If he was fair as he is hideous now, and raised his brow in scorn of his creator, he is fit to be the source of every sorrow.
[S’el fu sì bel com’elli è ora brutto, e contra ’l suo fattore alzò le ciglia, ben dee da lui procedere ogne lutto.]
Dante Alighieri (1265-1321) Italian poet The Divine Comedy [Divina Commedia], Book 1 “Inferno,” Canto 34, l. 34ff (34.34) (1309) [tr. Hollander/Hollander (2007)]
(Source)
Describing Satan. As Lucifer he was the most beautiful and powerful of the angels; Dante suggests his rebellious ingratitude against God is a fit cause for all the sin and sorrow of the world.
As ugly now, if he as handsome was, And 'gainst his Maker rais'd his haughty brow; 'Tis right all wailings should from him proceed.
[tr. Rogers (1782)]
If his meridian glories, ere he fell,
Equal'd his horrible eclipse in Hell, No brighter Seraph led the heav'nly host:
And now, a tenant of the frozen tide,
The Rebel justly merits to preside O'er all the horrors of the Stygian coast.
[tr. Boyd (1802), st. 8]
If he were beautiful As he is hideous now, and yet did dare To scowl upon his Maker, well from him
May all our mis’ry flow.
[tr. Cary (1814)]
If he, once fair as he is foul of mien, Against his Maker arrogantly raised The brow, from him might well proceed, I ween,
All things disastrous.
[tr. Dayman (1843)]
If he was once as beautiful as he is ugly now, and lifted up his brows against his Maker, well may all affliction come from him.
[tr. Carlyle (1849)]
If he were beauteous once as ugly now, And 'gainst his Maker dared to lift his brow, From him well might we have proceeding woe.
[tr. Bannerman (1850)]
If first in beauty once as hideous now, And to his Maker lifting his proud eye, Well might he be the source of ev'ry grief.
[tr. Johnston (1867)]
Were he as fair once, as he now is foul, And lifted up his brow against his Maker, Well may proceed from him all tribulation.
[tr. Longfellow (1867)]
If he was as fair as he is now foul, and raised his brows against his Maker, rightly should all sorrow come forth from him.
[tr. Butler (1885)]
If he was once as fair as hideous now, And 'gainst his Maker raised his impious eyes, Full well from him would all contention flow.
[tr. Minchin (1885)]
If he was as fair as he now is foul, and against his Maker lifted up his brow, surely may all tribulation proceed from him.
[tr. Norton (1892)]
If once he was as fair as he is loathly, And raised his brows even against his Maker, Well may it be from him proceeds all mourning.
[tr. Griffith (1908)]
If he was as fair as he is now foul and lifted up his brows against his Maker, well may all sorrow come from him.
[tr. Sinclair (1939)]
If he was once fair as he is now foul, And 'gainst his Maker dared his brows to raise, Fitly from him all streams of sorrow roll.
[tr. Binyon (1943)]
If he was once as fair as now he's foul, And dared outface his Maker in rebellion, Well may he be the fount of all our dole.
[tr. Sayers (1949)]
If he was once as beautiful as now he is hideous, and still turned on his Maker, well may he be the source of every woe!
[tr. Ciardi (1954)]
If he was once as beautiful as he is ugly now, and lifted up his brows against his Maker, well may all sorrow proceed from him.
[tr. Singleton (1970)]
If once he was as fair as now he's foul and dared to raise his brows against his Maker, it is fitting that all grief should spring from him.
[tr. Musa (1971)]
If he was once as handsome as he now
is ugly and, despite that, raised his brows
against his Maker, one can understand how every sorrow has its source in him!
[tr. Mandelbaum (1980)]
If he was as beautiful as he now is ugly, And yet dared to rebel against his maker, Well may he be the source of all mourning.
[tr. Sisson (1981)]
If he was truly once as beautiful As he is ugly now, and raised his brows Against his Maker -- then all sorrow may well
Come out of him.
[tr. Pinsky (1994)]
If he was as beautiful then as now he is ugly, when he lifted his brow against his Maker, well must all grieving proceed from him.
[tr. Durling (1996)]
If he was once as fair, as he is now ugly, and lifted up his forehead against his Maker, well may all evil flow from him.
[tr. Kline (2002)]
If, once, he was as lovely as now vile, when first he raised his brow against his maker, then truly grief must all proceed from him.
[tr. Kirkpatrick (2006)]
If ever his beauty could match the ugliness I saw, and he lifted arrogant brows at his Maker, I understand how sorrow was born that day.
[tr. Raffel (2010)]
If his beauty was
a match for all the foulness he has now,
We see that all our sorrow came because
He set his face against his Maker.
[tr. James (2013), l. 40ff]
Your lady friends are ill to see, All old or ugly as can be,
And in their company you go To banquet, play, and portico;
This hideous background you prepare To seem, by contrast, young and fair.
