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Not the fruit of experience, but experience itself, is the end. A counted number of pulses only is given to us of a variegated, dramatic life. How may we see in them all that is to to be seen in them by the finest senses? How shall we pass most swiftly from point to point, and be present always at the focus where the greatest number of vital forces unite in their purest energy. To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.
Walter Pater
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No account of the Renaissance can be complete without some notice of the attempt made by certain Italian scholars of the fifteenth century to reconcile Christianity with the religion of ancient Greece.
Walter Pater
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All art constantly aspires towards the condition of music.
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And the fifteenth century was an impassioned age, so ardent and serious in its pursuit of art that it consecrated everything with which art had to ad as a religious object.
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Experience, already reduced to a group of impressions, is ringed round for each one of us by that thick wall of personality through which no real voice has ever pierced on its way to us, or from us to that which we can only conjecture to be without.
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What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.
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Poetry, at all times, exercises two distinct functions: it may reveal, it may unveil to every eye, the ideal aspects of common thingsor it may actually add to the number of motives poetic and uncommon in themselves, by the imaginative creation of things that are ideal from their very birth.
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A sudden light transfigures a trivial thing, a weather-vane, a windmill, a winnowing flail, the dust in the barn door; a moment - and the thing has vanished, because it was pure effect; but it leaves a relish behind it, a longing that the accident may happen again.
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Every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest; some mood of passion or insight or intellectual excitement is irresistibly real and attractive for us - for that moment only.
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Product of a myriad various minds and contending tongues, compact of obscure and minute association, a language has its own abundant and often recondite laws, in the habitual and summary recognition of which scholarship consists.
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For us necessity is not as of old an image without us, with whom we can do warfare; it is a magic web woven through and through us, like that magnetic system of which modern science speaks, penetrating us with a network subtler than our subtlest nerves, yet bearing in it the central forces of the world.
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Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us.
Walter Pater
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In truth, the legitimate contention is, not of one age or school of literary art against another, but of all successive schools alike, against the stupidity which is dead to the substance, and the vulgarity which is dead to form.
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Beauty, like all other qualities presented to human experience, is relative; and the definition of it becomes unmeaning and useless in proportion to its abstractness. To define beauty not in the most abstract, but in the most concrete terms possible, not to find a universal formula for it, but the formula which expresses most adequately this or that special manifestation of it, is the aim of the true student of aesthetics.
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A certain strangeness, something of the blossoming of the aloe, is indeed an element in all true works of art: that they shall excite or surprise us is indispensable.
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The Renaissance of the fifteenth century was, in many things, great rather by what it designed then by what it achieved.
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The various forms of intellectual activity which together make up the culture of an age, move for the most part from different starting-points, and by unconnected roads.
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That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the assertion of what was for him almost literal fact.
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To regard all things and principles of things as inconstant modes or fashions has more and more become the tendency of modern thought.
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Such discussions help us very little to enjoy what has been well done in art or poetry, to discriminate between what is more and what is less excellent in them, or to use words like beauty, excellence, art, poetry, with a more precise meaning than they would otherwise have.
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Has nature connected itself together by no bond, allowed itself to be thus crippled, and split into the divine and human elements? Well! there are certain divine powers of a middle nature, through whom our aspirations are conveyed to the gods, and theirs to us. A celestial ladder, a ladder from heaven to earth.
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Every intellectual product must be judged from the point of view of the age and the people in which it was produced.
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The service of philosophy, of speculative culture, towards the human spirit, is to rouse, to startle it to a life of constant and eager observation.
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To the modern spirit nothing is, or can be rightly known, except relatively and under conditions.
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In a sense it might even be said that our failure is to form habits: for, after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the eye that makes two persons, things, situations, seem alike.
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Of the Mona Lisa:
Hers is the head upon which all 'the ends of the world are come', and the eyelids are a little weary.
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Not to discriminate every moment some passionate attitude in those about us, and in the very brilliancy of their gifts some tragic dividing of forces on their ways, is, on this short day of frost and sun, to sleep before evening. With this sense of the splendour of our experience and of its awful brevity, gathering all we are into one desperate effort to see and touch, we shall hardly have time to make theories about the things we see and touch.
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To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life.
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Through the survival of their children, happy parents are able to think calmly, and with a very practical affection, of a world in which they are to have no direct share.
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We need some imaginative stimulus, some not impossible ideal such as may shape vague hope, and transform it into effective desire, to carry us year after year, without disgust, through the routine-work which is so large a part of life.
Walter Pater
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Quote of the day
Nobody ever did anything very foolish except from some strong principle.
William Lamb, 2nd Viscount Melbourne
Walter Pater
Creative Commons
Born:
August 4, 1839
Died:
July 30, 1894
(aged 54)
Bio:
Walter Horatio Pater was an English essayist, literary and art critic, and writer of fiction.
Known for:
The renaissance (1877)
Marius the Epicurean (1885)
Studies in the History of the Renaissance (1873)
Imaginary portraits (1887)
Plato and Platonism
Most used words:
art
life
experience
beauty
sense
point
Walter Pater on Wikipedia
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