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Results 1 - 16 of 18 - The British Essayists; With Prefaces Biographical, Historical and Critical. In Forty-Five Volumes. Vol. XXV. Adventurer. No. by Lionel.
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This brief "Conclusion" was to be Pater's most influential — and controversial [7] — publication.
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It asserts that our physical lives are made up of scientific processes and elemental forces in perpetual motion, "renewed from moment to moment but parting sooner or later on their ways". In the mind "the whirlpool is still more rapid": a drift of perceptions, feelings, thoughts and memories, reduced to impressions "unstable, flickering, inconstant", "ringed round for each one of us by that thick wall of personality"; and "with the passage and dissolution of impressions Because all is in flux, to get the most from life, we must learn to discriminate through "sharp and eager observation": for.
Through such discrimination we may "get as many pulsations as possible into the given time": "To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life. Not to discriminate every moment some passionate attitude in those about us in the brilliancy of their gifts is, on this short day of frost and sun, to sleep before evening. Here we should "be for ever testing new opinions, never acquiescing in a facile orthodoxy"; and of these, a passion for the arts, "a desire of beauty", has in the summary of one of Pater's editors [10] "the greatest potential for staving off the sense of transience, because in the arts the perceptions of highly sensitive minds are already ordered; we are confronted with a reality already refined and we are able to reach the personality behind the work".
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The Renaissance , which appeared to some to endorse amorality and "hedonism", provoked criticism from conservative quarters, including disapproval from Pater's former tutor at Queen's College, from the college chaplain at Brasenose College and from the Bishop of Oxford. In the s, letters emerged documenting a "romance" [14] with a nineteen-year-old Balliol undergraduate, William Money Hardinge , who had attracted unfavorable attention as a result of his outspoken homosexuality and blasphemous verse, and who later became a novelist.
Mallock , had passed the Pater-Hardinge letters to Jowett, [16] who summoned Pater:. Benson in his diary "after the dreadful interview with Jowett. He became old, crushed, despairing — and this dreadful weight lasted for years; it was years before he realised that Jowett would not use them. In Mallock parodied Pater's message in a satirical novel The New Republic , depicting Pater as a typically effete English aesthete.
The satire appeared during the competition for the Oxford Professorship of Poetry and played a role in convincing Pater to remove himself from consideration. A few months later Pater published what may have been a subtle riposte: "A Study of Dionysus " the outsider-god, persecuted for his new religion of ecstasy, who vanquishes the forces of reaction The Fortnightly Review , Dec.
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Pater was now at the centre of a small but gifted circle in Oxford — he had tutored Gerard Manley Hopkins in and the two remained friends till September when Hopkins left Oxford [19] [20] — and he was gaining respect in the London literary world and beyond, numbering some of the Pre-Raphaelites among his friends. Conscious of his growing influence and aware that the "Conclusion" to his Renaissance could be misconstrued as amoral, he withdrew the essay from the second edition in he was to reinstate it with minor modifications in the third in and now set about clarifying and exemplifying his ideas through fiction.
To this end he published in in Macmillan's Magazine an evocative semi-autobiographical sketch titled "Imaginary Portraits 1. The Child in the House", about some of the formative experiences of his childhood — "a work", as Pater's earliest biographer put it, "which can be recommended to anyone unacquainted with Pater's writings, as exhibiting most fully his characteristic charm.
These are not so much stories — plotting is limited and dialogue absent — as psychological studies of fictional characters in historical settings, often personifications of new concepts at turning-points in the history of ideas or emotion. Some look forward, dealing with innovation in the visual arts and philosophy; others look back, dramatising neo-pagan themes. Many are veiled self-portraits exploring dark personal preoccupations. Planning a major work, Pater now resigned his teaching duties in , though he retained his Fellowship and the college rooms he had occupied since , and made a research visit to Rome.
Leaving behind the religion of his childhood, sampling one philosophy after another, becoming secretary to the Stoic emperor Marcus Aurelius , Marius tests his author's theory of the stimulating effect of the pursuit of sensation and insight as an ideal in itself. The novel's opening and closing episodes betray Pater's continuing nostalgia for the atmosphere, ritual and community of the religious faith he had lost. Marius was favourably reviewed and sold well; a second edition came out in the same year. For the third edition Pater made extensive stylistic revisions.
In , on the resignation of John Ruskin, Pater became a candidate for the Slade Professorship of Fine Art at Oxford University , but though in many ways the strongest of the field, he withdrew from the competition, discouraged by continuing hostility in official quarters. From to , Pater published four new imaginary portraits in Macmillan's Magazine , each set at a turning-point in the history of ideas or art, and each a study of misfits, men born out of their time, who bring disaster upon themselves — "A Prince of Court Painters" on Watteau and Jean-Baptiste Pater , "Sebastian van Storck" 17th-century Dutch society and painting, and the philosophy of Spinoza , "Denys L'Auxerrois" Dionysus and the medieval cathedral-builders , and "Duke Carl of Rosenmold" the German Renaissance.
