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Books : Literature & Fiction : Authors, A-Z : ( H ) : Hazlitt, William
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William Hazlitt (1778-1830) developed a variety of identities as a writer: essayist, philosopher, critic of literature, drama and art, biographer, political commentator, and polemicist. Praised for his eloquence, he was also reviled by conservatives for his radical politics. This edition, thematically organized for ease of access, contains some of his best-known essays, such as "The Indian Jugglers" and "The Fight," as well as more obscure pieces on politics, philosophy, and culture.
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We hear it maintained by people of more gravity than understanding, that genius and taste are strictly reducible to rules, and that there is a rule for everything. So far is it from being true that the finest breath of fancy is a definable thing, that the plainest common sense is only what Mr. Locke would have called a mixed mode, subject to a particular sort of acquired and undefinable tact.
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In this selection from the two-volume Plain Speaker, Tom Paulin and Duncan Wu have given priority to essays that address some of the most important critical issues both in romantic studies today and the poetics of prose.- Provides the only edition of The Plain Speaker available outside libraries since 1928.
- Contains Hazlitt's seminal essays on plain speaking and the major romantic topics.
- Includes a brilliant introduction by Tom Paulin, the greatest poet-critic of his generation and the editorial expertise of Duncan Wu.
- Provides the only edition of The Plain Speaker available outside libraries since 1928.
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The best general notion which I can give of poetry is that it is the natural impression of any object or event by its vividness exciting an involuntary movement of imagination and passion and producing by sympathy a certain modulation of the voice or sounds expressing it.
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1930. Hazlitt was an English writer remembered for his humanitarian essays. He was one of the great masters of the miscellaneous essay, displaying a keen intellect, sensibility, and wide scope of interest and knowledge. His best-known work is The Spirit of the Age, a collection of portraits of his contemporaries, including Lamb, Coleridge, Wordsworth, Jeremy Bentham, and Sir Walter Scott. The essays in this volume are divided into the following headings: On Life in General; On Writers and Writing; On Painters and Painting; On Actors and Acting; and Characters. See other titles by this author available from Kessinger Publishing.
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When William Hazlitt moved into 9 Southampton Buildings, Holborn, England, in August 1820, little did he know that his life would soon be turned upside down. On meeting 19-year-old Sarah Walker, his new landlady's daughter, as she served him breakfast on his first morning, he conceived a deep infatuation. The intensity of this obsession would eventually lead him to divorce his wife and write the most controversial book of his career, Liber Amoris. Passion, intrigue, love, and deception come together in this intoxicating account of a wild and romantic chapter in the life of a genius.
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In The Day-Star of Liberty, Tom Paulin sets out to place William Hazlitt-master of the essay form, the first major art and drama critic, and one of the most outstanding political and literary journalists Britain has ever produced-in his rightful position as a great prose writer and an exemplary literary artist. Not only are the importance of Hazlitt's Irish background and the significance of the Unitarian culture in which he was brought up central to this portrait but the sheer intellectual joy that is evident in Hazlitt's writing and that he wished his readers to share is communicated with comparable energy and relish through Paulin's own prose. A work of critical restitution, The Day-Star of Liberty restores an unjustly neglected figure to the literary canon and shows the means by which Hazlitt's creative genius transformed journalism and criticism into art forms, making it possible for Hazlitt's collected works to be read as one of the great Romantic autobiographies.16 Pages of Black-and-White Art Notes/Bibliography/Index
Tom Paulin was born in Leeds, England, in 1949. He is the G. M. Young Lecturer in English Literature at Hertford College, Oxford University.
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Provocatively and congenially at home in this new collection of his city essays, the engaging late-18th-century and early-19th-century English prose writer William Hazlitt sparkles with urban wit and gossip. Characters from the Regency spring to life in these essays, including William Wordsworth and Lord Byron, sportsmen and dandies, street jugglers and footmen, and coffee house bores.
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The "only pretension, of which I am tenacious," wrote Hazlitt, "is that of being a metaphysician"; but his metaphysics, and particularly what this book identifies as his power principle, has until now been neglected. This exciting book studies Hazlitt's development of the power principle as a counter to the pleasure principle of the Utilitarians, and examines the revelation of power in his philosophy of discourse, his account of imaginative structure, his theory of genius, and his moral theory.
