imposture have we at last become weary and disgusted." It is the kings
who tell Zarathustra: "There is no sorer misfortune in all human destiny
than when the mighty of the earth are not also the first men. There
everything becometh false and distorted and monstrous." The kings are
also asked by Zarathustra to accept the shelter of his cave, whereupon
he proceeds on his way.

Chapter LXIV. The Leech.

Among the higher men whom Zarathustra wishes to save, is also the
scientific specialist--the man who honestly and scrupulously pursues his
investigations, as Darwin did, in one department of knowledge. "I love
him who liveth in order to know, and seeketh to know in order that the
Superman may hereafter live. Thus seeketh he his own down-going."
"The spiritually conscientious one," he is called in this discourse.
Zarathustra steps on him unawares, and the slave of science, bleeding
from the violence he has done to himself by his self-imposed task,
speaks proudly of his little sphere of knowledge--his little hand's
breadth of ground on Zarathustra's territory, philosophy. "Where mine
honesty ceaseth," says the true scientific specialist, "there am I blind
and want also to be blind. Where I want to know, however, there want
I also to be honest--namely, severe, rigorous, restricted, cruel, and
inexorable." Zarathustra greatly respecting this man, invites him too to
the cave, and then vanishes in answer to another cry for help.

Chapter LXV. The Magician.

The Magician is of course an artist, and Nietzsche's intimate knowledge
of perhaps the greatest artist of his age rendered the selection of
Wagner, as the type in this discourse, almost inevitable. Most readers
will be acquainted with the facts relating to Nietzsche's and Wagner's
friendship and ultimate separation. As a boy and a youth Nietzsche had
shown such a remarkable gift for music that it had been a question at
one time whether he should not perhaps give up everything else in order
to develop this gift, but he became a scholar notwithstanding, although
he never entirely gave up composing, and playing the piano. While
still in his teens, he became acquainted with Wagner's music and
grew passionately fond of it. Long before he met Wagner he must have
idealised him in his mind to an extent which only a profoundly artistic
nature could have been capable of. Nietzsche always had high ideals for
humanity. If one were asked whether, throughout his many changes, there
was