Walter Pater

“ And so it happens that these simple stories are touched, much as Wordsworth's verse-stories were, with tragic power. Dealing with the beginnings of imagination in the minds of children, they record, with the reality which a very delicate touch preserves from anything lugubrious, not those merely preventible miseries of childhood over which some writers have been apt to gloat, but the contact of childhood with the great and inevitable sorrows of life, into which children can enter with depth, with dignity, and sometimes with a kind of simple, pathetic greatness, to the discipline of the heart. ”

“ It is depressing to see so really noble a character as Catherine soured, as we feel, and lowered, as time goes on, from the happy resignation of the first volume (in which solemn, beautiful, and entire, and so very real, she is like a poem of Wordsworth) down to the mere passivity of the third volume, and the closing scene of Robert Elsmere's days, very exquisitely as this episode of unbelieving yet saintly biography has been conceived and executed. Catherine certainly, for one, has no profit in the development of Robert's improved gospel. ”

“ So multiplex is the result that minds of quite opposite type might well discover in these pages their own special thought or humour, happily expressed at last (they might think) in precisely that just shade of language themselves had searched for in vain. And with a writer so vivid and impressive as Amiel, those varieties of tendency are apt to present themselves as so many contending persons. The perplexed experience gets the apparent clearness, as it gets also the animation, of a long dialogue; only, the disputants never part company, and there is no real conclusion. ”

“ With him, as happens so rarely, an intimate knowledge of historic detail is the secret of life, of the impression of life; puts his own imagination on the wing; secures the imaginative cooperation of the reader. A stately age—to us, perhaps, in the company of the historic muse, seeming even more stately than it actually was—it is pleasant to find it, as we do now and again on these pages, in graceful déshabille. With perfect lightness of touch, M. Filon seems to have a complete command of all the physiognomic details of old France, of old Paris and its people—how they made a holiday ”

“ To the unembarrassing matter, the unembarrassed style! Steele is, perhaps, the most impulsive writer of the school [12] to which he belongs; he abounds in felicities of impulse. Yet who can help feeling that his style is regular because the matter he deals with is the somewhat uncontentious, even, limited soul, of an age not imaginative, and unambitious in its speculative flight? Even in Steele himself we may observe with what sureness of instinct the men of that age turned aside at the contact of anything likely to make them, in any sense, forget themselves. ”

“ In truth, the modern "novel of character" needs some such interest, to lift it sufficiently above the humdrum of life; as men's horizons are enlarged by religion, of whatever type it may be—and we may say at once that the religious type which is dear to Mrs. Ward, though avowedly "broad," is not really the broadest. Having conceived her work thus, she has brought a rare instinct for probability and nature to the difficult task of combining this religious motive and all the learned thought it involves, with a very genuine interest in many varieties of average mundane life. ”

“ PERHAPS no age of literature, certainly no age of literature in England, has been so rich as ours in excellent secondary poetry; and it is with our poetry (in a measure) as with our architecture, constrained by the nature of the case to be imitative. Our generation, quite reasonably, is not very proud of its architectural creations; confesses that it knows too much—knows, but cannot do. And yet we could name certain modern churches in London, for instance, to which posterity may well look back puzzled.—Could these exquisitely pondered buildings have been indeed works of the nineteenth century? ”

“ IT was a happy thought of M. Filon to put into the mouth of an imaginary centenarian a series of delightfully picturesque studies which aim at the minute presentment of life in France under the old régime, and end for the most part with the Revolution. A genial centenarian, whose years have told happily on him, he appreciates not only those humanities of feeling and habit which were peculiar to the last century and passed away with it, but also that permanent humanity which has but undergone a change of surface in the new world of our own, wholly different though it may look. ”

“ Fact is corrupting—it is we who correct it by the persistence of our ideal."
"To do easily what is difficult for others is the mark of talent. To do what is impossible for talent is the mark of genius." ”

“ Theatrical society, rather than the theatre, has made the lives of actors as we see them in these volumes, in many cases so tragic, even sordidly tragic.
If misery and madness abound in stage life, so also does an indomitable cheerfulness, always at least a cheerful countenance. Dr. Doran's book abounds, as might be expected, with admirable impromptus and the like; one might collect a large posy of them. Foote, seeing a sweep on a blood-horse, remarked, "There goes Warburton on Shakespeare!" ”

“ And, in truth, if he was occupied with the aspects of nature to such an excellent literary result, still, it was with nature only as a phenomenon of the moral order. His interest, after all, is, consistently, that of the moralist (in no narrow sense) who deals, from predilection, with the sort of literary work which stirs men—stirs their intellect—through feeling; and with that literature, especially, as looked at through the means by which it became capable of thus commanding men. The powers, the culture, of the literary producer: there, is the centre of Amiel's curiosity. ”

“ To Wordsworth, on the contrary, they seemed directly to dignify human nature, as tending to tranquillize it. He raises physical nature to the level of human thought, giving it thereby a mystic power and expression; he subdues man to the level of nature, but gives him therewith a certain breadth and vastness and solemnity. ”

“ Should we really care for the greatest actors of the past could we have them before us? Should we find them too different from our accent of thought, of feeling, of speech, in a thousand minute particulars which are of the essence of all three? Dr. Doran's long and interesting records of the triumphs of Garrick, and other less familiar, but in their day hardly less astonishing, players, do not relieve one of the doubt. ”

“ The weather is rainy, the whole atmosphere grey; it is a time favourable to thought and meditation. I have a liking for such days as these; they revive one's converse with oneself and make it possible to live the inner life: they are quiet and peaceful, like a song in a minor key. ”

