No doubt Pater was something of an Impressionist in his philosophy of life. An eloquent expounder of the Heracletian flux, [Greek: panta rei], of the relativity of systems of thought and conduct, and of the duty of seizing the flying moments--"failure in life is to form habits,"--he did not omit, like his one-sided disciples, to consider the quality of those moments. It was the _highest_ quality you were to give to your moments as they passed; to fail to do this was "on this short day of frost and sun to sleep before evening." ("The Renaissance.") "Marius the Epicurean" was not an Epicurean in the sense in which the doctrines of Epicurus have been travestied through the ages: he turned away sickened from the barbarities of the gladiatorial combats, longing for the time when the forces of the future would create a heart that would make it impossible to be thus pleasured. If "_Carpe diem_" is Pater's motto, the hour is not to be plucked ignobly; if style is his watchword in art, style alone cannot make great Art, though it may make good Art. The distinction, between good Art and great Art depends immediately _not on its form_ but on its matter. "It is on the quality of the matter it informs or controls, its compass, its variety, its alliance to great ends, or the depth of the note of revolt, or the largeness of hope in it, that the greatness of literary art depends, as 'The Divine Comedy,' 'Paradise Lost,' 'Les Misérables,' the English Bible, are great art." ("Essay on Style.") Your Chelsea manikin would never dream of these things as great art: his whole soul is expressed in ballads and canzonets, in strange esoteric contes, in nocturnes and colour-symphonies, in the bric-à-brac of aesthetics. Furthermore let the _soi-disant_ disciples ponder this explicit statement of the Master: "Given the conditions I haye tried to explain as constituting good art,--then, if it be devoted further to the increase of men's happiness, to the redemption of the oppressed, or the enlargement of our sympathies with each other, or to such presentment of new or old truth about ourselves and our relation to the world as may ennoble and fortify us in our sojourn here, or immediately, as with Dante, to the glory of God, it will also be great Art." Yes, if Pater protested against "the vulgarity which is dead to form," he was no less contemptuous of "the stupidity which is dead to the substance." ("Postscript to Appreciations.") If he fought shy of the Absolute, if he denied "fixed principles," and repudiated "every formula less living and flexible than life" ("Essay on Coleridge"), he could still sympathise passionately with Coleridge's hunger for the Eternal.