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The Renaissance - Studies in Art and Poetry by Walter Pater
page 42 of 179 (23%)
Mirandola, an actual person, that the figure of Pico is so attractive.
He will not let one go; he wins one on, in spite of oneself, to turn
again to the pages of his forgotten books, although we know already that
the actual solution proposed in them will satisfy us as little as
perhaps it satisfied him. It is said that in his eagerness for
mysterious learning he once paid a great sum for a collection of
cabalistic manuscripts, which turned out to be forgeries; and the story
might well stand as a parable of all he ever seemed to gain in the way
of actual knowledge. He had sought knowledge, and passed from system to
system, and hazarded much; but less for the sake of positive knowledge
than because he believed there was a spirit of order and beauty in
knowledge, which would come down and unite what men's ignorance had
divided, and renew what time had made dim. And so, while his actual work
has passed away, yet his own qualities are still active, and he himself
remains, as one alive in the grave, caesiis et vigilibus oculis, as his
biographer describes him, and with that sanguine, clear skin, decenti
rubore interspersa, as with the light of morning upon it; and he has a
true place in that group of great Italians who fill the end of the
fifteenth century with their names, he is a true HUMANIST. For the
essence of humanism is that belief of which he seems never to have
doubted, that nothing which has ever interested living men and women can
wholly lose its vitality--no language they have spoken, nor oracle
beside which they have hushed their voices, no dream which has once been
entertained by actual human minds, nothing about which they have ever
been passionate, or expended time and zeal.

1871.



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