1869年，年仅24岁且尚未完成博士论文的弗雷德里希·尼采被巴塞尔大学任命为古典语文学教授。在短暂的任期内，尼采通过细致的文本研究，揭示了19世纪中欧顶尖古典语文学家有关古希腊节奏研究的问题所在。尼采在他关于古希腊节奏的教学与研究笔记中（共四册，直到1993年才出版），暗示瓦格纳的歌剧《特里斯坦与伊索尔德》使用了古希腊节奏，但他没有明确阐述对此如何理解。笔者从尼采的笔记中对《特里斯坦与伊索尔德》第三幕第二场的分析得到启发，通过深入分析，论证了瓦格纳如何在现代记谱法和节拍系统的规限下使用了古希腊节奏。

In 1869,the 24-year-old Friedrich Nietzsche landed a professorship in Classical Philology at the University of Basel,even before he completed his doctoral dissertation.During his brief tenure,Nietzsche conducted meticulous textual criticism and uncovered problems in the work of nineteenth-century Central Europe's foremost authorities on ancient Greek rhythm.In the notebooks on his teaching and research of ancient Greek rhythm(not published until 1993;four volumes),Nietzsche intimated that Wagner had incorporated ancient Greek rhythm into Tristan and Isolde,although he did not elaborate on how he understood it.Inspired by Nietzsche's detailed analysis of Act 3,Scene 2 of Tristan and Isolde in his notebook,I argue with recourse to in-depth music analyses how Wagner might have skilfully harnessed ancient Greek rhythm within the constraints of modern music notation and metrical systems.