Pater published three essays on Shakespeare, and probably considered a longer series, possibly to culminate in a book. His attention in the completed essays is directed towards plays that were relatively unpopular in his own day, and in the case of two of these he can be said to occupy an important position in the history of their reception. Modern critics of Richard II and Love’s Labour’s Lost still regularly, if cursorily, cite Pater as a milestone. But Pater’s contribution to Shakespearean criticism more generally is rarely remembered or appraised. This chapter attempts to estimate and characterise the influence Pater has had on subsequent criticism of Shakespeare, sometimes in unexpected places, and also to draw out some of the insights of which later criticism takes less notice. Each of Pater’s Shakespeare studies attempts to formulate relations between ethics and aesthetics, and many of their central terms – fineness, justice, grace, etc. – are used with both moral and aesthetic significance. By examining these essays in the context of other Shakespearean criticism and of Pater’s wider work, it is possible to arrive at some idea of what Shakespeare meant to him.

A distinctive feature of Pater’s oeuvre is that, like many French critics of his generation, he wrote both literary and art criticism; in this respect his work parallels that of Dante Gabriel Rossetti, poet and painter. The chapter argues that, if Jerome McGann is right to describe Pater’s essay on Rossetti as ‘the best single study of Rossetti’s poetry we have’, that is because Pater provides the most persuasive interpretation of this double aspect of Rossetti’s work. The essay is densely intertextual with other writings of Pater’s in ways that can be surprising: verbal cross-references link Rossetti not only to his own chosen precursors (Dante as well as Blake and Michelangelo) but also to Gautier and Baudelaire, and, more importantly, to Plato. Thus it plays a more significant role in Pater’s overall critical project than previous scholars have recognised, not least explaining to us a historical fact that may seem difficult to understand: the extraordinary influence of Rossetti on both painters and poets of his own and succeeding generations, an influence out of all proportion, some may think, to his actual achievement in either art form.

The Coda returns to the example with which the book begins: the story about the gentleman caller and the naked lady in the bathroom told by the character Fabienne in Truffaut’s film Stolen Kisses (1968). The aim of the Coda is to revisit key aspects of the theory and history of tact developed in the course of the book, and to draw its findings to a close.

Pater describes the writings of Charles Lamb as ‘an excellent illustration of the value of reserve in literature’. The remark is surprising because Lamb more often is celebrated for the warm familiarity of his essays rather than the withholding and coolness associated with reserve. It is Pater himself who was famed for his reserve, shy in company and elusive in his writing. But his essay on Lamb identifies a different quality of reserve and the different ways in which it can operate as an element of literary style. The humour of Lamb’s writing is a form of reserve that conceals the tragic facts of his life. Such concealment works through excess and deflection, masking the personal without seeming too remote or buttoned-up. What Pater values in Lamb provides insight into the peculiar reserve of his own writing, with its paradoxical mix of the personal and impersonal, and its style that is at once so elusive and so individually distinctive.

Chapter 1 reconstructs the conceptual history of tact as a social, ethical, and aesthetic category. Starting out with Voltaire’s 1769 definition that marks tact’s fundamental paradigm shift from a sense of feeling to a form of sociability, I reconstruct the word’s ensuing career as a key concept in 19th- and 20th-century pedagogical, philosophical, and literary discourse. I discuss tact’s history within the context of the demise of the ancien régime and the rise of the bourgeois subject, reflecting on a variety of different historical and philosophical explanations (Elias, Adorno, Foucault). I reconstruct how and why, around 1800, tact turns into a key philosophical term, depicting an intuitive form of empirical judgement (Kant). I show how, in the second half of the 19th century, tact, understood as an individual deviation from normative structures, came to occupy a key position in the method dispute between the humanities and the natural sciences (Helmholtz). I conclude by reflecting on how psychological tact went on to become a key category in modern and contemporary hermeneutics, uniting the otherwise antagonistic work of scholars incl. Adorno, Gadamer, Barthes, Felski, and Macé.

The second part of this book focusses on Pater’s engagement with a number of major English writers. Appreciations covers all post-medieval centuries, excluding only the ‘Augustan’ period about which Pater was rather less than enthusiastic (though he did design, and perhaps complete, an essay on Dr Johnson). Pater is not normally thought of as a leading Shakespearean, but unsurprisingly Shakespeare was central to his idea of English literature, and at one point he may possibly have planned a whole volume on him; he was also at least sympathetic to the idea of undertaking a commentary for schoolboy use on Romeo and Juliet, whose ‘flawless execution’ he commended (‘Measure for Measure’, App., 170). Typically he did not write about the most celebrated plays (his own favourites also included Hamlet), but instead chose for treatment ones less popular in his day: Love’s Labour’s Lost (perhaps because of its reflections on language and style), Measure for Measure (arguably the finest of his three essays, centrally concerned with the way a work of art can profitably engage with ethics), and Richard II (the main focus of ‘Shakespeare’s English Kings’, where Pater contributed to the idea of Richard as the ‘poet-king’ and added to the understanding of the deposition scene). Alex Wong examines all three essays in detail, and comments on the overall value and distinctive character of Pater’s view of Shakespeare.

In the preceding chapters, I have examined how authors writing at the turn of the twentieth century utilized the representational capacities of romance and melodrama to narrate empirically observable realities on scales that seemed incompatible with the forms of daily lived experience articulated in realist novels. Here I argue that Joseph Conrad pursued a related strategy by repurposing horror (a genre steeped, as we will see, in both “fantastic” and horrific depictions of the colonies) and substituting its imaginary terrors with actual atrocities.

Existing theories of human interaction tend to focus on tact as a marker of social distinction (Sartre, Bourdieu), and a tool for the cementation of bourgeois power (Foucault). The introduction sets the arena for a new account of tact that not only considers tact’s discriminating effects but also, and primarily, gives room to its equalizing dynamic and democratic potential. Using a story from Truffaut’s film Stolen Kisses (1968) about a gentleman and a naked lady in a bathroom as an example to unpack some of the key aspects of tact, I engage in critical dialogue with a wide range of scholars from different disciplines (including Wollheim, Kohut, Coplan, Luhmann, Derrida, Goffman, Žižek, Sartre, and Sennett). The aim is to address the following questions: What is tact? What is the relation between empathy, widely associated with proximity, and tact as a generator of distance? How can we distinguish tact from politeness and what are the implications of this distinction? How does social tact, as the spontaneous and individual art of mitigating social encounter, relate to hermeneutical tact as a particular mode of reading faces, images, texts?

The closing phase of Pater’s 1868 review, ‘Poems by William Morris’, reappeared in 1873 as his Conclusion to The Renaissance. This chapter takes Pater’s engagement with Morris – both initially, and in these altered contexts – as a basis for thinking about his contribution to the development of English Studies. His evaluative criteria and methodology are also germane: what Pater values in Morris also envisions what he values in literature more generally. His account of ‘flux’ and perceptualism are familiar; but in the Morris review Pater is drawn more insistently to analogies with water – a fluidity expressing his aversion to walls, whether cultural or material, and a toleration of literature in dilution. Dilution is not commonly associated with literary virtues, not least because the twentieth-century re-founders of English tended to value concentration and concretion over any impression of looseness or dispersal. It is argued, however, that Pater recovers value from dilution – indeed, a dynamisation – though engagement with the language of cures associated with the then-fashionable alternative medicine of homeopathy.