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| Peter Hujar Palermo Catacombs #6 1963 gelatin silver print Art Institute of Chicago |
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| Peter Hujar George Osterman in Eunuchs of the Forbidden City at Ridiculous Theatrical Company 1973 gelatin silver print Art Institute of Chicago |
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| Peter Hujar Susan Sontag 1975 gelatin silver print National Portrait Gallery, Washington DC |
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| Peter Hujar Rug 1976 gelatin silver print Princeton University Art Museum |
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| Peter Hujar Cow at Night 1978 gelatin silver print Princeton University Art Museum |
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| Peter Hujar Self Portrait in the Baths (IV) 1979 gelatin silver print Princeton University Art Museum |
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| Peter Hujar Woman Asleep Backstage ca. 1980 gelatin silver print Princeton University Art Museum |
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| Peter Hujar Ethyl Eichelberger as Carlotta, Empress of Mexico 1980 gelatin silver print Princeton University Art Museum |
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| Peter Hujar David Wojnarowicz's Hands with Snake 1981 gelatin silver print Art Institute of Chicago |
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| Peter Hujar Canal Street Piers - Fake Men on Stairs 1983 gelatin silver print Art Institute of Chicago |
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| Peter Hujar Hallway - Canal Street Piers 1983 gelatin silver print Princeton University Art Museum |
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| Peter Hujar Greer Lankton's Legs 1983 gelatin silver print Art Institute of Chicago |
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| Peter Hujar Dean Savard Reclining 1984 gelatin silver print Art Institute of Chicago |
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| Peter Hujar Grass, Port Jefferson 1984 gelatin silver print Art Institute of Chicago |
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| Peter Hujar Portrait of the Furness Family, Thanksgiving 1985 gelatin silver print Princeton University Art Museum |
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| Peter Hujar Woman's Feet Walking before 1987 gelatin silver print Princeton University Art Museum |
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| Carin Goldberg (designer) incorporating photo by Peter Hujar Dust Jacket for Death Kit by Susan Sontag 1991 lithograph Cooper-Hewitt Smithsonian Design Museum, New York |
from The Third Satyre
What ev'ry day thus long? fie, fie arise:
See how the cleare light shamefully descries
Thy sloth: and through thy windows shining bright
Stretcheth the narrow chinks with his broad light.
We snort till the Fift shadow touch the line,
Enough ev'n to digest stronge Falerne wine.
Now what dost doe? The furious dog-stars heat
Upon the parched corne hath long since beat
With its fierce scolding influence, and madeThe beasts to seeke the spreading Elmes coole shade.
Thus the companion of some slothfull youth
Does freely chide him. Then said he, in truth
And ist so late? indeed? some body then
Come presently and reach my clothes: why when?
If then no body come: Oh how he swels,
And breaks with glasse-like choller; and then yels
With such a foule loud noise, that you would say
Surely some great Arcadian asse did bray.
Surely some great Arcadian asse did bray.
At last, with much adoe he doth beginne
To take his booke in hand and some faire skinne
Of smooth two-coloured parchment he takes then
Some paper and his knottie reed-like pen.
Then he complains how that his inke doth sticke
In clots at his pens nose, it is so thicke.
Powre water then to his blacke Sepian juice,
He cries, now tis too white. He's a device
For ev'ry thing. So Sometimes he doth plead
His pen writes double, or his inke doth spread.
Wretched unhappy man! yet growing still
More wretched! Think'st wee're borne to take our fill
Of sloth? Why dost not then like the soft Dove
Or great mens little children, rather love
In delicatest wantonnesse to lappe
Some soft sweet spoone-meate, as a little pappe?
Or angry with the teat, why dost not crie,
Refusing to be stilld with Lullabie?
Why, can I studie, sir, with such a quill?
Alas! whom does thou mocke? why pleadst thou still
Such vaine ambages? wretched man to flout
Thy selfe! Th'art broken! loe, thou leakest out!
And know thou shalt be Scornd! strike but a pot
Of some raw earth halfe-boild, and will it not
Tell its owne fault, yeelding a dull crazd sound?
Well; Yet th'art soft moist clay, and mayst be wound
To any forme: Now, therefore, now make haste
To vertue: Present time must be embrac'd.
Now like the potters clay, now thou must feele
Sharpe disciplines effigiating* wheele.
– Persius (AD 34-62), translated by Barton Holiday (1616)
*this translation, as cited by the OED, contains the only known appearance of the adjective effigiating, though the transitive verb to effigiate was relatively common in the 17th century, meaning "to form as an effigy" and so by extension "to shape or adapt"
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