" For tho the adulterations of art, can represent in the same Face beauty in one position, and deformity in another, yet nature is more sincere, and never meant a serene and clear forhead, should be the frontispiece to a cloudy tempestuous heart."
— Allestree, Richard (1611/2-1681)
Place of Publication
Oxford: Printed at the Theater
Date
1673
Metaphor
" For tho the adulterations of art, can represent in the same Face beauty in one position, and deformity in another, yet nature is more sincere, and never meant a serene and clear forhead, should be the frontispiece to a cloudy tempestuous heart."
Metaphor in Context
1. In the next place we may rank Meekness as a necessary feminine Vertu; this even nature seems to teach, which abhors monstrosities and disproportions, and therefore having allotted to women a more smooth and soft composition of body, infers thereby her intention, that the mind should correspond with it. For tho the adulterations of art, can represent in the same Face beauty in one position, and deformity in another, yet nature is more sincere, and never meant a serene and clear forhead, should be the frontispiece to a cloudy tempestuous heart. 'Tis therefore to be wisht they would take the admonition, and whilst they consult their glasses, whether to applaud or improve their outward form, they would cast one look inwards, and examine what symmetry is there held with a fair outside; whether any storm of passion darken and overcast their interior beauty, and use at least an equal dilligence to rescu that; as they would to clear their face from any stain or blemish.
(I.ii.1)
(I.ii.1)
Provenance
Reading
Citation
The Ladies Calling, in Two Parts
by the Author of The Whole Duty of Man,
The Causes of the Decay of Christian Piety, and The Gentlemans Calling.
[attributed to Richard Allestree]
Oxford: Printed at the Theater, 1673. <Link to Project Canterbury Edition>
Date of Entry
03/30/2010