Summary

Portrait of John Morley John Morley Critical Miscellanies (Vol. 3 of 3…

As we have all been told, in this world a man must be either anvil or hammer, and it always seemed as if Pattison deliberately chose to be anvil—not merely in the shape of a renunciation of the delusive pomps and vanities of life, but in the truly questionable sense of doubting both whether he could do anything, and whether he even owed anything to the world in which he found himself.
Source: Gutenberg

Portrait of John Morley John Morley Critical Miscellanies (Vol. 3 of 3…

In reading the fourth book of the Ethics, we regarded the description of the High-souled Man, with his slow movements, his deep tones, his deliberate speech, his irony, his contempt for human things, and all the rest of the paraphernalia of that most singular personage, as the model of the inscrutable sage in the rooms under the clock. Pattison was understood to be the Megalopsuchos in the flesh. It would have been better for him if he could have realised the truth of the healthy maxim that nobody is ever either so happy or so unhappy as he thinks.
Source: Gutenberg

Portrait of John Morley John Morley Critical Miscellanies (Vol. 3 of 3…

They are thoroughly naturalistic; the choicest expression our language has yet found of the fresh charm of country life, not as that life is lived by the peasant, but as it is felt by a young and lettered student, issuing at early dawn or at sunset from his chamber and his books. All such sights and sounds and smells are here blended in that ineffable combination which once or twice, perhaps, in our lives has saluted our young senses before their perceptions were blunted by alcohol, by lust, or ambition, or diluted by the social distractions of great cities' (Pattison's Milton, 24) .
Source: Gutenberg

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