Art and Nature
The book explores the deep pleasure and spiritual peace found in painting and engaging with nature, contrasting it with the strife of writing and social life, and emphasizing the artist's intimate, childlike devotion to capturing natural beauty.
Where it surfaces
On the Pleasure of Painting
Central theme: painting as a direct, peaceful communion with Nature, where the artist learns to see 'face to face' and 'into the life of things.'
The Same Subject Continued
Hazlitt argues that deep knowledge of art, not just natural sensibility, is required to perceive the true beauty and harmony in works like those of Titian and Claude.
The Same Subject Continued
Hazlitt argues that originality is seeing nature differently yet truly, and that genius reveals nature's hidden aspects, as exemplified by Rembrandt's chiaroscuro.
The Indian Jugglers
Hazlitt distinguishes between mechanical skill (the juggler's feats) and fine art, which requires capturing nature's essence through sentiment and imagination.
The Same Subject Continued
The central debate concerns the relationship between art and nature: whether art should transcend nature by seeking an ideal form or faithfully represent nature's variety and particularity.
On a Landscape of Nicolas Poussin
Hazlitt argues that Poussin's art is a 'second nature,' not a copy but a re-creation that gives form and color to ideas, contrasting with those who fail to capture nature.
Intellectual Superiority and Its Disadvantages
Hazlitt examines how superior knowledge or talent isolates individuals from society, provoking envy, misunderstanding, and hostility from others, and argues that being different often leads to social ostracism rather than admiration.
Where it surfaces
The Same Subject Continued
Hazlitt contends that the artist's refined taste, while isolating them from common appreciation, is a source of higher and more lasting pleasure.
On the Past and Future
The chapter discusses how excessive intellectual exertion leads to irritability, loss of repose, and an inability to enjoy simple pleasures.
On Genius and Common Sense
Hazlitt critiques the over-reliance on reason and rules, arguing that true understanding often comes from feeling and common sense rather than intellectual system-building.
The Same Subject Continued
Discusses how a multiplicity of talents can be a drawback, and that intense focus on one excellence is often more valuable than broad but shallow ability.
On People with One Idea
Hazlitt examines how possessing original ideas can lead to isolation and lack of recognition, as seen in Mr. Fearn's experience.
On the Ignorance of the Learned
Hazlitt argues that the learned are often ignorant of real life, common sense, and practical arts, making their superiority hollow.
Criticism and Critical Practice
The text critiques contemporary literary and artistic criticism, contrasting shallow, rule-based analysis with genuine criticism that captures the soul and passion of a work, and laments the rise of sensationalist, dogmatic reviewing.
Where it surfaces
On the Pleasure of Painting
Hazlitt critiques Sir Joshua Reynolds's theory of art, arguing for the inclusion of individual details over mere general effect.
The Same Subject Continued
The chapter is a sustained critical argument about the nature of artistic appreciation, contrasting the amateur's view with the connoisseur's or artist's deeper understanding.
On Genius and Common Sense
The essay examines how criticism should be grounded in feeling and imagination, not abstract rules, and uses examples from art and physiognomy.
The Same Subject Continued
Hazlitt defends the essay form as a legitimate mode of criticism, consisting of 'additions and corrections' to common knowledge, and rejects the demand for systematic regularity.
Character of Cobbett
The chapter is a sustained critical analysis of Cobbett's character and writing style, comparing him to Paine, Burke, and others, and evaluating his methods and effectiveness.
On the Ignorance of the Learned
Hazlitt critiques the learned for their reliance on authority and tradition rather than direct observation and reason.
Social Class and Pretension
Hazlitt dissects the relationship between vulgarity and affectation, showing how both the lower classes aping gentility and the genteel desperately avoiding vulgarity reveal a shared emptiness and lack of authentic self-worth.
Where it surfaces
On Will-Making
Hazlitt critiques the pretensions of legacy-hunters and the social dynamics of flattery and expectation in inheritance.
On Vulgarity and Affectation
Central theme: Hazlitt dissects how both the vulgar and the genteel define themselves through opposition, and argues that true refinement is independent of class.
On Coffeehouse Politicians
The chapter contrasts London society, where individuals are judged by wit and manners, with provincial society, where wealth and status dominate social interactions.
