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Updated: June 22, 2025
"I don't think he meant anything; or, if he did, I think he didn't know what." "Yes," said Mrs. Pasmer vaguely; "that must be what Mrs. Saintsbury meant by the artistic temperament." "I like people to be sincere, and not to say things they don't mean, or don't know whether they mean or not," said Alice. "Yes, of course, that's the best way," admitted Mrs. Pasmer.
Mavering came to lunch the next day, and had a word with Mrs. Pasmer before Alice came in. Mr. Pasmer usually lunched at the club. "We don't see much of Mrs. Saintsbury nowadays," he suggested. "No; it's a great way to Cambridge," said Mrs. Pasmer, stifling, in a little sigh of apparent regret for the separation, the curiosity she felt as to Dan's motive in mentioning Mrs. Saintsbury.
"I shall want just fifteen minutes for that." "I know, better, Mr. Mavering," said Mrs. Saintsbury, with finality. "You will want a good three-quarters of an hour to make yourself as disreputable as you'll look at the Tree; and you'll have to take time for counsel and meditation. You may stay with us just half an hour, and then we shall part inexorably.
Professor Saintsbury says: "Every cool-headed student of history and ethics will admit that it was precisely the abuse of the principle at this time, and by the persons of whom Catherine de' Medici, if not the most blamable, has had the most blame put on her, that brought the principle itself into discredit." The author, not Professor Saintsbury, is responsible for the Italics.
Blunt George Saintsbury calls Zola the "naturalist Zeus, Jove the Dirt-Compeller," and adds that as Zola misses the two lasting qualities of literature, style, and artistic presentation of matter, he is doomed; for "the first he probably could not have attained, except in a few passages, if he would; the second he has deliberately rejected, and so the mother of dead dogs awaits him sooner or later."
A border-lander, as is Maurice Maeterlinck, Munch has a more precise vision; in a word he is a mystic, and a true mystic always sees dreams as sharp realities. It was Mr. Saintsbury who first called attention to the clear flame of Flaubert's visions as exemplified by his Temptation of St. Anthony.
This is true, despite the objections of Saintsbury, but I venture to add that "life is a criticism of literature." I shall not be so untrue to my theme. But I give fair warning that I shall make no attempt to scale the height or sound the depth of the intellectual phases of this great subject. I invite my reader only to dally desultorily on the gentler slopes of sentiment.
Does she think he's a little too pushing? Perhaps, he is a little pushing." She reflected, with an inward sigh, that she would know whether he was if she only knew more about him. He did the honours of his room very simply and nicely, and he said it was pretty rough to think this was the last of it. After which he faltered, and something occurred to Mrs Saintsbury. "Why, we're keeping you!
Most readers who will have heard of Nietzsche's subsequent denunciation of Wagner's music will probably stand aghast before this panegyric of him; those who, like Professor Saintsbury, will fail to discover the internal evidence in this essay which points so infallibly to Nietzsche's real but still subconscious opinion of his hero, may even be content to regard his later attitude as the result of a complete volte-face, and at any rate a flat contradiction of the one revealed in this paper.
Saintsbury was just then saying to the elder Mavering, "I'm so glad you decided to come today. It would have been a shame if none of you were here." She made a feint of dropping her voice, with a glance at Dan Mavering. "He's such a nice boy," which made him laugh, and cry out "Oh, now? Don't poison my father's mind, Mrs. Saintsbury."
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