of suppleness, cunning, and prudence--in short, a born adventurer and explorer. After all, I could not describe better than _Zarathustra_ has done unto whom I really address myself: unto whom alone would he reveal his riddle? "Unto you, daring explorers and experimenters, and unto all who have ever embarked beneath cunning sails upon terrible seas; "Unto you who revel in riddles and in twilight, whose souls are lured by flutes unto every treacherous abyss: "For ye care not to grope your way along a thread with craven fingers; and where ye are able to _guess,_ ye hate to _argue_?" 4 I will now pass just one or two general remarks about my _art of style._ To communicate a state an inner tension of pathos by means of signs, including the tempo of these signs,--that is the meaning of every style; and in view of the fact that the multiplicity of inner states in me is enormous, I am capable of many kinds of style--in short, the most multifarious art of style that any man has ever had at his disposal. Any style is _good_ which genuinely communicates an inner condition, which does not blunder over the signs, over the tempo of the signs, or over _moods_--all the laws of phrasing are the outcome of representing moods artistically. Good style, in itself, is a piece of sheer foolery, mere idealism, like "beauty in itself," for instance, or "goodness in itself," or "the thing-in-itself." All this takes for granted, of course, that there exist ears that can hear, and such men as are capable and worthy of a like pathos, that those are not wanting unto whom one may communicate one's self. Meanwhile my Zarathustra, for instance, is still in quest of such people--alas! he will have to seek a long while yet! A man must be worthy of listening to him.... And, until that time, there will be no one who will understand the art that has been squandered in this book. No one has ever existed who has had more novel, more strange, and purposely created art forms to fling to the winds. The fact that such things were possible in the German language still awaited proof; formerly, I myself would have denied most emphatically that it was possible. Before my time people did not know what could be done with the German language--what could be done with language in general. The art of grand rhythm, of grand style in periods, for expressing the tremendous fluctuations of sublime and superhuman passion, was first discovered by me: with the dithyramb entitled "The Seven Seals," which constitutes the last discourse of the third part of _Zarathustra,_ I soared miles above all that which heretofore has been called poetry. 5