of beauty(论 美）

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VIRTUE is like a rich stone, best plain set; and surely virtue is best, 3 ?! B0 U- e) g: Ein a body that is comely ,though not of delicate features; and that hath ; R8 D: J+ U4 N& a w+ @4 trather dignity of presence, than beauty of aspect. Neither is it almost 2 r8 h3 }) x% o+ m: y+ v) ~seen, that very beautiful persons are otherwise of great virtue; as if / T* f: C: N: W8 jnature were rather busy, not to err, than in labor to produce excellency. * X9 S" D6 a8 }. M2 V0 y/ h And therefore they prove accomplished, but not of great spirit; and study # n; v* |. T: n6 Nrather behavior, than virtue. But this holds not always: for Augustus % O Q% c: D3 k3 [5 X2 s9 |Caesar, Titus Vespasianus, Philip le Belle of France, Edward the Fourth . r3 U0 `& b; @8 m+ ^5 Kof England, Alcibiades of Athens, Ismael the Sophy of Persia, were all high and great spirits; and yet the most beautiful men of their times. In beauty, that of favor, is more than that of color; and that of decent and gracious motion, more than that of favor. That is the best part of . J" w v2 K0 sbeauty, which a picture cannot express; no, nor the first sight of the life. There is no excellent beauty, that hath not some strangeness in ! O& O9 q8 h3 R' v9 Xthe proportion. A man cannot tell whether Apelles, or Albert Durer, were 2 L: O: P) N( f( M% C% Lthe more trifler; whereof the one, would make a personage by geometrical 7 }: b9 b5 H) kproportions; the other, by taking the best parts out of divers faces, to make one excellent. Such personages, I think, would please nobody, but the painter that made them. Not but I think a painter may make a better face than ever was; but he must do it by a kind of felicity (as a musician that maketh an excellent air in music), and not by rule. A man shall see / h( [: w7 w' sfaces, that if you examine them part by part, you shall find never a good; and yet altogether do well. If it be true that the principal part of beauty is in decent motion, certainly it is no marvel, though persons in years seem many times more amiable; pulchrorum autumnus pulcher; for no youth ) @7 ]7 O) ]: q8 P! W) Y- I. a W+ X% `can be comely but by pardon, and considering the youth, as to make up the comeliness. Beauty is as summer fruits,) which are easy to corrupt, and % H- f# u! p2 N0 a, @cannot last; and for the most part it makes a dissolute youth, and an age 4 L! l% r1 `! j6 I: Ja little out of countenance; but yet certainly again, if it light well, ( M" Q% f1 e+ {it maketh virtue shine,and vices blush. 5 _9 b# v1 D+ N5 j

美德好比宝石，在朴素背景的衬托下反而更华丽。同样，一个打扮并不华贵，却端庄严肃而有美德的人是令人肃然起敬的。 美貌的人并不都有其他方面的才能。许多容貌俊秀的人却一无所有，他们过于追求外形的美而放弃了内在的美。

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仔细分析起来，形体之美要胜于颜色之美，而优雅行为之美又胜于形体之美。最高的美是画家所无法表现的。因为它是难以直观的。这是一种奇妙的美，曾经有两位画家――阿皮雷斯和丢勒滑稽地认为，可以按照几何比例，或者通过摄取不同人身上最美的特点，加以合成的方法，画出最完美的人像。

其实像这样画出来的美人，恐怕只有画家才喜欢。

有些老人显得很可爱，因为他们的作风优雅而美。“美人的迟暮也是美的。”而尽管有的年轻人具有美貌，却由于缺乏优美的修养而不配得到赞美。

美有如盛夏的水果，而容易腐烂而难保持的,世上有许多美人,他们有过放荡青春，却迎受着愧悔的晚年。

因此，把美的形貌与美的德行结合起来吧。只有这样，美会放射出真正的光辉。