Walter Pater

WALTER PATER (1839-1894)

Walter Pater (1839-1894) was a prominent English essayist, literary critic, and philosopher associated with the aesthetic movement of the late 19th century. Renowned for his emphasis on the sensory experience of art and the individuality of the artist, Pater's work challenged conventional notions of literature and aesthetics. His most influential writings include Studies in the History of the Renaissance, where he advocates for an appreciation of beauty and the subjective experience of art, coining the famous phrase "art for art's sake." Pater believed that art should be valued for its own sake, independent of moral or didactic functions. His explorations of the relationship between art and life, alongside his vivid prose style, significantly influenced later writers and critics, including Oscar Wilde and the modernist movement. Pater’s legacy continues to resonate in discussions of aesthetics, artistic expression, and the role of the individual in creative endeavours.

Art and morality have different goals. Morality aims at outcomes, while art exists for its own sake. In his essay on Wordsworth, Pater suggests that life should be approached with the same care as art. He believes great poets do not aim to teach or promote noble causes. Instead, art should lead, not serve.

(A) Pater’s views on critic/ Function of Pater’s critic:

1. Pater finds the principles of art reflected in the artist's life. In his work Marius the Epicurean, he traces the spiritual journey of Marius, who gains wisdom through study, experience, and thought.

2. Pater is most interested in humanity when it reaches its highest sensitivity.

3. Pater views criticism as an art focused on literature and artists' thoughts. The critic should:

   • Pay attention to life

   • Enrich their spirit

   • Learn how to live through knowledge

   • Value intellectual reflection as essential to poetry

   • Rely on clear and unbiased reasoning

4. A critic must be as curious and precise in approaching literature as an artist is in approaching life.

5. The critic's mind should be free from rigid theories, but full of thoughtful insights. They must take all life’s critical moments seriously.

6. Mundane things should be set aside for meaningful subjects. Both critic and artist must reject conventions and dogmas, staying open to fresh ideas and recognizing beauty, joy, and grace in life.

7. Critics should not apply broad principles, but instead bring a trained sensitivity to understand the unique qualities of the author’s work.

8. Pater stresses the importance of discipline and training for both critics and artists. A critic must be able to distinguish between what is truly expressive and what is merely conventional or unoriginal.

9. True expressiveness reveals the author's individuality and strength.

(B) Pater’s views on Artist and Art: Principles of Writing or Outward Form

1. The artist must be knowledgeable and well-read.

2. The artist gives proper attention to words without pretending to show off knowledge.

3. The artist exercises restraint in word choice, avoiding unnecessary embellishments.

4. The artist carefully selects words and avoids excess, embodying a love for language.

5. The artist focuses on the structure of the work, ensuring that thought (mind) is central to style, allowing the personality of the author to shine through.

6. Knowledge gained through study and technical skill are crucial for an artist. Style reflects the person.

7. The artist’s single-minded dedication helps convey their vision effectively.

8. Good art comes from understanding facts, but great art comes from pairing this with a dignified subject.

9. The subject or theme must be meaningful and worth discussing.

10. Achieving effect often involves removing unnecessary elements from the work.

11. Life’s experiences shape art, and their form depends on word choice and structure. Matter and manner are equally important, as life’s raw material is beautified through precise expression.

12. The real artist’s understanding of facts is grounded in life itself.

(C) Pater on Style

In his essay on Style, Pater explores the core of literary art and criticism, focusing on how a critic can understand the "soul" of a work through its outer form, like style and diction.

1. Diction, Style, and Form:

   • Diction refers to the choice of words and phrasing, an element of style.

   • Style is the manner of writing, distinct from the content or "matter." Content is like raw material (e.g., wool for cloth), while style shapes it into something beautiful.

   • Form is the overall structure or shape that a work of art takes.

2. Matter and Style:

   • "Matter" is not just words or paint but refers to thoughts and ideas.

   • Composition is the mechanical process of putting words and phrases together. Once imagination is involved, it becomes style.

3. Importance of Taste:

   • Critics often focus on technical aspects like elegance or correctness. However, Pater believes that the writer’s sensitivity to language, tact, and taste are more important in developing style.

4. Expression and Clarity:

   • Expression is the goal of writing, and style is the way words are used to express thoughts. Clarity of language depends on clarity of thought.

   • Using fancy language without clear ideas is pointless. A writer’s perception and sensitivity will shape their language and style. Confused ideas lead to confused style, while ordinary ideas result in ordinary style.

5. Style and Form:

   • Style includes diction, while form includes style. Form is the overall shape a work of art takes.

   • As De Quincey says, style is the "incarnation of thought" — a reflection of the author's personality and ideas.

(D) "The Style is the Man"

In literature, style is more than just a technical aspect of writing—it is a direct reflection of the writer's personality and individuality. Pater argues that style is not merely the external form or “dress” of thought, but an organic expression of the author’s inner self. Just as a person’s voice or handwriting is unique, so too is their style of writing. Through diction, sentence structure, and tone, a writer reveals not only their thoughts but also their character, education, and worldview. Ultimately, Pater emphasizes that “the style is the man,” showing how deeply personal and distinctive an author’s style truly is. Here is why he says ‘the style is the man.’

