It is the belief in the terrible, unknown night of Fate and in the Eumenides of the departed spirit: the former is pure negativity in the form of universality, the latter the same negativity in the form of individuality.
这种宗教是一种相信命运之恐怖的、不熟悉的黑夜和相信死去的精神能够复仇的信仰；——前者是具有普遍性形式的纯粹否定性，后者则是在个别性形式中的纯粹否定性。
In the Eumenides, Athena convenes a trial for Orestes, in which Apollo and the Furies argue against each other as to whether Orestes should pay for his crimes with death.
在欧墨尼得斯，雅典娜召开审判奥雷斯特斯，其中阿波罗和复仇女神反对对方是否奥雷斯特斯应为自己的罪行与死亡。
Most of the Eumenides (English: The Blessed Ones) consists of a trial in which the Erynes (English: the Furies) debate with Apollo about the guilt of Orestes.
在《佑护神》(Eumenides，英文为The Blessed Ones)中，有段关於复仇三女神(Erynes，英文：the Furies)与阿波罗辩论有关奥瑞斯特斯罪刑的一节。
He had lost the sense of what the Chorus was in the hands of the great masters, say in the Bacchae or the Eumenides. He mistakes, again, the use of that epiphany of a God which is frequent at the end of the single plays of Euripides, and which seems to have been equally so at the end of the trilogies of Aeschylus. Having lost the living tradition, he sees neither the ritual origin nor the dramatic value of these divine epiphanies. He thinks of the convenient gods and abstractions who sometimes spoke the prologues of the New Comedy, and imagines that the God appears in order to unravel the plot. As a matter of fact, in one play which he often quotes, the _Iphigenia Taurica_, the plot is actually distorted at the very end in order to give an opportunity for the epiphany.
亚里士多德还忘了合唱队是由那掌握命运者来控制，比如酒神的女祭司或者复仇女神欧墨尼得斯；他弄错了神的显现的用处，欧里庇德斯的单幕悲剧结尾处常有神显现，埃斯库罗斯三部曲的结尾好像与此相似，由于失去了活生生的传统，亚里士多德没有意识到神灵显现的仪式渊源和戏剧价值，而把神认为是有时去朗诵新喜剧开场白的这样一种方便和抽象，想象神的出现是为了解开情节的死结，而事实上，在他经常引用的《在奥利斯的伊菲革涅亚》里，情节实际上在结尾处被搅乱，目的是为了给神一个显现的机会。
Aeschylus made them the terrifying chorus of his tragedy Eumenides, and Euripides was the first to speak of them as three in number.
在艾斯克勒斯的剧作《降福女神》，她们是恐怖的歌唱队。尤利比提斯第一个指出她们是三个人。