Quotes from Walter Pater

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.

Not the fruit of experience, but experience itself, is the end.

To know when one's self is interested, is the first condition of interesting other people.

All art constantly aspires towards the condition of music.

Books are a refuge, a sort of cloistral refuge, from the vulgarities of the actual world.

To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life.

Art comes to you proposing frankly to give nothing but the highest quality to your moments as they pass.

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.

It is the addition of strangeness to beauty that constitutes the romantic character in art.

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.

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.

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.

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.

That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the assertion of what was for him almost literal fact.

Every intellectual product must be judged from the point of view of the age and the people in which it was produced.

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.

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.

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.

Not to discriminate every moment some passionate attitude in those about us, and in the very brilliancy of their gifts some tragic dividing on their ways, is, on this short day of frost and sun, to sleep before evening.

What we have to do is to be forever curiously testing new opinions and courting new impressions.

Philosophical theories or ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us.

Why do you always write poetry? Why do you not write prose? Prose is so much more difficult.

Not to discriminate every moment some passionate attitude in those about us, and in the very brilliancy of their gifts some tragic dividing on their ways, is, on this short day of frost and sun, to sleep before evening.

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.