埃斯库罗斯

埃斯库罗斯和索福克勒斯的悲剧，运用最巧妙的艺术手段，在头几场中就把了解剧情所必需的开发线索，好象是无意中交到观众手上：c

The tragedy of Aeschylus and Sophocles had used the subtlest devices to furnish the spectator in the early scenes , and as if by chance , with al } the necessary information .

正是埃斯库罗斯的“普罗密修斯”象征着这种感想，

a feeling which has been perfectly symbolized in the Prometheus of Aeschylus .

摩西在谈到以撒、埃斯库罗斯、波吕尼刻斯时，克娄巴特拉在谈到屋大维时也都使用过隐语。

Peter , Moses on Isaac , AEschylus on Polynices , Cleopatra on Octavius .

这是艺术家的严肃的自豪感：这就是埃斯库罗斯的剧诗的精华和灵魂。

the artist 's austere pride -- is of the very essence of Aeschylean poetry ,

这一切有力地暗示了埃斯库罗斯世界观的中心要点，

all this reminds one vividly of the central tenet of Aeschylean speculation in which Moira ,

决定是用举手埃斯库罗斯的《求援女》或欢呼通过的。

The decision was given by a show of hands aeschylus , the suppliants or by acclamation .

然而，埃斯库罗斯这样解释这个神话，还未能说尽它深不可测的恐怖；

But even Aeschylus ' interpretation of the myth fails to exhaust its extraordinary depth of terror .

而且埃斯库罗斯不同时期的作品在演员数量上也有不同的表现。

Besides that , Aeschylus 's works also have different shapes at tragedian 's amount in different period .

在古希腊悲剧演员数量增加的历史进程中，埃斯库罗斯与索福克勒斯先后扮演了极其重要的角色。

In the process of the Ancient Greece tragedian 's increasement , Aeschylus and Sophocles sequentially played quite an important role .

现在，让我们进一步考察这种苏格拉底倾向。欧里庇德斯就是以它为武器来斗争，而战胜埃斯库罗斯的悲剧的。

Let us now look more closely at the Socratic tendency by means of which Euripides fought and conquered Aeschylean tragedy .

我们在埃斯库罗斯的三部曲中看到宙斯惊惶万状，忧虑自己的未运，终于同普罗密修斯结盟。

In the work of Aeschylus we recognize the alliance of the Titan with a frightened Zeus in terror of his end .

索福克勒斯曾谓埃斯库罗斯做了正确的事，虽则是无意为之，但是欧里庇德斯当然不会持此见解。

Euripides would never have endorsed Sophocles ' statement about Aeschylus -- that this poet was doing the right thing , but unconsciously ;

反之，如所周知，埃斯库罗斯和索福克勒斯，终其一生，甚至死后很久，都甚孚众望；

It is also generally recognized that Aeschylus and Sophocles enjoyed all through their lives and longer the full benefit of popular favor ,

同这观众联合起来，摆脱了孤立的情况，他就敢于展开反对埃斯库罗斯和索福克勒斯的艺术作品的残酷斗争；

Allied with him he could risk coming out of his isolation to fight that tremendous battle against the works of Aeschylus and Sophocles ;

在这足以容纳17000人的剧场里曾经上演过无数场埃斯库罗斯、索福克勒斯和欧里庇得斯的悲剧作品及阿里斯托芬的喜剧作品。

In this to accommodate the17,000 people theatre have been staged countless field Aeschylus , sophocles , and Euripides tragedy works and aristophanes 's comedies .

然而，在普罗密修斯的颂歌（就其基本思想来说，它是歌颂渎神行为之作），最可惊叹的一点，是埃斯库罗斯的深厚的正义感：

What appears most wonderful , however , in the Prometheus poem -- ostensibly a hymn in praise of impiety -- is its profound Aeschylean longing for justice .

戴着假发上演的悲剧有它存在的理由，我不是一个那种以埃斯库罗斯的名义去反对它的存在权利的人。

Bewigged tragedy has a reason for its existence , and I am not one of those who , by order of AEschylus , contest its right to existence .

第一批伟大的剧作家（埃斯库罗斯、索福克勒斯、阿里斯托芬），历史上最杰出的雕刻家（菲迪亚斯），和苏格拉底都生活在公元前5世纪的雅典。

The first great dramatists ( Aeschylus , Sophocles , Aristophanes ), the greatest sculptors in history ( Phidias ), and Socrates all lived in Athens in the5th century BC .

古希腊的生命悲剧经过埃斯库罗斯、索福克勒斯和欧里庇得斯三位悲剧诗人，实现了它的发展、繁荣到衰落的历程。

By the development of the poets the Aeschylus , the Sophocles and the Euripides , the life tragedy went through the process from the birth and the flourish to the deterioration .

根据这一点，巴霍芬指出，埃斯库罗斯的《奥列斯特》三部曲是用戏剧的形式来描写没落的母权制跟发生于英雄时代并日益获得胜利的父权制之间的斗争。

In accordance with this view , Bachofen interprets the Oresteia of aschylusas the dramatic representation of the conflict between declining mother-right and the new father-right that arose and triumphed in the heroic age .

就这点来说，埃斯库罗斯的普罗密修斯乃是酒神的伪装，同时，就上述的正义感而言，明眼人不难看出诗人业已泄漏了普罗密修斯的家世：他是个性原则之神和正义界限之神阿波罗的后裔。

In this respect the Aeschylean Prometheus appears as a Dionysian mask , while in his deep hunger for justice Aeschylus reveals his paternal descent from Apollo , god of individuation and just boundaries .

思想家埃斯库罗斯在剧中要告诉我们的，可是他作为诗人只能让我们自己从他的象征描写去揣摩的这种思想，少年歌德已经用他的普罗密修斯的豪言壮语给我们指出来了：

Young Goethe has revealed to us , in the bold words his Prometheus addresses to Zeus , what the thinker Aeschylus meant to say , but what , as poet , he merely gave us to divine in symbol :

是谁敢于独持己见来否定希腊的天才呢，象荷马、品达、埃斯库罗斯、斐狄亚斯、伯理克斯、乃至阿波罗与狄奥尼索斯等等天才，岂不是使我们肃然起敬，视为文化的最深渊壑和最高峰岭吗？

Who was this man who dared , singlehanded , to challenge the entire world of Hellenism -- embodied in Homer , Pindar , and Aeschylus , in Phidias , Pericles , Pythia , and Dionysus -- which commands our highest reverence ?

然而，以埃斯库罗斯与索福克勒斯的歌队的古典形式而论，我们甚至可以认为：若果说诗人预料到“立宪国民代议制”，那真是“亵渎神明”，但是就有人不怕亵渎神明。

Likewise we would consider it blasphemous , in the light of the classical form of the chorus as we know it from Aeschylus and Sophocles , to speak of a " foreshadowing ' of constitutional democracy , though others have not stuck at such blasphemy .

试想深思的希腊人的秘教有其牢不可破的哲理基础，而且他们的种种怀疑论有时甚或向奥林匹斯神灵突然进攻；那么，埃斯库罗斯这样大胆地把奥林匹斯神界放在他的正义天秤上来衡量，那就不足为奇了。

In considering the extraordinary boldness with which Aeschylus places the Olympian world on his scales of justice , we must remember that the profound Greek had an absolutely stable basis of metaphysical thought in his mystery cults and that he was free to discharge all his skeptical velleities on the Olympians .