Part I: Zarathustra’s Discourses
Those whom Zarathustra addresses as potential companions, though they fall short of the Superman.
V
Implied as the opposite of the last men, who are content with mediocrity and comfort.
The New Truth
Implied as the living companions Zarathustra seeks—creators and reapers.
II: The Academic Chairs of Virtue
Implied as the youths sitting before the wise man, seeking virtue for the sake of sleep.
V: Joys and Passions
Implied audience; the teaching on virtue and self-overcoming is directed toward those striving to surpass themselves.
VII: Reading and Writing
Addressed as those who look aloft for exaltation, contrasted with Zarathustra who looks downward from his height.
VIII: The Tree on the Hill
The youth represents a higher man in danger of losing his noble aspirations and falling into despair or sensuality.
The New Idol
Implied as 'great souls' and 'lone ones and twain ones' who are called to leave the state behind.
The Way of the Creating One
Implied audience of those who seek the way of creation and self-overcoming.
Voluntary Death
Zarathustra addresses his friends, likely the higher men, as the heirs of his goal, calling them to throw the golden ball.
The Bestowing Virtue
Implied as the disciples who are called to become creators and fighters, and to eventually form a chosen people from which the Superman arises.
The Bestowing Virtue
His disciples, who strive for the bestowing virtue and are given the staff as a symbol.
XXIII: The Child with the Mirror
Implied as the friends Zarathustra longs to rejoin and whose hearts he seeks as a soft sward for his wisdom.
XXVIII: The Rabble
Zarathustra addresses his friends, the higher men, inviting them to join him in his elevated home where the rabble cannot reach.
XXX: The Famous Wise Ones
The 'famous wise ones' are implicitly contrasted with the higher men, though they themselves are not yet the free spirits Zarathustra seeks.
XXXIII: The Grave-Song
Implied as the enemies who stole Zarathustra's youthful visions and caused his suffering.
XL: Great Events
Implied as the disciples who listen to Zarathustra's tale and are anxious about his disappearance.
XLI: The Soothsayer
Zarathustra's disciples gather around him, interpret his dream, and urge him to return to them.
XLII: Redemption
Implied as the disciples to whom Zarathustra addresses his discourse on redemption and the Will.
XLIII: Manly Prudence
Addressed as 'ye highest men' whom Zarathustra doubts, suspecting they would call the Superman a devil.
The Vision and the Enigma
Addressed as 'daring venturers and adventurers' to whom Zarathustra tells his enigma.
I
Implied audience of daring venturers and adventurers to whom Zarathustra addresses his speech.
II
Addressed as 'ye venturers and adventurers' who are called to solve the enigma of the vision.
On Passing-By
The fool's speech implicitly critiques the higher men and their virtues, which are described as 'appointable' and tied to the court and shopmen.
The Apostates
Implied as the former followers who have become apostates, now weary and pious.
The Three Evil Things
Implied as those who might understand the revaluation; Zarathustra speaks of 'free hearts' and 'lion-willed' individuals.
II
Implied in the critique of those who carry too many extraneous burdens and fail to discover themselves.
LVI: Old and New Tables
Addressed as 'my brethren' throughout, called to break old tables and create new values.
VII
Implied audience as 'discerning ones' who are urged to break the old tables.
XII
Addressed as 'my brethren' and called to a new nobility of self-overcoming and future-oriented love.
XVI
Addressed as 'my brethren', the higher men are called to break the new table and embrace the will to create.
XVIII
Implied as the 'brethren' Zarathustra addresses, who are to guard the hero from the 'cultured' vermin.
XX
Addressed as 'brethren' who are called to push what is falling and learn to fall faster.
The Convalescent
Indirectly referenced through Zarathustra's critique of the 'great man' and 'small man' and his disgust at humanity.
LXI: The Honey Sacrifice
Implied as the 'strangest human fish' Zarathustra seeks to lure to his height.
The Cry of Distress
Referenced as the source of the cry of distress calling for Zarathustra.
LXIII: Talk with the Kings
The kings seek the higher man, whom they consider the true lord of the earth, and bring an ass as a gift for him.
I
Referenced as the object of the kings' search and Zarathustra's own quest.
LXV: The Magician
Zarathustra initially mistakes the Magician for a higher man based on his cry of distress.
