Nirvana Of Love

The part "Love’s death" in the finale of the third act, which holds the very style of Wagner, is the most gorgeous movement in the music drama "Tristan und Isolde". Follow the light of the young Nietzsche, this paper aims to make further analysis of the tragic of this part, and the deep implications of music ethics, in other words, to analyze the omnipresent Dionysian in it: the characters had gone with the unethical love, while the outsiders reborn in the elegant and solemn Apollonian spirit after the baptism of music, this is what I call "Nirvana of love".Almost from the eulogy of Plato, "Love"(Eros) became the most classical theme of the western classical philosophy; but also because of Plato, "love" is always intertwined with philosophical concepts for thousands of years, such as eternity of life, immortality of the soul. “Love”, as “the best line of business” for a philosopher, had almost become the most stubborn classical philosophy itself. Nietzsche and Wagner, like knows like. This relationship is based on their common interest of launching a kind of attack or resistance to the "philosophical love," in which music is used as weapons; Wagner contributed the ammunition — — "Love’s death", while Nietzsche offered the gun——ancient Greek tragedy. Although the tragic of "Love’s death" was relied on Nietzsche’s findings, it is in this part that Nietzsche was convinced the essence of the ancient Greek tragedy. Just as guns cannot be separated with ammunition, ammunition needs guns.Echoed with the revolt in philosophy, Wagner revolted against the opera with his music drama, and the forms of music against the content. Taking the analysis of "Love’s death" as the starting point, this paper aims to reveal the revolutionary of "Tristan und Isolde". In addition, according with Wagner’s reform on opera and his understanding of issues on both music and life, this paper will explain how this drama worked in concert with Nietzsche’s subject of "the ancient Greek tragedy"; just as in "The Birth of Tragedy," Nietzsche spoke highly of this music drama when he called for the renaissance of tragic spirit of the ancient Greek.This paper consists of four parts. The first chapter is the introduction that involves the origin of this study and the review of the relevant literature. The second chapter aims to explain how Wagner made a breakthrough on the form of opera art,and how he ingeniously created a new kind art form——the music drama to interpret this " Love’s death " theme. This explanation is made through the deep form analysis of the finale of "The Death of Love", combined with the analysis of its artistic value and of the relationship between its content with the whole drama. The third chapter is to dig the philosophical basis of this music drama "Tristan und Isolde", and to explore the meaning of life behind it, as well as the renaissance of the German Spirit, in the light of the process of the development and change of musical forms. The forth chapter researches how the “nirvana of love” comes into being under the combination of the Endless Melody and Dionysian. Then compares the form of art and the content of philosophy with the Dionysian Spirit and Apollonian Spirit of Greek tragedy, with the purpose of analyzing its significance.