1. Imprint of Personality in Art

   • A work of art reflects the artist’s personality.

   • The author is revealed through both content and style.

   • It's a mistake to think style is only for specialists.

2. Style as an Author's Signature

   • Each writer has a unique way of expressing themselves, which makes their style recognizable.

   • Style is like a writer’s voice or handwriting, an indicator of personality.

3. Individuality in Style

   • The choice of words, phrases, and sentence structure shows the individuality of the writer.

   • Style is not just a "dress" for thought but a deeper, organic expression of the writer's personality, as Carlyle suggests.

4. Imitation vs. Originality

   • Writers may imitate others, but true style comes from sincerity and originality.

   • Imitation reveals second-hand engagement with life, while genuine style reflects the writer’s authentic self.

5. Literature as Personal Expression

   • Literature is a personal exercise of language, which is why each author’s style is unique.

   • A genius moulds language to their personal needs, making their style as distinct as their shadow.

6. Style as a Reflection of the Mind

   • Style is a consistent reflection of the writer’s thoughts and personality.

   • The manner of writing reveals the writer’s mental disposition and personal characteristics.

7. Language and Individuality

   • Strong personalities leave a unique imprint on language, altering its use.

   • There is a strong connection between a writer’s individuality and their use of language.

8. Style and Artistic Growth

   • Style reveals not only personality but also a writer’s artistic development.

   • It reflects education, influences, preferences, and the evolution of their thoughts and temper.

9. Style as a Reflection of Thought

   • The way a writer expresses themselves is a commentary on their ideas.

   • Different writers have different styles, whether long and descriptive or short and pithy, reflecting their personality and intellectual background.

10. Imaginative Literature and Truth

• Style is crucial in imaginative literature, where the aim is to present a vision rather than a literal reality.

• Truth and beauty in literature come from the clear expression of ideas, shaping words into a meaningful form.

Thus, Pater asserts that style is a reflection of the writer’s personality, much like their voice or handwriting. While imitation is possible, true style is an expression of the writer's individuality, shaped by sincerity, experience, and education. Style evolves with the writer’s growth and leaves a lasting impression on language, making it unique and personal. In imaginative literature, style is key to conveying truth and beauty, as it reflects the writer’s deeper vision of life.

 (E) Pater's "Art for Art's Sake"

Introduction to the Doctrine

The concept of "Art for Art's Sake" emerged in France and gained popularity in England through artists like Whistler and Oscar Wilde. This doctrine suggests that artists should create purely for their own pleasure, ignoring the tastes and opinions of their audience. Pater offers a more balanced view, recognizing that while artists may create for personal satisfaction, their work should not completely disregard its impact on others.

The Artist's Perspective

1. Self-Centeredness of the Artist:

   • The doctrine promotes a self-centred approach, where artists claim their vision is all that matters.

   • Artists are encouraged to pursue their unique impressions of life without concern for audience approval.

2. Importance of Individual Vision:

   • Whistler and others assert that an artist’s personal experience and impression are valid, regardless of external opinions.

   • This emphasis on personal vision can lead to neglecting the broader context of art’s role in society.

Drawback: pitfalls

2. • A problematic outcome of this viewpoint is that mediocre artists can evade criticism by claiming they create solely for themselves.

   • This self-justification can result in poor-quality art that lacks objective expression.

The Role of Subject Matter

1. Connection to Reality:

   • All art, regardless of style, has roots in reality and must express a subject or idea.

   • Pater argues that if art exists solely for the artist’s sake, it risks remaining unformed and undeveloped in the artist's mind.

Drawback: Artistic isolation

1. • The idea that an artist operates in isolation from their audience diminishes the communicative aspect of art.

   • Art should aim to resonate with others, creating a dialogue between the artist and the audience.

Aesthetic Functions and Modern Psychology

1. Misunderstanding of Aesthetic Experience:

   • Proponents of "Art for Art's Sake" often claim that artistic experiences are fundamentally different from other activities, a view challenged by modern psychology.

   • This misconception can lead to the erroneous belief that artists write or create only to please themselves, disregarding the influence of societal context.

2. Historical Examples of Engagement:

   • Great writers like Homer, Dante, and Shakespeare did not create solely for personal enjoyment; they engaged with their audiences and historical contexts.

   • This engagement emphasizes the collaborative nature of art rather than a solitary pursuit.

           Drawback: Potential for Artistic Degeneration

1. Risk of Mannerism:

   • Pater warns that embracing subjectivity in art could lead to mannerism, where style becomes a mere expression of individual whims rather than a reflection of deeper truths.

   • Art must maintain a connection to humanity and the shared experiences of life.

2. Humanitarian Aspects of Art:

   • Art possesses both humanitarian and humane qualities, contributing to the broader structure of human life and society.

   • Pater argues that art should not be relegated to mere individual expression but should engage with universal themes.

Conclusion: Limitations of the Doctrine

Pater ultimately views the doctrine of "Art for Art's Sake" as convenient for lesser artists who may lack the skill to engage with deeper themes and broader audiences. He asserts that the study and practice of art must reflect an engagement with humanity and the world, rather than retreating into self-indulgence. Today, this doctrine holds limited relevance to the practices of great writers and artists, serving more as a historical curiosity than a guiding principle for artistic creation.