The Twilight of the Idols · Friedrich Wilhelm Nietzsche
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Nothing is beautiful; man alone is beautiful: all æsthetic rests on this piece of ingenuousness, it is the first axiom of this science. And now let us straightway add the second to it: nothing is ugly save the degenerate man,—within these two first principles the realm of æsthetic judgments is confined. From the physiological standpoint, everything ugly weakens and depresses man. It reminds him of decay, danger, impotence; he literally loses strength in its presence. The effect of ugliness may be gauged by the dynamometer. Whenever man’s spirits are downcast, it is a sign that he scents the proximity of something “ugly.” His feeling of power, his will to power, his courage and his pride—these things collapse at the sight of what is ugly, and rise at the sight of what is beautiful. In both cases an inference is drawn; the premises to which are stored with extra ordinary abundance in the instincts. Ugliness is understood to signify a hint and a symptom of degeneration: that which reminds us however remotely of degeneracy, impels us to the judgment “ugly.” Every sign of exhaustion, of gravity, of age, of fatigue; every kind of constraint, such as cramp, or paralysis; and above all the smells, colours and forms associated with decomposition and putrefaction, however much they may have been attenuated into symbols,—all these things provoke the same reaction which is the judgment “ugly.” A certain hatred expresses itself here: what is it that man hates? Without a doubt it is the _decline of his type._ In this regard his hatred springs from the deepest instincts of the race: there is horror, caution, profundity and far-reaching vision in this hatred,—it is the most profound hatred that exists. On its account alone Art is profound.
Text from Project Gutenberg, public domain in the United States.