For the reader, however, who picks up this book after having equipped himself for an understanding of it, there is much of fascination and stimulation. Nietzsche regarded it as his most intimate and personal, and therefore his most important, work. He even had plans for two more parts which were to be included in it. But these were never finished. The indifference with which the book was received, even by those on whose sympathy and understanding he had most counted, reacted unfavourably upon him. It is nevertheless, just as it stands, one of the most remarkable pieces of philosophic literature of modern times. Its form alone makes it unique. Instead of stating his beliefs directly and without circumlocution, as was always his method both before and after the writing of this book, Nietzsche chose for his mouthpiece a poet and philosopher borrowed from the Persians, namely: Zoroaster. This sage of the ancients was used as a symbol of the higher man. Into his mouth were put Nietzsche's own ideas in the form of parables, admonitions, exhortations and discourses. The wanderings and experiences of this Zoroaster are chronicled, and each event in his life embodies a meaning in direct accord with the Nietzschean system of conduct. Because of the Persian origin of Zoroaster one might imagine that influences of Persian philosophy would be discoverable in the teachings of this nomadic poet. But with the name all similarity between the spokesman and his doctrines ends. Nietzsche's choice of Zoroaster as his mouthpiece grew out of his early admiration for the Persians who, he declared, "were the first to take a broad and comprehensive view of history." As we see Zoroaster in this book we recognise him at once as none other than Nietzsche himself; and the experiences through which he goes in his wanderings are but picturesquely stated accounts of Nietzsche's own sufferings, raptures, aspirations and disappointments. To those familiar with Nietzsche's life, many of the characters introduced in the book will be recognised as portraitures of men whose lives crossed that of the philosopher. Likewise, many of the parables and fables are thinly disguised accounts of the incidents in his own life. In the last part of the book we find Nietzsche creating a fantastic poet to represent Wagner, and holding him up to severe and uncompromising criticism.