悲劇神並不普遍存在於每一文化體，唯當一蓄積強大能量之文化以其悲劇痛感衝向發展的頂峰時，悲劇神話才誕生。這樣的發生過程，同時可見於漢文化及歐洲文化中；其悲劇神話之表相差異，難掩兩者內在精神之共通性。 　　這兩大文化之悲劇神皆半人半神之生命個體，由於不滿外在自然加諸生命之壓抑與束縛，遂違抗自然律法之倫理，犯下侮慢道德之罪而遭致肢解。然其行動與所受之懲罰具必然性與神聖性；逆天以全人乃悲劇神蹟之內涵，其所求取者實為超越差異世界之上之無量正義。漢文化與歐洲文化皆具人本主義特質；唯前者乃內化、主觀的，而後者則是他化、客觀的。中國民間信仰之哪吒與歐洲古代酒神戴奧尼索斯就是此二文化之悲劇神原型。孫悟空與浮士德各自成為衪們的延伸，在不同世代以形而上的信念刺激整個文化向上攀登之意志，創造生命之充實感。

　　　　　Not every culture can generate tragic gods; tragic myths come into existence only when a culture, after accumulating massive and strong power, rushes to the summit of its development with a tragic sense of pain. This process of development occurs in both cultures of Han and Europe. The superficial differences in their tragic myths cannot hide their similarities in spirit. The tragic gods in both cultures are demigods. Unsatisfied with their life being pressed and restrained by external nature, they revolt against the rule of its law, commit the crime of hubris, and therefore are dismembered. Nevertheless the actions they take and the punishment they gain are essential and sacred. Rebelling against deities for perfecting humanity holds the key to the tragic gods’ miracles. What they pursue is transcendent justice. The cultures of Han and Europe are humanistic; the former is introversive and subjective, but the latter, extroversive and objective. Nor-Zar in Hanian folk religion and Dionysus in ancient Europe are the archetypes of tragic gods in either cultures. With metaphysical faith, Sun Wu Kong and Faust, their respective successors, set spurs to people in different generations with soaring will and thereby enable them to create the sense of fulfillment of life.