Criticism and Critical Practice

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.

• On Living to One’s-Self

  Hazlitt critiques the cruelty and superficiality of contemporary criticism, where every petty caviller becomes a judge and authors are hounded.

• On Certain Inconsistencies in Sir Joshua Reynolds's Discourses

  The chapter is a direct critical analysis of Reynolds's Discourses, exposing contradictions and questioning his authority.

• The Same Subject Continued

  Hazlitt engages in a detailed critical analysis of Reynolds's Discourses, pointing out logical inconsistencies and challenging the theoretical foundations of Reynolds's aesthetic system.

• On Paradox and Commonplace

  Hazlitt applies critical reasoning to dissect both Canning's commonplace and Shelley's paradoxes, exposing their underlying absurdities.

• On Vulgarity and Affectation

  Hazlitt defends his own critical method against accusations of vulgarity, arguing that judgment should be based on intrinsic qualities, not fashion or location.

• On a Landscape of Nicolas Poussin

  Hazlitt engages in detailed art criticism, comparing Poussin to Rubens and Raphael, and critiquing contemporary painters who mistake lack of expression for sublimity.

• On Milton's Sonnets

  The chapter is a sustained critical comparison of Milton's sonnets with those of Shakespeare, Sydney, Warton, and Wordsworth, evaluating their sincerity and personal character.

• On the Aristocracy of Letters

  Hazlitt engages in critical analysis of literary figures like Lord Byron and the unnamed 'aristocracy of letters,' questioning the basis of their acclaim.

• On Criticism

  Hazlitt examines the evolution of criticism from simple opinion-giving to self-aggrandizing analysis, and contrasts genuine criticism with formalist or partisan approaches.

• On Familiar Style

  Hazlitt critiques the styles of Dr. Johnson and others, advocating for a precise, natural style and evaluating the merits of familiar versus florid writing.

• On Effeminacy of Character

  Hazlitt critiques the effeminate style of writers who are overly concerned with critical reception and alter their work to avoid offense.

• On Corporate Bodies

  Hazlitt employs sharp social criticism to expose the hypocrisy and stagnation of institutions like universities and the Royal Academy.

• Whether Actors Ought to Sit in the Boxes?

  Hazlitt positions the pit as the true place for critics and amateurs, contrasting it with the boxes where ignorance prevails.

• On Patronage and Puffing

  Hazlitt reflects on the role of critics in shaping public opinion, including his own experiences writing critical verdicts and the limits of press influence on actors.

• On the Picturesque and Ideal

  The chapter is a critical analysis of artistic categories, comparing painters and their techniques to define the picturesque and ideal.

• Endnotes

  The endnotes include critiques of actors, artists, and writers, reflecting on the nature of critical judgment.