fɔːɹ pˈæɡliə, ðɪ ɐpəlˈoʊniən ɪz lˈaɪt ænd stɹˈʌktʃɚd wˌaɪl ðə dˌaɪənˈɪʒən ɪz dˈɑːɹk ænd sˌiːˈeɪtʃθˈɑːnɪk ʃiː pɹɪfˈɜːz sˌiːˈeɪtʃθˈɑːnɪk tə dˌaɪənˈɪʒən θɹuːˈaʊt ðə bˈʊk, ˈɑːɹɡjuːɪŋ ðætðə lˈæɾɚ kˈɑːnsɛpt hɐz bɪkˌʌm ˈɔːl bˌʌt sɪnˈɑːnɪməs wɪð hˈɛdənˌɪzəm ænd ɪz ɪnˈædɪkwət fɔːɹ hɜː pˈɜːpəsᵻz, dᵻklˈɛɹɪŋ ðˈæt "ðə dˌaɪənˈɪʒən ɪz nˈoʊ pˈɪknɪk".
For Paglia, the Apollonian is light and structured while the Dionysian is dark and chthonic (she prefers Chthonic to Dionysian throughout the book, arguing that the latter concept has become all but synonymous with hedonism and is inadequate for her purposes, declaring that "the Dionysian is no picnic").