並列摘要
This paper focuses on Richard Wagner's first accomplished opera ”Die Feen”. Through the reconstruction of historical background and the analysis of dramatic techniques, the changes and acceptance of Gozzi's original, and the commentaries of other interpretations, it tries to demonstrate that this opera inherited the old tradition from the Romanticism of E. T. A. Hoffmann, yet didn't actually reflect the revolution spirit in 1830's, and so already represented the inception of Wagner's conservative tendency after the 1848/49 Revolution. Some contemporary German scholars attempt to connect ”Die Feen” with transitions of the time, so as to shape Wagner's image into a leftist artist and to diminish his intimacy with Nazi ideology. These efforts are shown to be only contrived transfigurations.