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Updated: May 19, 2025
"Jamais un lourdaud, quoi qu'il fasse Ne saurait passer pour galaud." One should read Hazlitt's "Essay on the Cockney" to find phrases for these Berliners. It is a gazing, gaping crowd that straggles along over the broad sidewalks. Half a dozen to a dozen will stop and stare at people entering or leaving vehicles, at a shop, or hotel door.
Jekyll was a friend of George Dyer, and was interested in Lamb's other friends, the Norrises. & letter from him, thanking Lamb for a copy of the Last Essays of Elia, is printed in Mr. W.C. Hazlitt's The Lambs. He had another link of a kind with Lamb in being M.P. for "sweet Calne in Wiltshire." Jekyll's chambers were at 6 King's Bench Walk.
Charles Lamb, William Hazlitt, and Leigh Hunt, formed a remarkable trio of men, each of whom was decidedly different from the others. Hazlitt's sole ambition was to sell his essays, which he rated scarcely beyond their marketable value; and Lamb saw enough of the manner in which praise and censure were at that time distributed, to place any high value on immediate success.
Eloquent artistically expressive words you always had; piercing radiances of a most subtle insight came at intervals; tones of noble pious sympathy, recognizable as pious though strangely colored, were never wanting long: but in general you could not call this aimless, cloud-capt, cloud-based, lawlessly meandering human discourse of reason by the name of "excellent talk," but only of "surprising;" and were reminded bitterly of Hazlitt's account of it: "Excellent talker, very, if you let him start from no premises and come to no conclusion."
I told the story at a meeting of our Historical Society of Charles Emerson's coming into my study, this was probably in 1826 or 1827, taking up Hazlitt's "British Poets" and turning at once to a poem of Marvell's, which he read with his entrancing voice and manner.
'We all have our moments of unconsciousness, purred the Bibliotaph blandly in response. This same despairing opponent, who was an expert in everything he played, said that there was but one solace after croquet with the Bibliotaph; he would go home and read Hazlitt's essay on the Indian Jugglers. Here ends the account of the Bibliotaph.
The first, dealing with art and the drama, must take the lowest room, for theatrical criticism is of necessity, except in so far as it touches on literature rather than acting, of very ephemeral interest; and Hazlitt's education in art and knowledge of it were not quite extensive enough, nor the examples which in the first quarter of this century he had before him in England important enough, to make his work of this kind of the first importance.
And when Hazlitt's impetuosity drove him, as it sometimes did, into fierce expressions on public affairs, these were usually received in silence; and the matter thus raised up for assent or controversy was allowed to drop. Lamb's old associates are now dead. "They that lived so long," as he says, "and flourished so steadily, are all crumbled away."
The nearest approach to it that I can name is Spencer's *First Principles*, which, however, is at least once highly inspiring. An example in which the inspiring quality predominates is *Ivanhoe*; and an example in which the informing quality predominates is Hazlitt's essays on Shakespeare's characters.
I told the story at a meeting of our Historical Society of Charles Emerson's coming into my study, this was probably in 1826 or 1827, taking up Hazlitt's "British Poets" and turning at once to a poem of Marvell's, which he read with his entrancing voice and manner.
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