It has already been intimated that the Homeric epos is the poem of Olympian culture, wherewith this culture has sung its own song of triumph over the terrors of the war of the Titans. Under the predominating influence of tragic poetry, these Homeric myths are now reproduced anew, and show by this metempsychosis that meantime the Olympian culture also has been vanquished20 by a still deeper view of things. The haughty21 Titan Prometheus has announced to his Olympian tormentor22 that the extremest danger will one day menace his rule, unless he ally with him betimes. In ?schylus we perceive the terrified Zeus, apprehensive23 of his end, in alliance with the Titan. Thus, the former age of the Titans is subsequently brought from Tartarus once more to the light of day. The philosophy of wild and naked nature beholds24 with the undissembled mien25 of truth the myths of the Homeric world as they dance past: they turn pale, they tremble before the lightning glance of this goddess—till the powerful fist[16] of[Pg 84] the Dionysian artist forces them into the service of the new deity26. Dionysian truth takes over the entire domain27 of myth as symbolism of its knowledge, which it makes known partly in the public cult19 of tragedy and partly in the secret celebration of the dramatic mysteries, always, however, in the old mythical28 garb29. What was the power, which freed Prometheus from his vultures and transformed the myth into a vehicle of Dionysian wisdom? It is the Heracleian power of music: which, having reached its highest manifestness in tragedy, can invest myths with a new and most profound significance, which we have already had occasion to characterise as the most powerful faculty30 of music. For it is the fate of every myth to insinuate31 itself into the narrow limits of some alleged32 historical reality, and to be treated by some later generation as a solitary33 fact with historical claims: and the Greeks were already fairly on the way to restamp the whole of their mythical juvenile34 dream sagaciously and arbitrarily into a historico-pragmatical juvenile history. For this is the manner in which religions are wont35 to die out: when of course under the stern, intelligent eyes of an orthodox dogmatism, the mythical presuppositions of a religion are systematised as a completed sum of historical events, and when one begins apprehensively36 to defend the credibility of the myth, while at the same time opposing all continuation of their natural vitality37 and luxuriance; when, accordingly, the feeling for myth dies out, and its place is taken by the claim of religion to historical[Pg 85] foundations. This dying myth was now seized by the new-born genius of Dionysian music, in whose hands it bloomed once more, with such colours as it had never yet displayed, with a fragrance38 that awakened39 a longing40 anticipation of a metaphysical world. After this final effulgence41 it collapses42, its leaves wither43, and soon the scoffing44 Lucians of antiquity45 catch at the discoloured and faded flowers which the winds carry off in every direction. Through tragedy the myth attains46 its profoundest significance, its most expressive47 form; it rises once more like a wounded hero, and the whole surplus of vitality, together with the philosophical48 calmness of the Dying, burns in its eyes with a last powerful gleam.
What meantest thou, oh impious Euripides, in seeking once more to enthral this dying one? It died under thy ruthless hands: and then thou madest use of counterfeit49, masked myth, which like the ape of Heracles could only trick itself out in the old finery. And as myth died in thy hands, so also died the genius of music; though thou couldst covetously50 plunder51 all the gardens of music—thou didst only realise a counterfeit, masked music. And because thou hast forsaken52 Dionysus. Apollo hath also forsaken thee; rout53 up all the passions from their haunts and conjure54 them into thy sphere, sharpen and polish a sophistical dialectics for the speeches of thy heroes—thy very heroes have only counterfeit, masked passions, and speak only counterfeit, masked music.
[15] See article by Mr. Arthur Symons in The Academy, 30th August 1902.
[16] Die m?chtige Faust.—Cf. Faust, Chorus of Spirits.—TR.

