尼采在《悲剧的诞生》中将“魔变”视为“一切戏剧艺术的前提”,而魔变的根本是渴望。根据尼采认为最具酒神之醉的圣约翰节,总结出魔变的根本在于激情和渴望,酒神的魔变者在这种相信中看见自身之外的幻象。尼采对苏格拉底的批判有两个要点,一是悲剧的诞生同苏格拉底的理性审美倾向不符,另一在于苏格拉底的不信神。尼采批判了这种理性审美,认为其崇拜的“概念”普遍而空洞,不过尼采在这种批判中依然坚信艺术的拯救能力,可以将人们从冷漠的静观中带回艺术的自由世界。Nietzsche regarded “magic transformation” as the “premise of all dramatic arts” in “The Birth of Tragedy”, and the fundamental reason for magic transformation is desire. According to Nietzsche’s belief in the most drunken feast of St, John’s Day, it can be concluded that the root of the devil’s transformation lies in passion and desire, and the devil’s transformation of the wine god sees illusions beyond themselves in this belief. Nietzsche’s criticism of Socrates has two main points: one is that the birth of tragedy does not conform to Socrates’ rational aesthetic tendency, and the other is Socrates’ lack of faith in God. Nietzsche criticized this rational aesthetic, believing that the “concepts” it worships are universal and hollow, but he still firmly believed in the saving power of art in this criticism, which can bring people back to the free world of art from indifferent contemplation.
