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Walter Pater Quotes About Book

Browse 6 quotations connecting Walter Pater with Book, with meanings, source notes and related themes.

Sources

Where these book quotations appear

Sources represented here include Appreciations, with an Essay on Style, The Renaissance: Studies in Art and Poetry.

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Quotations

6 matching quotations with meanings and source context

Source identified1
in literary as in all other art, structure is all-important

“in literary as in all other art, structure is all-important”

Pater treats structure as a governing discipline: a work should be conceived as a whole whose parts remain related to its beginning, direction and intended end.

Source details

Appreciations, with an Essay on Style, essay “Style,” printed page 21 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. “in literary as in all other art, structure is all-important” introduces Pater’s architectural account of composition, where a work’s end is foreseen in its beginning and each part remains conscious of the rest.

Source identified2
makes the reading of Wordsworth an excellent sort of training towards the things of art and poetry.

“makes the reading of Wordsworth an excellent sort of training towards the things of art and poetry.”

Pater presents sustained engagement with a difficult poet as a form of aesthetic training, implying that taste and discrimination can be developed through repeated attentive reading.

Source details

Appreciations, with an Essay on Style, essay “Wordsworth,” printed page 41 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. Pater says that the contrast between Wordsworth’s higher and lower poetic moods “makes the reading of Wordsworth an excellent sort of training towards the things of art and poetry.” This remains Pater’s critical judgment about aesthetic training, not an experimentally established educational outcome.

Source identified3
a habit of reading between the lines, a faith in the effect of concentration and collectedness of mind in the right appreciation of poetry

“a habit of reading between the lines, a faith in the effect of concentration and collectedness of mind in the right appreciation of poetry”

Pater describes demanding reading as training in concentration and inference, where appreciation grows through disciplined attention instead of quick surface consumption.

Source details

Appreciations, with an Essay on Style, essay “Wordsworth,” printed page 42 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. The reading-between-the-lines passage follows Pater’s claim that Wordsworth-reading can train aesthetic discrimination; he attributes to receptive readers a habit of inference plus faith in concentration and collectedness of mind. This remains nineteenth-century literary criticism rather than cognitive-science evidence.

Source identified4
all progress of mind consists for the most part in differentiation, in the resolution of an obscure and complex object into its component aspects

“all progress of mind consists for the most part in differentiation, in the resolution of an obscure and complex object into its component aspects”

Pater describes intellectual progress as learning to distinguish parts within what initially seems confused, a method that makes clearer categories and more exact judgment possible.

Source details

Appreciations, with an Essay on Style, essay “Style,” printed page 5 in the standard Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. “all progress of mind consists for the most part in differentiation...” opens Pater’s argument by distinguishing prose, verse and poetry. This is literary-aesthetic criticism, not a modern experimental claim about cognition or learning.

Source identified5
He will remember always that beauty exists in many forms.

“He will remember always that beauty exists in many forms.”

The sentence resists a single narrow standard of beauty and asks the critic to remain open to excellence appearing through different periods, types and schools.

Source details

The Renaissance, Preface; Project Gutenberg #2398. The following sentences extend the point across periods and schools of taste.

Source identified6
To define beauty, not in the most abstract, but in the most concrete terms possible

“To define beauty, not in the most abstract, but in the most concrete terms possible”

Pater begins aesthetic criticism by preferring close attention to particular works and experiences over a universal formula, making discrimination and concrete observation central to judgment.

Source details

The Renaissance, Preface; Project Gutenberg #2398, represented sixth-edition text. The phrase introduces Pater’s method of aesthetic criticism.

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