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William Hazlitt (1778-1830) was an English writer remembered for his humanistic essays and literary criticism, often esteemed the greatest English literary critic after Samuel Johnson. Indeed, Hazlitt's writings and remarks on Shakespeare's plays and characters are rivaled only by those of Johnson in their depth, insight, originality, and imagination. Hazlitt came of Irish Protestant stock, and of a branch of it which moved in the reign of George I from the county of Antrim to Tipperary. In 1798 Hazlitt was introduced to Samuel Taylor Coleridge and William Wordsworth. He published several volumes of essays, including The Round Table and Characters of Shakespeare's Plays, both in 1817. His best-known work is The Spirit of the Age (1825), a collection of portraits of his contemporaries, including Lamb, Coleridge, Wordsworth, Lord Byron, Jeremy Bentham, and Sir Walter Scott.
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Romantic Returns explores the theorization and operation of “imagination” in pre-romantic and romantic writing. Drawing on the poetry and prose of William Collins, William Hazlitt, and Percy Bysshe Shelley, it shows the continuing importance of their understanding of imagination for contemporary debates about the historicity of literature. Historicist readings of romanticism have done much to establish how and why romantic aesthetics is ideological—an illusory if effective evasion of its material conditions. Romantic Returns challenges this position by arguing that romantic aesthetics is, rather, critical—a reflective if problematic articulation of those conditions. The argument foregrounds the ways in which the aesthetics of romanticism inform its political and economic speculations.
The book opens with an examination of mid-eighteenth-century debates about the role of superstition in the constitution of a national literary tradition. It considers, in particular, how Collins’s odes figure Scotland as the site of a “superstitious” poetry that must be assimilated into British history even as Collins questions the very framework of assimilation. This ambiguous defense of superstition in the national polity is rewritten by romanticism as a defense of imagination. For the romantics, the concept of imagination involves an explicit theorization of how the mind’s projections play a constitutive role in what appear to be social norms and economic facts.
Hazlitt clarifies this position in his Essay on the Principles of Human Action. The Essay develops a rhetorical theory of imagination in order to deconstruct the entire metaphysical basis of self-interest on which eighteenth- and nineteenth-century political economy is based. Hazlitt’s political pamphlets bring this argument to bear on his analysis of the economic interests fueling the Napleonic wars. Despite Hazlitt’s enormous and widely acknowledged influence, his writings have been little studied on their own account. Romantic Returns underlies their centrality to the romantic articulation of aesthetics and politics.
The final sections of the book engage Shelley’s complex interrogation of the contradictions involved in just such articulations. In both his poetry and prose, Shelley turns to law and history as fields in which these contradictions can be negotiated or even resolved. But Shelley, who once called poets “unacknowledged legislators,” suggests that violence may be unavoidable in any imaginative legislation that attempts to realize itself in properly “historical” action. The passage from poetry to politics cannot evade the problem of force. Tracing the crossings between “superstition,” “imagination,” and “history” in all three of these writers, Romantic Returns shows how difficult it is to maintain such crossings. In doing so, it shows, too, the continuing challenge of romanticism to contemporary historicism.
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William Hazlitt was an English writer known for his humorous essays and literary criticisms. He best known for his writings on Shakespeare's plays and characters. This is a semi-autobiographical narrative. This is a love story that delves into the analysis of human feelings. The author tells his experiences and observations in a thoughtful and Open manner. Liber Amoris is often referred to as the New Pygmalion.
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This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.
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The best general notion which I can give of poetry is that it is the natural impression of any object or event by its vividness exciting an involuntary movement of imagination and passion and producing by sympathy a certain modulation of the voice or sounds expressing it.
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This Elibron Classics book is a facsimile reprint of a 1920 edition by George G. Harrap & Co., Ltd., London.
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This Elibron Classics book is a facsimile reprint of a 1881 edition by George Bell & Sons, London.
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The secret of Falstaff's wit is for the most part a masterly presence of mind, an absolute self-possession, which nothing can disturb. His repartees are involuntary suggestions of his self-love; instinctive evasions of everything that threatens to interrupt the career of his triumphant jollity and self-complacency. His very size floats him out of all his difficulties in a sea of rich conceits; and he turns round on the pivot of his convenience, with every occasion and at a moment's warning. His natural repugnance to every unpleasant thought or circumstance of itself makes light of objections, and provokes the most extravagant and licentious answers in his own justification. His indifference to truth puts no check upon his invention, and the more improbable and unexpected his contrivances are, the more happily does he seem to be delivered of them, the anticipation of their effect acting as a stimulus to the gaiety of his fancy.