These were collected in the volume Imaginary Portraits Here Pater's examination of the tensions between tradition and innovation, intellect and sensation, asceticism and aestheticism, social mores and amorality, becomes increasingly complex. Implied warnings against the pursuit of extremes in matters intellectual, aesthetic or sensual are unmistakable. The second portrait, "Sebastian van Storck", a powerful critique of philosophical solipsism, is perhaps Pater's most striking work of fiction.
In Pater published Appreciations, with an Essay on Style , a collection of previously-printed essays on literature. It was well received. The volume also includes an appraisal of the poems of Dante Gabriel Rossetti , first printed in , a few months after Rossetti's death; "Aesthetic Poetry", a revised version of the William Morris essay of minus its final paragraphs; and an essay on Thomas Browne , whose mystical, Baroque style Pater admired.
The essay on Coleridge reprints "Coleridge's Writings" but omits its explicitly anti-Christian passages; [23] it adds paragraphs on Coleridge's poetry that Pater had contributed to T. Ward's The English Poets Pater suppressed, however, in the second edition of Appreciations the essay "Aesthetic Poetry" — evidence of his growing cautiousness in response to establishment criticism.
In Pater and his sisters returned to Oxford 64 St Giles. He was now in demand as a lecturer. In this year appeared his book Plato and Platonism. Here and in other essays on ancient Greece Pater relates to Greek culture the romanticism-classicism dialectic which he had first explored in his essay "Romanticism" , reprinted as the "Postscript" to Appreciations.
Matthew Arnold - Wikipedia
The centrifugal — the Ionian, the Asiatic tendency — flying from the centre, throwing itself forth in endless play of imagination, delighting in brightness and colour, in beautiful material, in changeful form everywhere, its restless versatility driving it towards the development of the individual": and "the centripetal tendency", drawing towards the centre, "maintaining the Dorian influence of a severe simplification everywhere, in society, in culture".
Joseph Campbell wrote that mythology is "the wonderful song of the soul's high adventure. Exploring classic works such as the Song of Songs, the Tao Te Ching, the Rg Veda, the New Testament, and the Indonesian myth of Hainuwele, Myth reveals the cultural energies that ancient "mythmakers" sought to corral in their creations. Leeming argues that myths are, by definition, evolving creations that live on in the work of modern-day "mythmakers" such as W.
Yeats, Virginia Woolf, and Albert Einstein. Leeming provides an engaging new outlook on the role of myth in the works of these and other contemporary artists and scientists. Who will shed a tear over the nameless grave which will soon shelter from cruelty and scorn the broken heart of the poor Athenian girl? But you, who alone have addressed her in her degradation with a voice of kindness and respect, farewell. Sometimes think of me,—not with sorrow;—no; I could bear your ingratitude, but not your distress.
Yet, if it will not pain you too much, in distant days, when your lofty hopes and destinies are accomplished,—on the evening of some mighty victory,—in the chariot of some magnificent triumph,—think on one who loved you with that exceeding love which only the miserable can feel.
Think that, wherever her exhausted frame may have sunk beneath the sensibilities of a tortured spirit,—in whatever hovel or whatever vault she may have closed her eyes,—whatever strange scenes of horror and pollution may have surrounded her dying bed, your shape was the last that swam before her sight—your voice the last sound that was ringing in her ears. He looked at her. He hid his face on her bosom, and burst into tears. With sobs long and loud, and convulsive as those of a terrified child, he poured forth on her bosom the tribute of impetuous and uncontrollable emotion.
He raised his head; but 18 he in vain struggled to restore composure to the brow which had confronted the frown of Sylla, and the lips which had rivalled the eloquence of Cicero. He several times attempted to speak, but in vain; and his voice still faltered with tenderness, when, after a pause of several minutes, he thus addressed her:.
Beings of similar loveliness, and similar devotedness of affection, mingled, in all my boyish dreams of greatness, with visions of curule chairs and ivory cars, marshalled legions and laurelled fasces. Such I have endeavored to find in the world; and, in their stead, I have met with selfishness, with vanity, with frivolity, with falsehood. But I will trust you, at least so far as to partake your present dangers. Flight may be necessary:—form your plans. Be they what they may, there is one who, in exile, in poverty, in peril, asks only to wander, to beg, to die with you.
Walter Pater
To renounce the conspiracy without renouncing the principles on which it was originally undertaken,—to elude the vengeance of the Senate without losing the confidence of the people,—is, indeed, an arduous, but not an impossible, task. I owe it to myself and to my 19 country to make the attempt.
There is still ample time for consideration. At present I am too happy in love to think of ambition or danger. They had reached the door of a stately palace. It was instantly opened by a slave. Zoe found herself in a magnificent hall, surrounded by pillars of green marble, between which were ranged the statues of the long line of Julian nobles.
Let them relieve each other on guard during the night. Zoe, my love, my preserver, why are your cheeks so pale? Let me kiss some bloom into them.
How you tremble! Endymion, a flask of Samian and some fruit. Bring them to my apartments. This way, my sweet Zoe. T his is the age of societies.