A well-made man whose carriage is timid or constrained7, gait precipitate8 or heavy, and gestures awkward, has no gracefulness9, because he has nothing gentle or attractive in his exterior10. The voice of an orator11 which wants flexibility12 or softness is without grace.
It is the same in all the arts. Proportion and beauty may not be graceful. It cannot be said that the pyramids of Egypt are graceful; it cannot be said that the Colossus of Rhodes is as much so as the Venus of Cnidus. All that is merely strong and vigorous exhibits not the charm of grace.
It would show but small acquaintance with Michelangelo and Caravaggio to attribute to them the grace of Albano. The sixth book of the “?neid” is sublime13; the fourth has more grace. Some of the gallant14 odes of Horace breathe gracefulness, as some of his epistles cultivate reason.
It seems, in general, that the little and pretty of all kinds are more susceptible15 of grace than the large. A funeral oration16, a tragedy, or a sermon, are badly praised, if they are only honored with the epithet17 of graceful.
It is not good for any kind of work to be opposed to grace, for its opposite is rudeness, barbarity, and dryness. The Hercules of Farnese should not have the gracefulness of the Apollo of Belvidere and of Antinous, but it is neither rude nor clumsy. The burning of Troy is not described by Virgil with the graces of an elegy18 of Tibullus: it pleases by stronger beauties. A work, then, may be deprived of grace, without being in the least disagreeable. The terrible, or horrible, in description, is not to be graceful, neither should it solely19 affect its opposite; for if an artist, whatever branch he may cultivate, expresses only frightful20 things, and softens21 them not by agreeable contrasts, he will repel5.
Grace, in painting and sculpture, consists in softness of outline and harmonious22 expression; and painting, next to sculpture, has grace in the unison23 of parts, and of figures which animate24 one another, and which become agreeable by their attributes and their expression.
Graces of diction, whether in eloquence25 or poetry, depend on choice of words and harmony of phrases, and still more upon delicacy26 of ideas and smiling descriptions. The abuse of grace is affectation, as the abuse of the sublime is absurdity27; all perfection is nearly a fault.
To have grace applies equally to persons and things. This dress, this work, or that woman, is graceful. What is called a good grace applies to manner alone. She presents herself with good grace. He has done that which was expected of him with a good grace. To possess the graces: This woman has grace in her carriage, in all that she says and does.
To obtain grace is, by a metaphor28, to obtain pardon, as to grant grace is to grant pardon. We make grace of one thing by taking away all the rest. The commissioners29 took all his effects and made him a gift — a grace — of his money. To grant graces, to diffuse30 graces, is the finest privilege of the sovereignty; it is to do good by something more than justice. To have one’s good graces is usually said in relation to a superior: to have a lady’s good graces, is to be her favorite lover. To be in grace, is said of a courtier who has been in disgrace: we should not allow our happiness to depend on the one, nor our misery31 on the other. Graces, in Greek, are “charities”; a term which signifies amiable32.
The graces, divinities of antiquity33, are one of the most beautiful allegories of the Greek mythology34. As this mythology always varied35 according either to the imagination of the poets, who were its theologians, or to the customs of the people, the number, names, and attributes of the graces often change; but it was at last agreed to fix them as three, Aglaia, Thalia, and Euphrosyne, that is to say, sparkling, blooming, mirthful. They were always near Venus. No veil should cover their charms. They preside over favors, concord36, rejoicings, love, and even eloquence; they were the sensible emblem37 of all that can render life agreeable. They were painted dancing and holding hands; and every one who entered their temples was crowned with flowers. Those who have condemned38 the fabulous39 mythology should at least acknowledge the merit of these lively fictions, which announce truths intimately connected with the felicity of mankind.
点击收听单词发音
1 displeases | |
冒犯,使生气,使不愉快( displease的第三人称单数 ) | |
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2 sentimentally | |
adv.富情感地 | |
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3 discourse | |
n.论文,演说;谈话;话语;vi.讲述,著述 | |
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4 graceful | |
adj.优美的,优雅的;得体的 | |
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5 repel | |
v.击退,抵制,拒绝,排斥 | |
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6 repels | |
v.击退( repel的第三人称单数 );使厌恶;排斥;推开 | |
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7 constrained | |
adj.束缚的,节制的 | |
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8 precipitate | |
adj.突如其来的;vt.使突然发生;n.沉淀物 | |
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9 gracefulness | |
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10 exterior | |
adj.外部的,外在的;表面的 | |
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11 orator | |
n.演说者,演讲者,雄辩家 | |
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12 flexibility | |
n.柔韧性,弹性,(光的)折射性,灵活性 | |
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13 sublime | |
adj.崇高的,伟大的;极度的,不顾后果的 | |
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14 gallant | |
adj.英勇的,豪侠的;(向女人)献殷勤的 | |
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15 susceptible | |
adj.过敏的,敏感的;易动感情的,易受感动的 | |
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16 oration | |
n.演说,致辞,叙述法 | |
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17 epithet | |
n.(用于褒贬人物等的)表述形容词,修饰语 | |
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18 elegy | |
n.哀歌,挽歌 | |
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19 solely | |
adv.仅仅,唯一地 | |
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20 frightful | |
adj.可怕的;讨厌的 | |
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21 softens | |
(使)变软( soften的第三人称单数 ); 缓解打击; 缓和; 安慰 | |
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22 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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23 unison | |
n.步调一致,行动一致 | |
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24 animate | |
v.赋于生命,鼓励;adj.有生命的,有生气的 | |
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25 eloquence | |
n.雄辩;口才,修辞 | |
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26 delicacy | |
n.精致,细微,微妙,精良;美味,佳肴 | |
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27 absurdity | |
n.荒谬,愚蠢;谬论 | |
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28 metaphor | |
n.隐喻,暗喻 | |
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29 commissioners | |
n.专员( commissioner的名词复数 );长官;委员;政府部门的长官 | |
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30 diffuse | |
v.扩散;传播;adj.冗长的;四散的,弥漫的 | |
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31 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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32 amiable | |
adj.和蔼可亲的,友善的,亲切的 | |
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33 antiquity | |
n.古老;高龄;古物,古迹 | |
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34 mythology | |
n.神话,神话学,神话集 | |
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35 varied | |
adj.多样的,多变化的 | |
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36 concord | |
n.和谐;协调 | |
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37 emblem | |
n.象征,标志;徽章 | |
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38 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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39 fabulous | |
adj.极好的;极为巨大的;寓言中的,传说中的 | |
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