We can learn something about that naïve artist through the analogy of dream.
关于这种素朴的艺术家，若以梦境为喻，可以给我们一些启发。
We can imagine the dreamer as he calls out to himself, still caught in the illusion of his dream and without disturbing it, "
试设想一个做梦的人；他沉湎于梦境而不愿惊扰其梦，对自己说：
This is a dream, and I want to go on dreaming,"
“是梦吧，我索性梦下去呵！”
and we can infer, on the one hand, that he takes deep delight in the contemplation of his dream,
我们由此可以推断：他在梦的静观中体验到一种深刻的内心快感；
on the other, that he must have forgotten the day, with its horrible importunity, so to enjoy his dream.
另一方面，为了能在静观中心满意足地梦下去，他必须完全忘掉白昼现实以及迫人的忧患。
Apollo, the interpreter of dreams, will furnish the clue to what is happening here.
所以，凭解梦神阿波罗的指导，我们对这一切现象可以作如下的阐明：
Although of the two halves of life--the waking and the dreaming--the former is generally considered not only the more important but the only one which is truly lived, I would, at the risk of sounding paradoxical, propose the opposite view.
虽然在生活的两面，在醒和梦中，前者确实似乎是无比地更可取，更重要、更可贵、更值得体味，而且是唯一身受的生活；然而，若论我们身为其现象的存在之神秘根源，我坦白地主张我们对于梦也应予以相当的重视。
The more I have come to realize in nature those omnipotent formative tendencies and, with them, an intense longing for illusion, the more I feel inclined to the hypothesis that the original Oneness, the ground of Being, ever suffering and contradictory, time and again has need of rapt vision and delightful illusion to redeem itself.
虽则这似乎是奇谈妙论。因为我在性灵方面愈觉察出这种万能的艺术冲动，见到它力求表现为假象并且通过假象而得救的热情，我便愈觉得有必要作如下的形而上学假设：真正的存在和太一，这种永劫和矛盾，同样也需要醉心的幻影，快乐的假象，不断地来救济它。
Since we ourselves are the very stuff of such illusions, we must view ourselves as the truly non-existent, that is to say, as a perpetual unfolding in time, space, and causality--what we label "empiric reality."
我们既然置身在这种假象中，而且是由它构成的，就势必觉得它是真正的虚无，是时间、空间、因果的无穷变幻，换句话说，是经验的实在。