這一篇論文是在討論尼采的悲劇思想在華格納的《尼貝龍根指環》這一齣戲劇中是否被完整呈現的問題，主要是以尼采早期獻給華格納的著作：《悲劇的誕生》和華格納的《尼貝龍根指環》一劇為討論內容。在尋找這兩個人的思想和悲劇精神的問題上，叔本華的形上學思想和音樂形上學因為是尼采和華格納悲劇思想的重要橋樑，所以，也在本篇論文中有所論述；另外，因為尼采與華格納的時代因素，他們都以古希臘文化作為建立當時德國文化的指標，因此，在這篇論文裡面，尼采和華格納的悲劇內容就以亞里斯多德的《詩學》一書中所提的希臘悲劇的形式作為彼此的悲劇內容形式上互相比對的媒介。 最後，在尼采的著作：《華格納在拜洛伊特》與《華格納事件》這篇文章的論述當中略為討論尼采與華格納兩人決裂的問題。 In this thesis will the following question be discussed, namely whether the tragic thought of Nietzsche is completely provable in Wagner's music drama The Niblungen's Ring. I focus my discussion both on Nietzsche's first important work The Birth of Tragedy, which was dedicate to Richard Wagner, and Wagner's music drama: The Niblungen's Ring. Schopenhauer's metaphysic, especially his thought of music metaphysic played an important role on both of them, therefore it will also be discussed as common root in this thesis. Besides, the cultural background of their time in which the Germany wanted to build their own cultural tradition after the paradigm of ancient Greek has great influences on Nietzsche and Wagner. The thesis will retrace their tragic thoughts to the origin in Greek culture , especially in the Poetica of Aristotle. At last, it also refers to the other Nietzsche's writing, for example, Wagner in Bayreuth and The Case of Wagner in order to clarify the problems of the breaking of their friendship.