I
The higher man is introduced as a trembling old man, isolated and in great distress, who delivers a lament about a cruel, unfamiliar God.
LXVIII: The Voluntary Beggar
Implied as part of the broader context of Zarathustra's journey, though not directly present.
LXXI: The Greeting
All the despairing ones gathered in Zarathustra's cave, including the kings, magician, pope, beggar, shadow, conscientious one, soothsayer, ass, and ugliest man.
LXXII: The Supper
The subject of conversation during the supper.
The Higher Man
The primary audience of the chapter; Zarathustra addresses them directly, calling them to surpass themselves and reject the herd.
I
Addressed directly by Zarathustra, who instructs them to avoid the marketplace and the populace.
II
Zarathustra's audience, who are frightened but called to become masters.
III
Addressed directly; praised for their despising and despair, which makes them worthy of love and hope.
VI
The higher men are addressed directly; Zarathustra criticizes their petty sufferings and challenges them to endure more.
VIII
Addressed directly by Zarathustra, cautioned against false ambition and self-deception.
IX
Addressed directly by Zarathustra as 'ye higher men, ye enheartened ones! Ye openhearted ones!'
On the Higher Man
Addressed directly as those who seek to ascend but may rely on others.
XI
Addressed as 'ye creating ones' and 'ye higher men'; urged to unlearn the false 'for' of petty virtue.
XII
Zarathustra's audience, called 'ye creating ones' and urged to purify themselves.
XIV
Depicted as shy and ashamed after their failed attempts.
XV
The higher men are addressed as failures and half-shattered ones, yet are encouraged to see the future striving within them.
XVII
Zarathustra addresses his 'brethren' and 'good dancers,' likely referring to the higher men who are capable of self-overcoming.
XIX
The audience of Zarathustra's exhortation to lift their hearts and legs.
XX
Addressed directly by Zarathustra, criticized for not having learned to dance or laugh beyond themselves.
The Song of Melancholy
The higher men are the audience for the magician's performance, addressed directly as those who suffer from the 'great loathing' and await a new god.
I
Remain in the cave; Zarathustra implies they bring an unpleasant odor.
II
Addressed by the magician as his audience and companions.
LXXV: Science
Are entranced by the magician's song and later applaud his remarks, laughing together with Zarathustra.
Among Daughters of the Desert
The kings and others present are implied as part of the group the shadow addresses.
I
Referenced collectively as those who might fall into gloom without Zarathustra.
LXXVII: The Awakening
The assembled guests, including kings, the pope, magician, beggar, wanderer, shadow, soothsayer, conscientious one, and ugliest man, engage in laughter and then in a pious litany before the ass.
I
They are noisy, laughing, and rejoicing in the cave; Zarathustra sees them as convalescents who are becoming thankful.
II
All the higher men, including the two kings, the pope, the magician, and others, kneel and worship the ass.
II
The guests, referred to as wags and buffoons, are accused of dissembling and regressing to childlike behavior.
III
Addressed as 'new friends' and 'higher men'; they have become joyful and blossomed.
The Drunken Song
Rush to Zarathustra in gratitude, laughing and weeping, and participate in the midnight celebration.
I
Hearing the ugliest man's question, they become conscious of their transformation and rush to thank, honor, and caress Zarathustra, each in their own way.
II
Hold Zarathustra in their arms and listen with him to the midnight bell.
The Night Song and the Midnight
The higher men are the audience of Zarathustra's midnight address.
IV
Zarathustra directly addresses the higher man, warning him to heed the voice of deep midnight.
V
Addressed directly as dancers who have not yet flown high enough, urged to free the dead and awaken.
VI
Addressed directly by Zarathustra as 'Ye higher men'.
VIII
Zarathustra addresses the higher men, calling them deaf ones who do not understand him.
The Intoxicated Song
Addressed directly by Zarathustra, who warns them not to mistake him for a soothsayer or dreamer.
XI
Zarathustra directly addresses them as 'ye higher men,' telling them that joy longs for their woe.
XII
Zarathustra addresses the higher men, urging them to sing the song of eternal recurrence.
LXXX: The Sign
Still sleeping in Zarathustra's cave; they awaken and flee in terror when the lion roars.
