“There is beautiful in the grotesque.”

Ch. 2 (tr. Burton Watson, 1964, p. 41)
Context: Whether you point to a little stalk or a great pillar, a leper or the beautiful Hsi-shih, things ribald and shady or things grotesque and strange, the Way makes them all into one. Their dividedness is their completeness; their completeness is their impairment. No thing is either complete or impaired, but all are made into one again. Only the man of far-reaching vision knows how to make them into one. So he has no use [for categories], but relegates all to the constant. The constant is the useful; the useful is the passable; the passable is the successful; and with success, all is accomplished. He relies upon this alone, relies upon it and does not know he is doing so. This is called the Way.

Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html

Some Mistakes of Moses (1879) http://www.gutenberg.org/files/38802/38802-h/38802-h.htm Preface
Context: Too great praise challenges attention, and often brings to light a thousand faults that otherwise the general eye would never see. Were we allowed to read the Bible as we do all other books, we would admire its beauties, treasure its worthy thoughts, and account for all its absurd, grotesque and cruel things, by saying that its authors lived in rude, barbaric times. But we are told that it was written by inspired men; that it contains the will of God; that it is perfect, pure, and true in all its parts; the source and standard of all moral and religious truth; that it is the star and anchor of all human hope; the only guide for man, the only torch in Nature's night. These claims are so at variance with every known recorded fact, so palpably absurd, that every free unbiased soul is forced to raise the standard of revolt.

"The Leaden Echo and the Golden Echo: The Golden Echo, line 19
Wessex Poems and Other Verses (1918)

Source: The Republic of Wine (1992), Chapter Four, Section V

Source: La breve y maravillosa vida de Óscar Wao

Boulder, Colorado August 28, 1971 I Am a Road
1970s

Quoted in "Imelda (2003).