在这场合，个人确实已经舍弃了自我而进入异己的性质中。况且，这种现象显然是带有传染性的；一整群人都感到这样的变化。
It should be made clear that this phenomenon is not singular but epidemic:a whole crowd becomes rapt in this manner.
所以，酒神颂曲本质上与各种合唱曲不同。
It is for this reason that the dithyramb differs essentially from any other kind of chorus.
手持桂枝，庄严地走向阿波罗大庙，一边唱着进行曲的处女们，始终不变她们的常态，而且保持她们的市民姓名。
The virgins who, carrying laurel branches and singing a processional chant, move solemnly toward the temple of Apollo, retain their identities and their civic names.
但是酒神颂歌队却是变态人物的歌队，他们的市民身世和社会地位都被忘得干干净净，他们已经变成了超时间的，生存在一切社会之外的神的仆役。
The dithyrambic chorus on the other hand is a chorus of the transformed, who have forgotten their civic past and social rank, who have become timeless servants of their god and live outside all social spheres.
其余一切希腊抒情合唱曲不过是阿波罗祭独唱者的极度强化而已，但是在酒神祭曲中却是一群不自觉的演员，他们彼此之间都见到自己发生变化。
While all the other types of Greek choric verse are simply the highest intensification of the Apollinian musician, in the dithyramb we see a community of unconscious actors all of whom see one another as enchanted.