Walter Pater Quotes
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Not the fruit of experience, but experience itself, is the end.
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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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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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With myself, how to pass time becomes sometimes the question - unavoidably, though it strikes me as a thing unspeakably sad in a life so short as ours.
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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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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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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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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.
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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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A very intimate sense of the expressiveness of outward things, which ponders, listens, penetrates, where the earlier, less developed consciousness passed lightly by, is an important element in the general temper of our modern poetry.
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For art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake.
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Great passions may give us a quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which comes naturally to many of us.
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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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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?
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All art constantly aspires towards the condition of music.
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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.
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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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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.
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To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.
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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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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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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.