The concept of Vollkommenheit consists of something whole and without
gaps. Further, something beautiful is complete, without flaws or not
"verkrummt." Lessing's discussion of ugliness seems to largely agree with
this quotation from the Worterbuch above because both Lessing and this
definition suggest that a lack of harmony or congruity causes loathing.
Richard blames his physical malformation for his psychological
development. This raises the question of assessing the value of
Mendelssohn's ugliness in light of the connection between him and
Nathan.
The reference to curvature is important for Lessing's definition of
ugliness specifically in regards to Moses Mendelssohn, a hunchback,
serving as a model for Nathan. Lessing acknowledges a bias against
accepting an ugly person and not judging him as a bad person. He
pointedly refers to this misconception when he writes: "Denn ein
miiSgebildeter Korper und eine schone Seele sind wie Ol und Efiig, die,
wenn man sie schon ineinander schlagt, fur den Geschmack immer
getrennet bleiben" (Lessing 1964). Lessing provides specific criteria for
human ugliness. He quickly distinguishes between variations in ugliness:
Ein Feuermal in dem Gesichte, eine Hasenscharte, eine
gepletschte Nase mit vorragenden Lochern, ein ganzlicher
Mangel der Augenbrauen, sind HalSlichkeiten, die wider dem
Geruche, noch dem Geschmacke, noch dem Gefuhle zuwider
sein konnen. Gleichwohl ist es gewifi, daS wir etwas dabei
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