With fifty patches painted on faces and limbs—so sat ye there to mine astonishment, ye present-day men!
And with fifty mirrors around you, which flattered your play of colours, and repeated it!
Verily, ye could wear no better masks, ye present-day men, than your own faces! Who could—RECOGNISE you!
Written all over with the characters of the past, and these characters also pencilled over with new characters—thus have ye concealed yourselves well from all decipherers!
And though one be a trier of the reins, who still believeth that ye have reins! Out of colours ye seem to be baked, and out of glued scraps.
All times and peoples gaze divers-coloured out of your veils; all customs and beliefs speak divers-coloured out of your gestures.
He who would strip you of veils and wrappers, and paints and gestures, would just have enough left to scare the crows.
Verily, I myself am the scared crow that once saw you naked, and without paint; and I flew away when the skeleton ogled at me.
Rather would I be a day-labourer in the nether-world, and among the shades of the bygone!—Fatter and fuller than ye, are forsooth the nether-worldlings!
What the critics said
Ludovici says 'The Land of Culture' epitomises Nietzsche's attack on the scholars of his day as sterile because they believe in nothing, and that its last verses explain his altruism: he rejects Christian pity and neighbour-love both as degenerative slave-values and because he can love only his children's land, redeeming his fathers' errors in his children.