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The marbles of Aegina.

Walter Pater: ‘We come at last in the marbles of Aegina to a monument, which bears upon it the full expression of this humanism,—to a work, in which the presence of man, realised with complete mastery of hand, and with clear apprehension of how he actually is and moves and looks, is touched with the freshest sense of that new-found, inward value; the energy of worthy passions purifying, the light of his reason shining through, bodily forms and motions, solemnised, attractive, pathetic. We have reached an extant work, real and visible, of an importance out of all proportion to anything actually remaining of earlier art…’

The beginnings of Greek sculpture 2.

Walter Pater: ‘This whole first period of Greek art might, indeed, be called the period of graven images, and all its workmen sons of Daedalus; for Daedalus is the mythical, or all but mythical, representative of all those arts which are combined in the making of lovelier idols than had heretofore been seen. ‘

The beginnings of Greek sculpture 1.

Walter Pater: The highest Greek sculpture is presented to us in a sort of threefold isolation; isolation, first of all, from the concomitant arts—the frieze of the Parthenon without the metal bridles on the horses, for which the holes in the marble remain; isolation, secondly, from the architectural group of which, with most careful estimate of distance and point of observation, that frieze, for instance, was designed to be a part; isolation, thirdly, from the clear Greek skies, the poetical Greek life, in our modern galleries.

Duties of care in the study of literature.

Alex Wong: ‘To be able to enter into an emotional and ideological world not one’s own, and then to be moved by it, to come to respect it, to empathize with that mode of thought and feeling—whether aesthetic, sentimental or moral—must be, I take it, one of the most important processes involved in the study of old books. It is especially important when the book in question at first seems particularly alien. What I am talking about (knowing that I am saying nothing new) might be described as an engaged, humane, historical awareness, the goal being an expansion of sensibility in which process those foreign things (the works of art) are assimilated.’

The ‘secular monk’ in the rue des Saints-Pères.

Richard Aldington: ‘…the very essence of Gourmont’s thought is that he placed himself quite apart from doctrines and parties. It was a Nietzschean effort to rise “beyond good and evil”. But this uncompromisingly individualist judgment does not necessarily reduce Gourmont to a minority of one. Inasmuch as every one of us is an individual, inasmuch as we exist more or less apart from collective bodies and opinions, Gourmont speaks to us. He speaks to us not as members of groups, not as citizens, but as individuals. He does not assert that he had anything valuable to tell us; he does not pretend to solve anyone’s problems, offers no panacea, makes no promises, cares nothing whether he is read or not, or, if read, whether anyone accepts or rejects his thought.’

The Fortnightly Review under Harris, 1886-1894.

Mrs Courtney’s history continues. Part Four. FRANK HARRIS, THEN A young man just thirty, born in Ireland but by upbringing American, had had a roving education in various American and Continental universities. Who’s Who in America credits him with belonging to eight and adds the perhaps significant parenthesis “(no degrees).” He can hardly had stayed […]

The Fortnightly Review under Morley, 1867-1882.

Mrs Courtney’s history continues. Part Two. MORLEY HAD MADE HIS first appearance in the pages of the Fortnightly in September 1866, when in thoroughly characteristic fashion he attacked the proposed Annexation of Mysore. Only to flutter the pages of his article is to hear once more the trumpets of radicalism sounding the assault, and to […]

Mrs. Courtney’s history of the Fortnightly Review.

By Janet (Hogarth) CourtneyArranged in five parts. Part I: Under Lewes, 1865-1866 Part II: Under Morley, 1867-1882 Part III: Under Escott, 1882-1886 Part IV: Under Harris, 1886-1894 Part V: Under Courtney, 1895-1928 I UNDER LEWES, 1865-1866 THE FORTNIGHTLY REVIEW, LIKE its forerunner The Westminster, was founded and guided by philosophers. It is rather interesting to […]

Excerpt: Literary Architecture.

Ellen Eve Frank: Literary architecture is, consequently, an alive “reasonable structure”: it is a body with a soul. In this context, the building of literary architecture is a composing of pregnant forms: it is pro-creative and full of care.

Post-Impressionists.

By WALTER SICKERT. ROGER FRY AND his committee have earned the gratitude of all painters, students, and lovers of art in this country by the illuminating and interesting collection they have formed at the Grafton Gallery. That they have entitled it “Manet and the Post-Impressionists” is a detail of advertisement. Only those who have never […]

Bonnefoy: Image and poiesis.

Alan Wall: ‘The first two poems in The Present Hour deal with old photographs, interrogating them and the memories they embody and evoke. It is the weird entrapments of the present in a photograph that snags Bonnefoy’s mind. Here appears a present that is now past, and yet a glimpse of the presentness of that long-gone instant remains, even if it is no more than a tatter blowing in chronology’s wind. There is still a truth to be found in it, however problematical and elliptical. We can only find it in the image itself through an exploration of that non-sensuous mimesis which is language. ‘

Shakespeare in fragments.

‘And so they dug me up. And so he picks my skull out, having heard me named by our rugged chorister of death here in the graveyard. Like Lazarus brought back from the grave, though in my case left to moulder a little longer. Another of his I’s; another of his eyes. Erasmus says the king has a thousand eyes, and in two years time he’ll be one of The King’s Men. To see him stare like that, right through me (as he sees through every one of us these days). He sees through my inventions, including the one that bears his name. Makes me wish for a moment to be dressed in flesh again, if only to tempt him to a jig, the way we used to, before his melancholy and his antic disposition. And this little indisposition of mine, in the form of my mortal annihilation.’

Trollope and Self-Help.

Rebeca Richardson: ‘I read Trollope’s Autobiography as a self-help story featuring an ambitious protagonist who utilizes self-deprecation in a bid for readerly sympathy, and who depicts ambition not as a quality that threatens others, but rather, as the drive behind self-competition.’

Protected: The Wellesley Index History of The Fortnightly Review.

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The Production and Life of Books.

C. Kegan Paul: ‘It may seem an obvious matter that no one has any business to write if he have not something definite to say, which is, or at least appears, worth saying. But this is not so. If a person have fallen into poverty, say a lady left by the death of father or husband with limited means, or a gentleman who has failed in business, the lady is recommended to keep a school, the gentleman to take pupils, and both to write a book.’