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Could annihilation occur to matter, this were the thing to do it.
一旦发生什么毁灭性的事情，一定是从这里产生出来的。
Nor does this—its amazing strength, at all tend to cripple the graceful flexion of its motions; where infantileness of ease undulates through a Titanism of power. On the contrary, those motions derive their most appalling beauty from it. Real strength never impairs beauty or harmony, but it often bestows it; and in everything imposingly beautiful, strength has much to do with the magic. Take away the tied tendons that all over seem bursting from the marble in the carved Hercules, and its charm would be gone. As devout Eckerman lifted the linen sheet from the naked corpse of Goethe, he was overwhelmed with the massive chest of the man, that seemed as a Roman triumphal arch. When Angelo paints even God the Father in human form, mark what robustness is there. And whatever they may reveal of the divine love in the Son, the soft, curled, hermaphroditical Italian pictures, in which his idea has been most successfully embodied; these pictures, so destitute as they are of all brawniness, hint nothing of any power, but the mere negative, feminine one of submission and endurance, which on all hands it is conceded, form the peculiar practical virtues of his teachings.
它这种惊人的力量，一点也不会使它那柔雅的动作有所逊色；动作柔和自如好象是通过一种巨人似的力量而波动起伏。相反地，这种动作产生一种非常令人惊骇的美感。真正的力量决不会破坏美或者和谐，而是往往更赋它以美，同时，凡是富丽堂皇的东西，力量就跟不可思议的魔力极有关系。如果把雕刻品的海格立斯那种似乎要从大理石炸出来的、满布全身的紧张肌肉都给毁掉，它的诱人的力量也就完全消失了。正如虔敬的爱克曼（约翰·彼得·爱克曼（1792—1854）——德国作家，歌德的朋友，秘书，著有《歌德谈话录》一书。）从歌德的赤裸的尸体上揭起麻布被单，看到歌德的结实的胸脯，而大为感动一样，因为那胸脯就跟罗马的凯旋拱门一模一样。当安哲罗（安哲罗——意大利十六世纪的画家。）甚至把圣父画成人形的时候，也画得多么壮健。那些柔和委婉、具有雌雄同体的意大利画，不管它是怎样显示出了圣子的圣爱，都挺成功地体现出了作者的意念，尽管那些画画得那么缺乏结实的肌肉，除了显出一种消极的、女性的屈从与忍耐的神气，一点也显示不出力量，但从它各方面所表现出来的气派说来，却形成了作者的理论的特别切合实际的特点。
