Table-Talk · Chapters

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Chapter companions for Table-Talk by William Hazlitt.

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Chapter 1
On the Pleasure of Painting
Hazlitt contrasts the solitary, peaceful pleasure of painting with the anxiety of writing, describing how painting allows one to engage in a friendly strife with Nature, free from the contentions of the world. He recounts his early efforts to paint an old woman's head, his patient labor to capture individual details in the manner of Rembrandt, and the deep satisfaction he found in the process, concluding with a nostalgic reflection on lost times and departed loved ones.
Chapter 2
The Same Subject Continued
Hazlitt continues his critique of Sir Joshua Reynolds's Discourses, arguing that Reynolds's theory of art—which prioritizes a generalized, ideal form over particular details and expressions—is contradictory and ultimately limits art by dismissing the value of nature's variety, character, and expression. Hazlitt defends the importance of minute particulars, individual character, and the truthful imitation of nature against Reynolds's preference for a bland, middle form.
Chapter 3
On the Past and Future
Hazlitt contrasts the innocence and freedom of childhood with the burdens and rigid habits of age, arguing that the will's excessive forward orientation—driven by ambition, passion, and the pursuit of action—distorts our relationship to time. He contends that the future dominates our anxieties because it remains a sphere of action, while the past, once removed from the will's reach, can be contemplated calmly. The chapter explores how this imbalance affects happiness, creativity, and the appreciation of life as a whole.
Chapter 4
On Genius and Common Sense
Hazlitt argues that genius and common sense are not reducible to fixed rules but arise from an intuitive, feeling-based understanding of nature and experience. He critiques the notion that reason or precept can govern art or judgment, asserting that true taste and genius operate through unconscious impressions and associations. He supports his view with a quotation from Sir Joshua Reynolds and illustrates with examples from physiognomy, acting, and painting.
Chapter 5
The Same Subject Continued
Hazlitt continues his critique of Sir Joshua Reynolds's Discourses, arguing that Reynolds's theory of art—which prioritizes a generalized, ideal form over particular details and expressions—is contradictory and ultimately limits art by dismissing the value of nature's variety, character, and expression. Hazlitt defends the importance of minute particulars, individual character, and the truthful imitation of nature against Reynolds's preference for a bland, middle form.

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On the Pleasure of Painting

The Same Subject Continued

On the Past and Future

On Genius and Common Sense

The Same Subject Continued