so-and-so, but is only allowed to pass as such), a delight in uncertainty and ambiguity, an exulting enjoyment of arbitrary, out-of-the-way narrowness and mystery, of the too-near, of the foreground, of the magnified, the diminished, the misshapen, the beautified⁠—an enjoyment of the arbitrariness of all these manifestations of power. Finally, in this connection, there is the not unscrupulous readiness of the spirit to deceive other spirits and dissemble before them⁠—the constant pressing and straining of a creating, shaping, changeable power: the spirit enjoys therein its craftiness and its variety of disguises, it enjoys also its feeling of security therein⁠—it is precisely by its Protean arts that it is best protected and concealed!⁠— counter to this propensity for appearance, for simplification, for a disguise, for a cloak, in short, for an outside⁠—for every outside is a cloak⁠—there operates the sublime tendency of the man of knowledge, which takes, and insists