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Walter Pater -
The renaissance (1877)
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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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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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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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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.
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All art constantly aspires towards the condition of music.
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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 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 Renaissance of the fifteenth century was, in many things, great rather by what it designed then by what it achieved.
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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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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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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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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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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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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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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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Rousseau … asked himself how he might make as much as possible of the interval that remained; and he was not biassed by anything in his previous life when he decided that it must be by intellectual excitement.
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We are all under sentence of death, but with a sort of indefinite reprieve.
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Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.
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One of the most beautiful passages of Rousseau is that in the sixth book of Confessions, where he describes the awakening in him of the literary sense. Of such wisdom, the poetic passion, the desire of beauty, the love of art for its own sake, has most.
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What we have to do is to be forever curiously testing new opinions and courting new impressions.
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She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave.
Of the Mona Lisa
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Art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass.
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At first sight experience seems to bury us under a flood of external objects, pressing upon us with a sharp and importunate reality, calling us out of ourselves in a thousand forms of action.
Walter Pater
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To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life.
Walter Pater
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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.
Walter Pater
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)
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