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Thus Spake ZarathustraIdeasLibrary

All on a sudden however, Zarathustra’s ear was frightened: for the cave which had hitherto been full of noise and laughter, became all at once still as death;—his nose, however, smelt a sweet-scented vapour and incense-odour, as if from burning pine-cones.

“What happeneth? What are they about?” he asked himself, and stole up to the entrance, that he might be able unobserved to see his guests. But wonder upon wonder! what was he then obliged to behold with his own eyes!

“They have all of them become PIOUS again, they PRAY, they are mad!”—said he, and was astonished beyond measure. And forsooth! all these higher men, the two kings, the pope out of service, the evil magician, the voluntary beggar, the wanderer and shadow, the old soothsayer, the spiritually conscientious one, and the ugliest man—they all lay on their knees like children and credulous old women, and worshipped the ass. And just then began the ugliest man to gurgle and snort, as if something unutterable in him tried to find expression; when, however, he had actually found words, behold! it was a pious, strange litany in praise of the adored and censed ass. And the litany sounded thus:

The cave falls silent and fills with incense. Zarathustra looks in and finds all the higher men kneeling and praying to the ass, and the ugliest man begins a litany.

Commentary on this passage

What the critics said

Belief in believing: the ass-worshipAnthony M. Ludovici · Notes on Thus Spake Zarathustra, 1909interpretation

Ludovici reads the higher men's worship of the ass as a warning that thinkers who regain confidence in believing as such fall victim to the narrowest superstitions, alluding to pagan charges that Christians were ass-worshippers and to medieval asinaria festa.

Commentary on this chapter

What the critics said

Form of the book and Part IV's blasphemyH. L. Mencken · The Philosophy of Friedrich Nietzsche, 1908interpretation

Mencken describes Zarathustra as a remote sage attended by a snake and an eagle whose discourses recall the biblical rhapsodists, and argues that toward the end Nietzsche indulges in blasphemy, with a parody of the last supper, the disciples' worship of a jackass, and Wagner and other enemies appearing thinly veiled as buffoons.