[Omnes aut vetulas habes amicas
Aut turpes vetulisque foediores.
Has ducis comites trahisque tecum
Per convivia, porticus, theatra.
Sic formosa, Fabulla, sic puella es.]
Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis] Epigrams [Epigrammata], Book 8, epigram 79 (8.79) (AD 94) [tr. Pott & Wright (1921), “The Contrast”]
(Source)
All thy companions aged beldames are, Or more deform'd than age makes any, far:
These cattle at thy heels thou trail'st always To public walks, to suppers, and to plays.
'Cause when with such alone we thee compare, Thou canst be said, Fabulla, young or fair.
[tr. Killigrew (1695)]
All the companions of her grace, I'm told, Are either very plan, or very old.
With these she visits: these she drags about, To play, to ball, assembly, auctions, rout:
With these she sups: with these she takes the air. Without such foils is lady dutchess fair?
[tr. Hay (1755)]
Old women are thine only friends; Or rivals, safe as they.
No other face thy face attends, To table, porch or play.
Fabulla, thus thou beauteous art, And thus thou still art young.
Oh! solace to my eyes impart; Or silence to my tongue.
[tr. Elphinston (1782), Book 6, Part 3, ep. 94]
All your female friends are either old or ugly; nay, more ugly than old women usually are. These you lead about in your train, and drag with you to feasts, porticoes, and theatres. Thus, Fabulla, you seem handsome, thus you seem young.
[tr. Bohn's Classical (1859)]
All the female friends you have are either old crones or ugly, and fouler than old crones. These, as your companions, you conduct and drag about with you through parties, colonnades, theaters. In this way, Fabulla, you are lovely, in this way young.
[tr. Ker (1919)]
The friends that old Fabulla owns Are harridans and ancient crones,
Ill-favored witches, what you will; These are her constant comrades still
To banquets, theatres, and shows; So ever fair and young she goes.
[tr. Francis & Tatum (1924), ep. 442]
The only female friends she has Are old or ugly crows.
These she drags along with her To parties, visits, shows.
So it's no cause for wonder that Amidst such company
She's young, attractive, beautiful -- Almost a joy to see!
[tr. Marcellino (1968)]
Her women friends are all old hags Or, worse, hideous girls. She drags
Them with her everywhere she goes -- To parties, theaters, porticoes.
Clever Fabulla! Set among Those foils you shine, even look young.
[tr. Michie (1972)]
All your women friends are either old hags or frights uglier than old hags. These are your companions whom you bring with you and trail through dinner parties, colonnades, theaters. In this way, Fabullla, you are a beauty, you are a girl.
[tr. Shackleton Bailey (1993)]
With women you keep company Who are ugly as can be.
These ancient frights you take along To show off in your social throng.
You hope that we will make compare, So even you look young and fair.
[tr. Wills (2007)]
All your friends are ancient hags or eyesores uglier than those.
These are the company you drag to banquets, plays, and porticoes.
Fabulla, when you're seen among such friends, you're beautiful and young.
[tr. McLean (2014)]
As for Comedy, it is (as has been observed) an imitation of men worse than the average; worse, however, not as regards any and every sort of fault, but only as regards one particular kind, the Ridiculous, which is a species of the Ugly. The Ridiculous may be defined as a mistake or deformity not productive of pain or harm to others; the mask, for instance, that excites laughter, is something ugly and distorted without causing pain.
Comedy is, as we have said, an imitation of characters of a lower type -- not, however, in the full sense of the word bad, the ludicrous being merely a subdivision of the ugly. It consists in some defect or ugliness which is not painful or destructive. To take an obvious example, the comic mask is ugly and distorted, but does not imply pain.
[tr. Butcher (1895)]
Comedy is, as we stated, the portrayal of an inferior class, yet not in all their inferiority, being the ludicrous side of ugliness abstracted. Ludicrousness is the painless and non-destructive variety of the species ugliness of the genus failing; thus, e.g., a ludicrous countenance is ugly and distorted, but not painful.
[tr. Margoliouth (1911)]
Comedy, as we have said, is a representation of inferior people, not indeed in the full sense of the word bad, but the laughable is a species of the base or ugly. It consists in some blunder or ugliness that does not cause pain or disaster, an obvious example being the comic mask which is ugly and distorted but not painful.
[tr. Fyfe (1932), sec. 3.4]
Comedy is, as we said, a representation of people who are rather inferior -- not, however, with respect to every kind of vice, but the laughable is [only] a part of what is ugly. For the laughable is a sort of error and ugliness that is not painful and destructive, just as, evidently, a laughable mask is something ugly and distorted without pain.
