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In this New Dithyramb, music is outrageously manipulated so as to be the imitative counterfeit of a phenomenon, for instance, of a battle or a storm at sea; and thus, of course, it has been utterly robbed of its mythopoeic power.
这种新酒神颂把音乐粗暴地化为模拟现象的画景，例如，模仿战争或海上风暴之声，因此当然音乐的神话创造力完全被剥夺了。
For if it seeks to arouse pleasure only by impelling us to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; if our understanding is to content itself with the perception of these analogies; we are reduced to a frame of mind which makes impossible any reception of the mythical; for the myth wants to be experienced vividly as a unique example of a universality and truth that gaze into the infinite.
因为假如音乐只靠强迫我们去寻找生活情景或自然事件与某些旋律或特殊音响之间的外在相似，才能唤起我们的快感；如果我们的理解力只满足于认识这些相似点；那么，我们就会陷于一种无法接受神话感染力的心情，因为神话乃是一种特殊的，无限深刻的普遍性和真理，其意义必须是显而易见的。
The truly Dionysian music presents itself as such a general mirror of the universal will: the vivid event refracted in this mirror expands at once for our consciousness to the copy of an external truth. Conversely, such a vivid event is at once divested of every mythical character by the tone-painting of the New Dithyramb; music now becomes a wretched cop of the phenomenon, and therefore infinitely poorer than the phenomenon itself.
真正的醉境音乐就是这样一种世界意志的共同明镜，一切显著的事情一旦在这面镜子上折射，我们就立刻感到它展开而成为永恒真理的反映；反之，写声的新酒神颂画景则会立刻剥夺了这类显著事情所蕴含的神话意义，于是音乐变成现象的粗劣临模，因而比现象本身更贫乏可怜；
And through this poverty it still further reduces the phenomenon for our consciousness, so that now, for example, a musically imitated battle of this sort exhausts itself in marches, signal sounds, etc., and our imagination is arrested precisely by these superficialities.
由于它的贫乏，我们感到它贬低了现象，例如，模拟战争的音乐充其量不过是进行曲，军号曲等等而已，我们的想象力就被这些浅薄东西缚束住。
Tone-painting is thus in every respect the opposite of true music with its mythopoeic power: through it the phenomenon, poor in itself, is made still poorer, while through Dionysian music the individual phenomenon is enriched and expanded into an image of the world. It was a great triumph for the un-Dionysian spirit when, by the development of the New Dithyramb, it had estranged music from itself and reduced it to be the slave of phenomena.
所以，写声的音乐，无论就任何关系而言，都与真正音乐的神话创造力处于对立地位：它使得贫乏的现象更为贫乏，但是醉境音乐却使得个别现象更加丰富，扩大而成为反世界的画面。然而，非酒神精神的伟大胜利却在于：因新酒神颂的发展，它使得音乐日益疏远，而把它降为现象的奴隶。
Euripides, who, though in a higher sense, must be considered a thoroughly unmusical nature, is for this very reason a passionate adherent of the New Dithyrambic Music, and with the liberality of a robber makes use of all its effective tricks and mannerisms.
欧里庇德斯，就更高的意义来说，可以称为一个完全非音乐性的人物，因此他是新酒神颂音乐的热烈拥护者，象强盗那样爱好挥霍，滥用这种音乐的一切效果和风格。
