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Pater's Portraits Monsman, Gerald Cornelius Pater's Portraits Monsman, Gerald Cornelius Published by Johns Hopkins University Press Monsman, Gerald Cornelius. Pater's Portraits: Mythic Pattern in the Fiction of Walter Pater. Johns Hopkins University Press, 1967. Project MUSE. doi:10.1353/book.68453. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/68453 [ Access provided at 29 Sep 2021 18:02 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. HOPKINS OPEN PUBLISHING ENCORE EDITIONS Gerald Cornelius Monsman Pater’s Portraits Mythic Pattern in the Fiction of Walter Pater Open access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. © 2019 Johns Hopkins University Press Published 2019 Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. CC BY-NC-ND ISBN-13: 978-1-4214-3251-9 (open access) ISBN-10: 1-4214-3251-X (open access) ISBN-13: 978-1-4214-3249-6 (pbk. : alk. paper) ISBN-10: 1-4214-3249-8 (pbk. : alk. paper) ISBN-13: 978-1-4214-3250-2 (electronic) ISBN-10: 1-4214-3250-1 (electronic) This page supersedes the copyright page included in the original publication of this work. PATER'S PORTRAITS Mythic Pattern in the Fiction of Walter Pater "All art is dream, and what the day is done with is dreaming-ripe, and what art has moulded religion accepts, and in the end all is in the wine-cup, all is in the drunken fantasy, and the grapes begin to stammer." W. B. Yeats �PATER'S PORTRAITS Mythic Pattern in the Fiction of Walter Pater by Gerald Cornelius Monsman The Johns Hopkins Press, Baltimore Copyright© 1967 by The Johns Hopkins Press Baltimore, Maryland 21218 Printed in the United States of America Library of Congress Catalog Card Number 67-12426 To my Parents !4f"8PREFACE Throughout this study I have used certain basic abbreviations in quotations from the works of Pater. The ten volumes of the standard Macmillan edition are abbreviated in the text as follows: The Renaissance: R; Marius the Epicurean: ME, I or II; Imaginary Portraits: IP; Appreciations: Ap; Plato and Platonism: PP; Greek Studies: GS; Miscellaneous Studies: MS; Gaston de Latour: GdL; and Essays from the "Guardian": EG. The 1889 edition of Appre­ ( ) ciations is cited as Ap 1889 , the Uncollected Essays I have ab­ breviated VE, and the Imaginary Portraits edited by Eugene Brzenk is rendered /PB. The numbers following the abbreviations refer to the page numbers. For the remainder of the quotations, I have used footnotes. In the writing of this study, I have many people to thank, in particular the English faculty at The Johns Hopkins University. I am deeply in debt to J. Hillis Miller and Charles Anderson, who have given me great help in their comments on my rough drafts, and to Earl Wasserman and Don Cameron Allen for taking the time to give advice. I wish also especially to thank John Spar­ row and Lawrence Evans, who have gone out of their way to render substantial help. There are others, certainly, who should also be thanked: all those, for example, whose written or spoken ideas have long since sunk into the matrix of my own thought and are no longer separable from it. Indeed, even what I owe to such writers as Friedrich Staub and R. T. Lenaghan I can no longer adequately assess-that I leave to other scholars to judge. Finally, I acknowledge my indebtedness to the late A. 0. Lovejoy, who during my undergraduate years suggested I read Plato and Platonism in connection with a paper with which I was then strug­ gling. This was, I believe, my first introduction to Walter Pater. It is, however, to my parents that I dedicate this study, for I, too, as a child in the house of life lived in a perfect summertime where no winter came. Such happiness one may be fortunate enough to pass on, but can never pay back. Durham, North Carolina G.C.M. June, 1966 vii i4f!l'8 CONTENTS Preface VII Introduction XI I. Art and the Gods of Art 3 II. Portraiture and the Early Portraits 31 III. Marius the Epicurean (1885) 65 IV. The Collected Imaginary Portraits 99 V. Gaston de Latour ( 1888) and Religious Belief 139 VI. The Uncollected Imaginary Portraits 163 VII. Myth and Metaphor 201 Index 217 IX f4ll"8 INTRODUCTION Despite the recent growth of interest in the literature of the Victorian period, little has been written about one of the greatest of Victorian prose masters, Walter Horatio Pater. In one area par­ ticularly there is a gap: Pater's fiction clearly needs fuller and better critical analysis than it has had so far. Only his novel Marius the Epicurean can be said to have drawn a fair share of attention, yet only rarely has it been considered within the broader frame­ work of Pater's other writings and certainly not in detail. Perhaps this absence of adequate studies stems from an acute critical em­ barrassment as to which of Pater's varied writings are legitimately fictive and worthy of the attention of the literary critic and which ones should be left to the art critics, the philosophers, and the historians. Iain Fletcher, in an excellent monograph, has described the problem well: Pater's work, says Fletcher, "seems t,o lie in a twilight of categories between criticism and creation; between art and literary criticism, belles lettres, classical scholarship, the journal intime and the philosophic novel."1 Perhaps what is needed is a more flexible understanding of the nature of fiction and a corresponding willingness to read many of the portraits in The Renaissance and Appreciations, for example, as contributing toward the imaginative universe of the writer. But since there are differ­ ences between these historical portraits and those fictional portraits which Pater calls "imaginary"-the poetic latitude that Pater per­ mits himself in the imaginary portraits being far greater than in the historical portraits-this study will limit itself to the general area of the so-called imaginary portraits, using the other writings as the occasion warrants. From the start Pater's fiction presents the prospective critic with numerous causes of frustration, not the least of which is a marked lack of both dramatic narration and description. How does the 'Walter Pater (London, 1959), p. 5. xi INTRODUCTION hero really look? How does he sound? What are his specific emo­ tions? What are the details of his actipns? Such questions are usu­ ally unanswered by Pater, for he is rarely vivid and first-hand, and his fiction always tends toward exposition. Pater talks about sensations and ideas-he summarizes them, one may say-but he never presents them realistically. Like the deaths which in Greek drama take place off-stage, so in Pater we are told, rather than shown, what has happend. When Percy Lubbock says there is little drama in Pater's fiction,2 he points to a real problem, I think. The style, about which I will have more to say in Chapter II, contributes to this tendency toward non-dramatic exposition. Syntactically, Pater's sentences are often exceedingly involuted, and the antecedents are frustratingly vague; there are times when Pater completely fails to sum up the heart of the matter in language that does not annihilate the thought. Further, because the diction is so abstract, there appears to be little connection between indi­ vidual words. Only concrete words can explode against each other, and Pater persistently tends to choose vague words, generalizations such as life, death, love, and ignore the specifics which give body to a work. These stylistic features make it difficult to focus on a passage and give it the sort of intensive explication one might give, for example, to a passage of poetry. But, of course, this quality of abstraction is typical of much Symbolist writing; it is not unique with Pater. Since the good prose wine of the last century is not generally in very great demand, the twentieth-century reader may simply be prejudiced, but it is well to remember that there can be no appreciation of the literary style of, for example, Yeats with­ out a genuine liking for Pater. Just as Spenser is the real test of one's palate for the sixteenth century, so Pater, perhaps, is much the same for the late nineteenth. At any rate, for all his obvious failings in narration and de­ scription, Pater is one of the prose masters of his time. Judged by his own standards, his fiction achieves real success, for every portrait reflects just that sort of careful artistic structure which he demanded in the best w.ork. Considering "the effects of conscious art" in the telling of a story, Pater wrote in "Style" that "one of the greatest pleasures of really good prose literature is in the critical tracing out of that conscious artistic structure, and the per­ vading sense of it as we read" (Ap, 24-25). By using ellipses and cutting quotations to the bone, by juxtaposing widely separated passages and so bridging the expansiveness of the prose, one can 2 The Craft of Fiction (New York, 1945), p. 195. XU Introduction show exactly this sort of conscious art at the heart of every one of Pater's portraits, all of which, whether historical or imaginary, are philosophic apologues of the relation between the universal and its particular expression, their dialectical structure a reflection of his concern with this relationship.
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