[tr. Janko (1987), sec. 2.4]
Comedy is, as we said, a mimesis of inferior persons not however that it has to do with the whole range of wickedness but with what is funny -- an aspect of ugliness. A funny thing, to be precise, is a clumsy mistake that is not painful or destructive: or to take an obvious example, the comic mask is ugly and grotesque but not repulsive or painful.
[tr. Whalley (1997)]
Comedy, as we said, is an imitation of people of a lower sort, though not in respect to every vice; rather, what is ridiculous is part of what is ugly. For the ridiculous is a certain sort of missing the mark and a deformity that is painless and not destructive; an immediate example is the comic mask, which is something deformed and misshapen without causing pain.
[tr. Sachs (2006)]
Comedy is, as we said, representation of people who are inferior but not wholly vicious: the ridiculous is one category of the embarrassing. What is ridiculous is some error embarrassment that is neither painful nor life-threatening; for example, a comic mask is ugly and distorted but does not cause pain.
[tr. Kenny (2013)]
No object is so ugly that, under certain conditions of light and shade, or proximity to other things, it will not look beautiful; no object is so beautiful that, under certain conditions, it will not look ugly.
Oscar Wilde (1854-1900) Irish poet, wit, dramatist
Lecture to Art Students, Royal Academy, London (30 Jun 1883)
(Source)
The universe could have been created ugly, and would have functioned. And yet there is beauty everywhere in creation. Beauty gives us an ache, to be worthy of that creation.
Mary Oliver (1935-2019) American poet
Comments at Wellesley College (20 Oct 2010)
(Source)
The last phrase is frequently paraphrased, "We need beauty because it makes us ache to be worthy of it."
You daub your face and think I shall not see Your wrinkles. You deceive yourself, not me.
A small defect is nothing when revealed; But greater seems the blemish ill concealed.
[Lomento rugas uteri quod condere temptas,
Polla, tibi ventrem, non mihi labra linis.
Simpliciter pateat vitium fortasse pusillum:
Quod tegitur, magnum creditur esse malum.]
Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis] Epigrams [Epigrammata], Book 3, epigram 42 (3.42) (AD 87-88) [tr. Pott & Wright (1921)]
(Source)
Thou seek'st with lard to smooth thy wrinkled skin, Bedaub'st thyself, and dost no lover win.
Simple decays men easily pass by, But, hid, suspect some great deformity.
[tr. Killigrew (1695)]
Leave off thy Paint, Perfumes, and youthful Dress, And Nature's failing honesty confess;
Double we see those Faults which Art wou'd mend, Plain downright Ugliness would less offend.
[tr. Sedley (1702), "To Cloe"]
With lotion some wrinkles you labor to hide. No policy, Polla, you show; but some pride.
A small fault perhaps might more safely appear: Whatever is hid, draws construction severe.
[tr. Elphinston (1782), Book 6, Part 3, ep. 20]
When you try to conceal your wrinkles, Polla, with paste made from beans, you deceive yourself, not me. Let a defect, which is possibly but small, appear undisguised. A fault concealed is presumed to be great.
[tr. Bohn's Classical (1859)]
Seek not to hide a blemish that's but small.
The fault that's hidden ofttimes greater seems.
[ed. Harbottle (1897)]
You try to conceal your wrinkles by the use of bean-meal, but you plaster your skin, Polla, not my lips. Let a blemish, which perhaps is small, simply show. The flaw which is hidden is deemed greater than it is.
[tr. Ker (1919)]
Applying paste to smooth out the folds in your fat belly only means you are rouging your belly for yourself instead of your lips for me. It wouild be more natural to let that minor flaw stand. The hidden evil is considered worse.
[tr. Bovie (1970)]
You try to hide your belly's wrinkles with bean meal, Polla, but you smear your stomach, not my lips. Better that the blemish, perhaps a trifling one, be frankly shown. Trouble concealed is believed to be greater than it is.
[tr. Shackleton Bailey (1993)]
You use a cream your wrinkles to disguise, But you're just pulling wool over our eyes.
The wrinkles, left alone, would draw no mention, But, covered up, they draw closest attention.
[tr. Wills (2007)]
Conceal a flaw, and the world will imagine the worst.
[Source]
There is hardly any bodily blemish which a winning behaviour will not conceal, or make tolerable; and there is no external grace which ill-nature or affectation will not deform.
James Burgh (1714-1775) British politician and writer The Dignity of Human Nature, Sec. 5 “Miscellaneous Thoughts on Prudence in Conversation” (1754)
(Source)
Indifference, to me, is the epitome of evil.
The opposite of love is not hate, it’s indifference.
The opposite of art is not ugliness, it’s indifference.
The opposite of faith is not heresy, it’s indifference.
And the opposite of life is not death, but indifference,
indifference between life and death.
Elie Wiesel (1928-2016) Romanian-American novelist, professor, political activist, Nobel Laureate.
“One Must Not Forget,” interview by Alvin P. Sanoff, US News & World Report (27 Oct 1986)