On the Aristocracy of Letters
Hazlitt dissects how birth, wealth, and a 'grave face with an impenetrable manner' allow individuals to assume unearned literary reputation, contrasting them with the 'mere canaille of letters.'
On Great and Little Things
Hazlitt reflects on the lingering effects of low birth, the discomfort of unequal matches, and the servility that persists across generations.
On the Disadvantages of Intellectual Superiority
Explored through the contrast between refined knowledge and vulgar ignorance, and the futility of condescension.
Institutional Corruption and Esprit de Corps
The book attacks corporate bodies and institutions (like universities, clubs, and public societies) for deadening individual conscience, fostering hypocrisy, and prioritizing rigid tradition and self-interest over truth, justice, and common sense.
Where it surfaces
On Criticism
The chapter highlights how political and party loyalties corrupt literary criticism, turning it into a tool for proscription and personal attack.
On Corporate Bodies
Central theme: Hazlitt dissects how corporate bodies prioritize collective self-interest over morality, leading to corruption, insularity, and hostility to outsiders.
The Nature of Learning and Pedantry
Hazlitt distinguishes true knowledge from mere book-learning, arguing that pedantic scholars are often ignorant of real life and nature, and that excessive reliance on secondhand authority stifles original thought and practical wisdom.
Where it surfaces
On Genius and Common Sense
Hazlitt distinguishes between genuine understanding (derived from experience and feeling) and pedantic adherence to rules or systems.
Character of Cobbett
Hazlitt contrasts Cobbett's self-taught, fact-driven intellect with the steadiness of learned education, exploring the strengths and weaknesses of each approach.
On the Ignorance of the Learned
The essay distinguishes between true understanding and mere bookish knowledge, criticizing pedantry as a barrier to wisdom.
On Living to One’s-Self
Hazlitt celebrates genuine, disinterested learning (reading for pleasure, admiring nature) over the pedantic desire to display knowledge or produce works.
On Thought and Action
The chapter criticizes pedantic distinctions that set aside great active figures, advocating for a broader understanding of human capacity.
On Certain Inconsistencies in Sir Joshua Reynolds's Discourses
Hazlitt contrasts genuine learning through original genius with pedantic adherence to rules and imitation.
Fame, Reputation, and Public Opinion
The text reflects on the fleeting, fickle nature of public acclaim, the mechanics of puffing and patronage, and the superficiality of contemporary fame, contrasting it with the enduring but often neglected value of true genius.
Where it surfaces
Character of Cobbett
Cobbett is portrayed as a 'fourth estate' whose reputation as a powerful political writer is both celebrated and critiqued; his inconsistency and bullying nature affect his public standing.
On People with One Idea
The chapter discusses the gap between genuine intellectual achievement and public acclaim, highlighting the slow and often unfair process of gaining reputation.
The Indian Jugglers
Hazlitt argues that true greatness is measured by lasting impact on history, not by popularity or temporary notoriety.
On Living to One’s-Self
Hazlitt excoriates the public as envious, ungrateful, and fickle, arguing that seeking their applause leads to misery and loss of self.
On Thought and Action
Discusses how reputation and public opinion affect the success of practical men versus thinkers, and the role of custom in business.
On Will-Making
The desire for posthumous fame and control over one's legacy is a central theme, as seen in conditional bequests and name changes.
The Psychology of Habit and Novelty
Hazlitt contrasts the 'bigot' who clings to custom and the 'sceptic' who chases novelty, showing how both extremes are driven by a lack of genuine reflection, and how people often prefer the comfort of routine or the thrill of the new over reasoned judgment.
Where it surfaces
On the Pleasure of Painting
Hazlitt discusses how familiarity breeds contempt for his own writings, while the novelty of painting keeps him engaged and happy.
On the Past and Future
Hazlitt explores how habit coils around the heart, stifling feeling, and how the craving for novelty and strong stimuli arises from over-exertion of the mind.
Character of Cobbett
Cobbett's constant pursuit of new opinions and his fickleness are examined as psychological traits that give his writing vigor but undermine consistency.
On People with One Idea
Hazlitt explores how a single idea can become a habitual obsession, dominating an individual's thoughts and actions to the point of derangement.
On Living to One’s-Self
The chapter contrasts the habitual contentment of solitary contemplation with the restless, novelty-driven pursuit of public recognition.
On Will-Making
Hazlitt examines how testators act out of habit, whim, and caprice rather than reason, even in the face of death.
