500 AP English Language Questions to know by test day

CHAPTER 3. Critics

 

Passage 3d: Walter Pater, Studies in the History of the Renaissance

 

To burn always with this hard gem-like flame, to maintain this ecstasy, is success in life. Failure is to form habits; for habit is relative to a stereotyped world; meantime it is only the roughness of the eye that makes any two persons, things, situations, seem alike. While all melts under our feet, we may well catch at any exquisite passion, or any contribution to knowledge that seems, by a lifted horizon, to set the spirit free for a moment, or any stirring of the senses, strange dyes, strange flowers, and curious odours, or work of the artist’s hands, or the face of one’s friend. Not to discriminate every moment some passionate attitude in those about us, and in the brilliance of their gifts some tragic dividing of forces on their ways is, on this short day of frost and sun, to sleep before evening. 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. What we have to do is to be for ever curiously testing new opinions and courting new impressions, never acquiescing in a facile orthodoxy of Comte or of Hegel, or of our own. Theories, religious or philosophical ideas, as points of view, instruments of criticism, may help us to gather up what might otherwise pass unregarded by us. La philosophie, c’est la microscope de la pensee. The theory, or idea, or system, which requires of us the sacrifice of any part of this experience, in consideration of some interest into which we cannot enter, or some abstract morality we have not identified with ourselves, or what is only conventional, has no real claim upon us.

One of the most beautiful places in the writings of Rousseau is that in the sixth book of the Confessions, where he describes the awakening in him of the literary sense. An undefinable taint of death had always clung about him, and now in early manhood he believed himself stricken by mortal disease. He 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, which he found in the clear, fresh writings of Voltaire. Well, we are all condamnes, as Victor Hugo says: les hommes sont tous condamnes a morte avec des sursis indefinis: we have an interval, and then our place knows us no more. Some spend this interval in listlessness, some in high passions, the wisest in art and song. For our one chance is in expanding that interval, in getting as many pulsations as possible into the given time. High passions give one this quickened sense of life, ecstasy and sorrow of love, political or religious enthusiasm, or the ‘enthusiasm of humanity.’ Only, be sure it is passion, that it does yield you this fruit of a quickened, multiplied consciousness. Of this wisdom, the poetic passion, the desire of beauty, the love of art for art’s sake has most; for art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments’ sake.