# Criticism and Critical Practice in Table-Talk

> Theme guide for Table-Talk by William Hazlitt.

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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-i-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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?](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-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](https://www.betterreads.dev/discover/table_talk_se/chapters/volume-ii-endnotes): The endnotes include critiques of actors, artists, and writers, reflecting on the nature of critical judgment.

## Links

- HTML: https://www.betterreads.dev/discover/table_talk_se/themes/criticism_and_critical_practice
- Themes index: https://www.betterreads.dev/discover/table_talk_se/themes