“Experience, already reduced to a group of impressions, is ringed round for each one of us by that thick wall of personality through which no real voice has ever pierced on its way to us, or from us to that which we can only conjecture to be without.”
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Such discussions help us very little to enjoy what has been well done in art or poetry, to discriminate between what is more and what is less excellent in them, or to use words like beauty, excellence, art, poetry, with a more precise meaning than they would otherwise have.
In a sense it might even be said that our failure is to form habits: for, after all, habit is relative to a stereotyped world, and meantime it is only the roughness of the eye that makes two persons, things, situations, seem alike.
No account of the Renaissance can be complete without some notice of the attempt made by certain Italian scholars of the fifteenth century to reconcile Christianity with the religion of ancient Greece.
Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.
