本論文主要討論亞理斯多德和尼采兩種不同版本的悲劇理論，事實上透過兩者的悲劇想像（因為兩者都沒有親眼目睹過古希臘悲劇比賽，故稱之為想像），暴露出來的其實是兩套不同知識系統的預設，我們可以稱之為神諭式的薩滿知識系統和蘇格拉底式的知識系統，而這兩種知識系統，其實是建立在兩種不同的意識狀態之上。神諭式的薩滿知識系統其實是一種身體自主經驗的產物，而蘇格拉底式的知識系統則是代表着理性主體的意識狀態。因此在這樣子的架構下，我們將詮釋，對亞理斯多德而言，城邦正義必需要在蘇格拉底式的理性形式當中才能理解，因此在此種預設下悲劇的本質被理解成一種結構（急轉、發現）。尼采則揚棄此種結構的思想，將悲劇此種藝術形式視為一種力量傳遞的管道，或某種身體驅力的展現。此外本文還要討論此兩種不同悲劇觀形成的時代預設，對於前者我們將要探討古希臘城邦的知識狀態，在後者方面，我們則要將尼采放置在德國浪漫派的時代狀態進行討論。

In this essay, I argue that Aristotle's and Nietzsche's tragic theories presuppose two modes of epistemological system, which are the oracular, shamanic system and the Socratic system. In addition, I will point out that these two epistemological systems are based on two different types of state of consciousness. The former, shamanic one is the result of a bodily autonomy experiences, while the latter, is the rational subject’s state of consciousness. For Aristotle, the justice of city state has to be understood in terms of the Socratic rationality. Thus the nature of tragedy is established as a structure (for instance, discovery and reversal). For Nietzsche, however, the art form of tragedy is a medium for transmitting energy, or a demonstration of bodily force. I shall specify the historical circumstances of the formation of the two tragedy theories. On the part of the Aristotelian view, I shall discuss the epistemological state of the ancient Greek city state. For the Nietzschean view, I shall situate Nietzsche’s theory within the epoch of German Romanticism.