Excerpt from Bates Student, Vol. 5
The Italians used the term caricaturas to denote those burlesque pictures in which the artist preserves a distinguishing likeness of a person midst aggravated features and distorted proportions. From them we have borrowed the word caricature to designate any representation in which the peculiarities of a person or thing are so exaggerated as to appear ridiculous.
By its very nature, caricature is precluded from the province of tine art. Beauty tinges the mind with melancholy, fills the sensitive soul with a vague, unsatisfied longing, and suffuses the eyes with tears. Exaggeration and ridicule are not only fatal to such delicate Shades of feeling, but are harsh and hurtful rather than pleasing. At first caricatures may have been designed imply to amuse people. But if caricature ever was productive merely of innocent mirth, it people ever did laugh without malice, it was such a long time ago that the monks of the desert are not to be blamed for condemning laughter altogether. From simply exciting a feeling of the ludicrous, caricature came to be one of the quest weapons of both Church and State - a weapon which all are willing to use, but one which terrifies all when turned against themselves.
Caricature derives its force from the power of ridicule. Its keen edge cuts what can not be untied. Ridicule has ever been the terror of guinea: military courage can not endure it; rank cannot affect to despise it Julius Caesar defied whole nations with his sword, but could protect himself from the lampooning Catullus only by the garb of friendship.
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