Starting with Wittgenstein’s remark about his allegedly frequent visits to the performance of Wagner’s Die Meistersinger von Nurnberg, the paper presents Wagner’s opera – being explicitly an opera about rules and rule-following – as a possible stimulus for the later Wittgenstein’s thinking about language. Besides Wittgenstein’s systematic interests in parallels between music and language, the paper draws on the choice of terminology (such as the comparison of rules to rails) and on Wittgenstein’s own examples of rule-following. More speculatively, the phrasing as well as the solution to what Kripke called Wittgenstein’s sceptical paradox is used as a point of comparison that brings Wittgenstein’s aesthetic innuendos closer not only to mainstream philosophy of language, but due to the antithetical structure of Kripke’s argument also to the broader philosophical and aesthetical tradition, with a particular focus on the great philosophical systems of German idealism.

中文翻译：

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维特根斯坦（Wittgenstein）和狄·梅斯特辛格（Die Meistersinger）：怀疑论悖论的怀疑论解决之道

从维特根斯坦关于他涉嫌经常拜访瓦格纳的大班歌手冯·纽伦堡（Die Meistersinger von Nurnberg）表演的言论开始，该论文提出了瓦格纳的歌剧–明确地是关于规则和规则遵循的歌剧–作为对后来的维特根斯坦关于语言的思考的一种可能的刺激。除了维特根斯坦对音乐和语言之间的相似性的系统兴趣之外，本文还借鉴了术语的选择（例如，将规则与铁轨进行比较）以及维特根斯坦自己的规则遵循示例。更具投机性的是，克里普克所说的维特根斯坦怀疑论悖论的措辞和解决方案被用作比较点，这不仅使维特根斯坦的审美倾向更接近主流语言哲学，