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Updated: May 19, 2025
Hazlitt's paper on Gifford was thought by Procter to be as pungent a bit of writing as had appeared in his day, and he quoted this paragraph as a sample of its biting justice: "Mr. Gifford is admirably qualified for the situation he has held for many years as editor of the 'Quarterly' by a happy combination of defects, natural and acquired."
And, talking of that, a volume of Hazlitt's essays would be a capital pocket-book on such a journey; so would a volume of Heine's songs; and for "Tristram Shandy" I can pledge a fair experience. If the evening be fine and warm, there is nothing better in life than to lounge before the inn door in the sunset, or lean over the parapet of the bridge, to watch the weeds and the quick fishes.
It had occurred to him in connection with an old essay of Hazlitt's, which he had been reading, on the comparative methods of English and French painters in their work. The essayist held, almost literally, that the French pictures were better because the French painters had taken more pains, and taken especial pains in the least interesting parts of their pictures.
The criticism on the latter is little more than a greatly over-drawn picture of Crabbe's choice of vice and misery for his subjects, and ignores entirely any other side of his genius, ending with the remark that he would long be "a thorn in the side of English poetry." Crabbe was wise in not attaching too much importance to Hazlitt's attack.
Select a passage which justifies the criticism: "He writes in marble." Give some striking thoughts from his Imaginary Conversations. Compare his style and subject matter with Hazlitt's. Show that Hazlitt has the power of presenting in an impressive way the chief characteristics of authors. Select some pleasing passages from Leigh Hunt's Essays. Compare him with Addison and Lamb.
The growth of the scientific spirit has made such thought and such language seem unreal in serious literature, and prevents a later generation from imitating, though not from admiring, the brilliance of the early essayists. Hazlitt's genius was of a heavier type.
The first three letters had appeared in Cobbett's Register. Two others with an appendix are added. Bentham's Works, x. 603, 604; and Dictionary of National Biography. See Dictionary of National Biography. Hazlitt's Reply, p. 19. Ibid. pp. 139-41. Ibid. p. 117. Reply, p. 263. Ibid. p. 344. Ibid. p. 284. Ibid. p. 287. Reply, p. 351. Ibid. pp. 362-64. Ibid. p. 352. Ensor's Enquiry, p. 294.
A dreadful species like herself, given to wrong hair cuts, insanities, outrages upon decency and above all, common sense. Hazlitt's attraction to Rachel in the face of her neurasthenia did not confuse him. Confusion was a quality foreign to Hazlitt. He courted her as a lover and proselyter.
You pulled yourself out of a filth of faces and sprawled suddenly into a quiet, cheerful street holding an arm in your hand, as if it had come loose from the pack. It seemed part of some arrangement Tesla, the pack, Hazlitt's arm. Her amazement died. Hazlitt was saying: "I knew you'd be in that mob. I thought when I saw them haul that dirty beggar out ..." He halted, pained by a memory.
Hazlitt's translation, Montaigne's account of his journey into Italy, and am struck with nothing more agreeably than the self-respecting fashions of the time. His arrival in each place, the arrival of a gentleman of France, is an event of some consequence. Wherever he goes, he pays a visit to whatever prince or gentleman of note resides upon his road, as a duty to himself and to civilization.
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