Setting the Stage for The Will to Power 279Its source is pleasure in knowledge and not the attributes of what is
known. Since, however, it is so easy to confuse matters in the excitement
and pleasure of knowledge, it is difficult to maintain one's "honesty"
and not wind up a "eulogist of things" (3,321; D § 550). These circum-
stances apply equally to love. Only if one maintains a bond with the liv-
ing power of love does life assume a lovable form. Where does the will
to love find sustenance? Solely in itself, not in the wodd. The will to love
is simply one particular form of the will to power. Is there any power
greater than the magical transformation that renders something lovable?
The "Übermensch, " "eternal recurrence," and the "will to power" form
a triad of doctrines in Zarathustra. The 'Svili to power" is first mentioned
in Zarathustra's speech on self-transcendence. The ideas developed in
this speech are introduced by three songs immediately preceding it:
"The Night Song," "The Dancing Song," and "The Tomb Song." These
songs explore the relationship between life and love, and point up the
dire aspects of self-referentiality in loving. 'The Night Song" includes a
graphic illustration: "But I live in my own light; I drink the flames back
into me as they break out of me" (4,136; Ζ Second Part). In "The
Dancing Song," Zarathustra comes across a bevy of dancing giris. He
wants to dance with them, even though the "spirit of gravity" (4,200; Ζ
Third Part, "On the Vision and the Riddle" § 2) holds him back, but the
"litde god" stirs within him as well. This "litde god" is a satyr, a Pan who
wants to move and is on the hunt for "butterflies." Zarathustra does
want to dance, but in his self-referentiality he muses about dancing
instead of simply dancing. To make matters worse, he speaks to a dancer
and thereby prevents her from dancing. At the same time, however, he
transforms her as a symbol of dancing life. Her raillery is full of con-
tempt: "Even if you men call me 'the profound one' or 'the fateful one,'
'the eternal one,' 'the mysterious one'—you men still always bestow your
own virtues on us—Ο you virtuous men!" (4,140; Ζ Second Part,
"Dancing Song").
"Life" makes Zarathustra aware that projections render it profound
and mysterious. Those who stand apart from life and do not participate