谁没有体验过这种情况；既不得不看，又同时向往视野之外的东西；谁就很难想象，在欣赏悲剧神话之际，这两种过程明明是同时并存，同时感受的。
Those who have never had the experience of having to see at the same time that they also longed to transcend all seeing will scarcely be able to imagine how definitely and clearly these two processes coexist and are felt at the same time, as one contemplates the tragic myth.
真正的审美观众会证实我的话；我认为，在悲剧的特殊效果中，只有这种并存现象最值得注意。
But all truly aesthetic spectators will confirm that among the peculiar effects of tragedy this coexistence is the most remarkable.
现在，如果把观众的审美现象转化为悲剧艺术家的审美过程，您不难明白悲剧神话的起源了。
Now transfer this phenomenon of the aesthetic spectator into an analogous process in the tragic artist, and you will have understood the genesis of the tragic myth.
悲剧神话，具有梦境艺术那种对假象和静观的快感。但同时它又否定这快感，而在这鲜明的假象世界之毁灭中，得到更高的满足。
With the Apollinian art sphere he shares the complete pleasure in mere appearance and in seeing, yet at the same time he negates this pleasure and finds a still higher satisfaction in the destruction of the visible world of mere appearance.
悲剧神话的内容，首先是歌颂战斗英雄的史诗事件。
The content of the tragic myth is , first of all, an epic event and the glorification of the fighting hero.
然而，英雄的厄运，极惨淡的胜利，极痛苦的动机冲突，简言之，西烈诺斯智慧之明证，或者用美学术语来说，丑恶与和谐，往往再三出现在许多民间文学形式中，尤其是在一个民族的精力充沛的幼年时代：——这种莫明其妙的特点从何而来呢，难道人们对这些东西真的感到更高的快感吗？
But what is the origin of this enigmatic trait that the suffering and the fate of the hero, the most painful triumphs, the most agonizing oppositions of motives, in short, the exemplification of this wisdom of Silenus, or, to put it aesthetically, that which is ugly and disharmonic, is represented ever anew in such countless forms and with such a distinct preference--and precisely in the most fruitful and youthful period of a people? Surely a higher pleasure must be perceived in all this.
因为，虽然生活中确实有如此悲惨的遭遇，但这事实很难说明一种艺术形式的起源，设使艺术不仅是自然真相的模仿，而且其实是自然真相的哲理说明，为了战胜自然而创造的。
That life really so tragic would least of all explain the origin of an art form--assuming that art is not merely imitation of the reality of nature but rather a metaphysical supplement of the reality of nature, placed beside it for its overcoming.
悲剧神话既然主要是属于艺术范围，它也就完全参予一般艺术美化现实的哲理目的。然而，如果它以受难的英雄形象来表现现象界，它到底美化了甚么呢？它绝不可能美化了现象界的“现实”，因为它对我们说：“你看这个！留心细看呀！这是你的生活！这是你们生存时计上的时针！”
The tragic myth too, insofar as it belongs to art at all, participates fully in this metaphysical intention of art to transfigure. But whatdoes it transfigure when it presents the world of appearance in the image of the suffering hero? Least of all the "reality" of this world of appearance, for it says to us: "Look there! Look closely! This is your life, this is the hand on the clock of your existence."