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Although Lessing acknowledges the Aristotelian use of ugliness, heperceives of ugliness as a focalizer. Lessing discusses ugliness in thecontext of Homer's Iliad and the comic figure of Thersites: "Er [Thersites]wird aber nicht durch seine blofie HaiSlichkeit lacherlich; dennHafilichkeit ist Unvollkommenheit, und zu dem Lacherlichen wird einKontrast von Vollkommenheiten und Unvollkommenheiten erfordert"(Lessing 1964). He maintains that there are two forms of ugliness:humorous and terrible, for which he uses the examples of Thersites andRichard III to explain the differences. The laughable form creates acontrast between perfection and imperfection.Lessing asserted that ugliness is able to engage the emotions;specifically, the quality of emotions it creates remained problematic forhim. He describes the ugliness of Thersites as harmless, whereasRichard III encapsulates the idea of harmful ugliness. In theHamburgische Dramaturgie, Lessing discusses Shakespeare's Richard III.Richard, according to Lessing, becomes unforgettable: "Denn Richard derDritte [...] ist unstreitig das grofete, abscheulichste Ungeheuer, dasjemals die Buhne getragen" (Lessing 1981). The power of such a monsteras Richard III is his ability to engender pity in the audience, and toawaken the passions. The monstrosity of his actions and the affect theymake on the audience makes Richard terrifying and horrific.Shakespeare, whose oeuvre much of the German intelligentsia perceived53
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