Verily, neither do I like those who call everything good, and this world the best of all. Those do I call the all-satisfied.
All-satisfiedness, which knoweth how to taste everything,—that is not the best taste! I honour the refractory, fastidious tongues and stomachs, which have learned to say “I” and “Yea” and “Nay.”
To chew and digest everything, however—that is the genuine swine-nature! Ever to say YE-A—that hath only the ass learnt, and those like it!—
Deep yellow and hot red—so wanteth MY taste—it mixeth blood with all colours. He, however, who whitewasheth his house, betrayeth unto me a whitewashed soul.
With mummies, some fall in love; others with phantoms: both alike hostile to all flesh and blood—oh, how repugnant are both to my taste! For I love blood.
And there will I not reside and abide where every one spitteth and speweth: that is now MY taste,—rather would I live amongst thieves and perjurers. Nobody carrieth gold in his mouth.
Still more repugnant unto me, however, are all lickspittles; and the most repugnant animal of man that I found, did I christen “parasite”: it would not love, and would yet live by love.
Unhappy do I call all those who have only one choice: either to become evil beasts, or evil beast-tamers. Amongst such would I not build my tabernacle.
Unhappy do I also call those who have ever to WAIT,—they are repugnant to my taste—all the toll-gatherers and traders, and kings, and other landkeepers and shopkeepers.
What the critics said
Mencken argues that Nietzsche offers a gospel of intelligent selfishness and absolute individualism, citing Zarathustra on loving oneself rather than one's neighbour, and an aristocracy that sacrifices the masses as scaffolding for a higher race under the law of natural selection.
Ludovici says the sublime ones are a type Nietzsche did not wholly dislike but who take life too seriously and never surmount the camel stage; real greatness is to speak of lofty things without being oppressed by them, and Nietzsche breaks old things not with the anarchist's irreverence but with the fingers of an artist at ease with beauty, guided by his own taste.
Ludovici explains the doctrine of self-love in 'The Spirit of Gravity' as a response to modern man's terror of being alone with himself, which betrays self-contempt, so that learning to love oneself requires a slow inner transformation; and he notes that Nietzsche does not coerce but says 'This is my way, where is yours?'
Ludovici explains the doctrine of self-love in 'The Spirit of Gravity' as a response to modern man's terror of being alone with himself, which betrays self-contempt, so that learning to love oneself requires a slow inner transformation; and he notes that Nietzsche does not coerce but says 'This is my way, where is yours?'