“ Saintsbury is certainly right in thinking that, as regards style, English literature has much to do. Well, the good quality of an age, the defect of which lies in the direction of intellectual anarchy and confusion, may well be eclecticism: in style, as in other things, it is well always to aim at the combination of as many excellences as possible—opposite excellences, it may be—those other beauties of prose. A busy age will hardly educate its writers in correctness. ”

“ Towards the end of a hard life, faithful to their mountain ideal, they have not lost their dignity, though in a comparatively sordid medium: [132]
"As for me, my dear Arribas, I remained in deep agitation, an attentive spectator of the scene; and while Justin and Norine, set both alike in the winepress of sorrow, le pressoir de la douleur, as your good books express it, murmured to each other their broken consoling words, I saw them again, in thought, young, handsome, in the full flower of life, under the cherry-trees, the swarming goldfinches, of blind Barthélemy Jalaguier. Ah me! ”

“ But the record of such pleasure becomes really worth while when, as happens with Amiel, we feel that there has been, and with success, an intellectual [26] effort to get at the secret, the precise motive, of the pleasure; to define feeling, in this matter. Here is a good description of an effect of fog, which we commend to foreigners resident in London:
"Fog has certainly a poetry of its own—a grace, a dreamy charm. It does for the daylight what a lamp does for us at night; it turns the mind towards meditation; it throws the soul back on itself. ”

“ To him every natural object seemed to possess something of moral or spiritual life, to be really capable of a companionship with man, full of fine intimacies. An emanation, a particular spirit, belonged not to the moving leaves or water only, but to the distant peak arising suddenly, by some change of perspective, above the nearer horizon of the hills, to the passing space of light across the plain, to the lichened Druidic stone even, for a certain weird fellowship in it with the moods of men. ”

“ Turning to the secular brothers and sisters of these peasant ecclesiastics, at first sight so strongly contrasted with them, M. Fabre shows a great acquaintance with the sources, the effects, of average human feeling; but still in contact—in contact, as its conscience, its better mind, its ideal—with the institutions of religion. What constitutes his distinguishing note as a writer is the recognition of the religious, the Catholic, ideal, intervening masterfully throughout the picture he presents of life, as the only mode of poetry realizable by the poor ”

“ Saintsbury's burden. It is a consideration, undoubtedly, of great importance both for the writer and the critic; in England especially, where, although (as Mr. Saintsbury rightly points out, in correction of an imperfectly informed French critic of our literature) the radical distinction between poetry and prose has ever been recognized by its students, yet the imaginative impulse, which is perhaps the richest of our purely intellectual gifts, has been apt to invade the province of that tact and good judgment, alike as to matter and manner, in which we are not richer than other people. ”

“ He is akin, of course, to Obermann, to René, even to Werther, and, on our first introduction to him, we might think that we had to do only with one more of the vague "renunciants," who in real life followed those creations of fiction, and who, however delicate, interesting as a study, and as it were picturesque on the stage of life, are themselves, after all, essentially passive, uncreative, and therefore necessarily not of first-rate importance in literature. ”

“ A chef d'oeuvre of that kind of quiet evolution of character through circumstance, introduced into English literature by Miss Austen, and carried to perfection in France by George Sand (who is more to the point, because, like Mrs. Ward, she was not afraid to challenge novel-readers to an interest in religious questions) , it abounds in sympathy with people as we find them, in aspiration towards something better—towards a certain ideal—in a refreshing sense of second thoughts everywhere. ”

“ He constantly endeavours to bring his language nearer to the real language of men; but it is to the real language of men, not on the dead level of their ordinary intercourse, but in certain select moments of vivid sensation, when this language is winnowed and ennobled by sentiment. There are poets who have chosen rural life for their subject for the sake of its passionless repose; and there are times when Wordsworth himself extols the mere calm and dispassionate survey of things as the highest aim of poetical culture. ”

“ The reader travelling in Italy, or Belgium perhaps, has doubtless visited one or more of those spacious sacristies, introduced to which for the inspection of some more than usually recherché work of art, one is presently dominated by their reverend quiet: simple people coming and going there, devout, or at least on devout business, with half-pitched voices, not without touches of kindly humour, in what seems to express like a picture the most genial side, midway between the altar and the home, of the ecclesiastical life. ”

“ Surely nothing could be better, hardly anything more directly fitted than careful reading of Wordsworth, to counter the faults and offences of our busy generation, in regard both to thought and taste, and to remind people, amid the enormous expansion, at the present time, of all that is material and mechanical in life, of the essential value, the permanent ends, of life itself. In the collected edition the poems are printed with the dates, so far as can be ascertained, in the order of their composition—an arrangement which has indisputable recommendations for the student of Wordsworth's genius ”

“ 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. Critics of literary history have again [96] and again remarked upon it; it is a characteristic which reveals itself in many different forms, but is strongest and most sympathetic in what is strongest and most serious in modern literature; it is exemplified by writers as unlike Wordsworth as the French romanticist poets. ”

“ The industrious reader, indeed, might select out of these specimens from Steele, a picture, in minute detail, of the characteristic manners of that time. Still, beside, or only a little way beneath, such a picture of passing fashion, what Steele and his fellows really deal with is the least transitory aspects of life, though still merely aspects—those points in which all human nature, great or little, finds what it has in common, and directly shows itself up. The natural strength of such literature will, of course, be in the line of its tendencies ”