, to which Nietzsche and Ivanov are both directly contributing.

另一方面，就酒神理论来讲，酒神理论是巴赫金狂欢理论的重要基础来源之一。

Yet we were comforted by indications that nevertheless in some inaccessible abyss the German spirit still rests and dreams, undestroyed, in glorious health, profundity and Dionysian strength, like a knight sunk in slumber; and from this abyss the Dionysian song rises to our ears to let us know that this German knight is still dreaming his primordial Dionysian myth in blissfully serious visions.

虽然如此，但德国精神还睡在深不可测的渊壑中，安然无恙，奥妙莫测，还保持着醉境力量，如同一个好梦正浓的武士；酒神祭的歌声，从这深渊飘送到我们的耳朵，教我们知道：这位德国武士，在快乐而庄严的梦境中，尚且梦着他的原始的酒神神话。

At the same time, with the wine of god spirit to overcome life tragic aesthetic life or a drunk, emphasize the life in the art of wine drunk, god through life force and the life directly facing transmigrating pain, achieve beautification and joy of life itself.

同时，以酒神精神克服人生悲剧性的审美人生还是一种醉的人生，强调在酒神艺术的醉中，通过生命力量的提高而直接面对永恒轮回之人生痛苦，从而达到生命自身的美化和欢悦。

When Archilochus, the first lyric poet of the Greeks, hurls both his frantic love and his contempt at the daughters of Lycambes, it is not his own passion that we see dancing before us in an orgiastic frenzy: we see Dionysus and the maenads, we see the drunken reveler Archilochus, sunk down in sleep--as Euripides describes him for us in the Bacchae, asleep on a high mountain meadow, in the midday sun--and now Apollo approaches him and touches him with his laurel.

当第一个希腊抒情诗人阿奇洛科斯对吕甘伯斯的女儿表示热恋又表示蔑视之时①，我们不仅见到他的热情如醉如狂地悸动，我们还见到酒神和他的侍女们，见到酩酊大醉的阿奇洛科斯陶然的睡态，正如欧里庇德斯在&酒神侍者&中所描写的在高山草地上日中高卧那样。

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; 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。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失