“Art's the biggest vanity: the assumption that one's view of peace or fright or beauty is permanently communicable.”

Daniel Gray, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

"On Dubbing" ["Sobre el doblaje"]
Discussion (1932)
Context: The possibilities of the art of combination are not infinite, but they tend to be frightful. The Greeks engendered the chimera, a monster with heads of the lion, the dragon and the goat; the theologians of the second century, the Trinity, in which the Father, the Son and the Holy Ghost are inextricably tied; the Chinese zoologists, the ti-yiang, a vermilion supernatural bird, endowed with six feet and four wings, but without a face or eyes; the geometers of the nineteenth century, the hypercube, a figure with four dimensions, which encloses an infinite number of cubes and has as its faces eight cubes and twenty-four squares. Hollywood has just enriched this vain museum of horrors: by means of an artistic malignity called dubbing, it proposes monsters that combine the illustrious features of Greta Garbo with the voice of Aldonza Lorenzo.

Definition 18 (c) Definition Press, (New York: Definition Press, 1964)

The Power Elite (1956)

Notes for CXVII et seq
Drafts and Fragments of Cantos CX-CXVII

Source: Peg Woffington (1853), CHAPTER I

L'or même à la laideur donne un teint de beauté :
Mais tout devient affreux avec la pauvreté.
Satire 8, l. 209
Satires (1716)

Source: 1930s, Adventures of Ideas (1933), p. 353.

2000s, Where the Right Went Wrong (2004)