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1
tragic
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adj.悲剧的,悲剧性的,悲惨的 | |
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2
celebrated
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adj.有名的,声誉卓著的 | |
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3
dual
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adj.双的;二重的,二元的 | |
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4
platonic
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adj.精神的;柏拉图(哲学)的 | |
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5
terminology
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n.术语;专有名词 | |
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6
entangled
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adj.卷入的;陷入的;被缠住的;缠在一起的v.使某人(某物/自己)缠绕,纠缠于(某物中),使某人(自己)陷入(困难或复杂的环境中)( entangle的过去式和过去分词 ) | |
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7
erring
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做错事的,错误的 | |
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8
epic
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n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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9
symbolic
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adj.象征性的,符号的,象征主义的 | |
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10
transformation
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n.变化;改造;转变 | |
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11
primal
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adj.原始的;最重要的 | |
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12
demon
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n.魔鬼,恶魔 | |
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13
anticipation
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n.预期,预料,期望 | |
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14
resounded
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v.(指声音等)回荡于某处( resound的过去式和过去分词 );产生回响;(指某处)回荡着声音 | |
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15
asunder
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adj.分离的,化为碎片 | |
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16
doctrine
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n.教义;主义;学说 | |
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17
joyous
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adj.充满快乐的;令人高兴的 | |
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18
augury
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n.预言,征兆,占卦 | |
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19
cult
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n.异教,邪教;时尚,狂热的崇拜 | |
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20
vanquished
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v.征服( vanquish的过去式和过去分词 );战胜;克服;抑制 | |
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21
haughty
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adj.傲慢的,高傲的 | |
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22
tormentor
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n. 使苦痛之人, 使苦恼之物, 侧幕 =tormenter | |
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23
apprehensive
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adj.担心的,恐惧的,善于领会的 | |
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24
beholds
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v.看,注视( behold的第三人称单数 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟 | |
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25
mien
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n.风采;态度 | |
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26
deity
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n.神,神性;被奉若神明的人(或物) | |
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27
domain
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n.(活动等)领域,范围;领地,势力范围 | |
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28
mythical
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adj.神话的;虚构的;想像的 | |
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29
garb
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n.服装,装束 | |
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30
faculty
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n.才能;学院,系;(学院或系的)全体教学人员 | |
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31
insinuate
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vt.含沙射影地说,暗示 | |
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32
alleged
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a.被指控的,嫌疑的 | |
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33
solitary
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adj.孤独的,独立的,荒凉的;n.隐士 | |
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34
juvenile
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n.青少年,少年读物;adj.青少年的,幼稚的 | |
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35
wont
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adj.习惯于;v.习惯;n.习惯 | |
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36
apprehensively
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adv.担心地 | |
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37
vitality
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n.活力,生命力,效力 | |
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38
fragrance
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n.芬芳,香味,香气 | |
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39
awakened
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v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
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longing
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n.(for)渴望 | |
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41
effulgence
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n.光辉 | |
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42
collapses
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折叠( collapse的第三人称单数 ); 倒塌; 崩溃; (尤指工作劳累后)坐下 | |
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43
wither
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vt.使凋谢,使衰退,(用眼神气势等)使畏缩;vi.枯萎,衰退,消亡 | |
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44
scoffing
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n. 嘲笑, 笑柄, 愚弄 v. 嘲笑, 嘲弄, 愚弄, 狼吞虎咽 | |
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45
antiquity
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n.古老;高龄;古物,古迹 | |
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46
attains
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(通常经过努力)实现( attain的第三人称单数 ); 达到; 获得; 达到(某年龄、水平、状况) | |
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47
expressive
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adj.表现的,表达…的,富于表情的 | |
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48
philosophical
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adj.哲学家的,哲学上的,达观的 | |
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49
counterfeit
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vt.伪造,仿造;adj.伪造的,假冒的 | |
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50
covetously
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adv.妄想地,贪心地 | |
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51
plunder
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vt.劫掠财物,掠夺;n.劫掠物,赃物;劫掠 | |
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52
Forsaken
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adj. 被遗忘的, 被抛弃的 动词forsake的过去分词 | |
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53
rout
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n.溃退,溃败;v.击溃,打垮 | |
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54
conjure
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v.恳求,祈求;变魔术,变戏法 | |
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