Table-Talk · Chapters
Chapters explained
Chapter companions for Table-Talk by William Hazlitt.
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.
Chapter 6
Character of Cobbett
Hazlitt delivers a penetrating character sketch of William Cobbett, analyzing his self-taught intellect, his mercurial and inconsistent opinions, his powerful yet unpolished style, and his role as a formidable political writer. He contrasts Cobbett with Paine and other writers, highlighting Cobbett's reliance on immediate facts and his lack of fixed principles, while also noting his cowardice in controversy and his tendency to abandon past positions.
Chapter 7
On People with One Idea
Hazlitt explores the phenomenon of individuals who become fixated on a single idea, often to the exclusion of all else. He illustrates this through various anecdotes, including the story of Mr. Fearn, a metaphysician obsessed with his own philosophical work, and discusses the psychological and social consequences of such monomania, touching on themes of originality, reputation, and self-absorption.
Chapter 8
On the Ignorance of the Learned
Hazlitt argues that true learning is often divorced from practical wisdom, common sense, and genuine understanding of human nature. He contrasts the pedantic scholar, who knows only books and abstractions, with the uneducated person who possesses natural wit, eloquence, and a grasp of reality. He criticizes the learned for their pretensions, their reliance on authority, and their ignorance of art, nature, and life itself.
Chapter 9
The Indian Jugglers
Hazlitt contrasts mechanical skill with artistic genius, using the Indian jugglers as a symbol of perfected but limited dexterity, while arguing that true greatness in art requires an indefinable, inspired quality that cannot be taught by rules or replicated by mere practice.
Chapter 10
On Living to One’s-Self
Hazlitt contrasts the serene, self-sufficient life of contemplation with the anxious, dependent life of seeking public approval. He argues that living for oneself—finding joy in nature, art, and thought—brings true freedom, while chasing fame, applause, or the favor of others leads to disappointment, envy, and loss of integrity. He illustrates this with anecdotes of struggling artists, actors, and authors, and reflects on his own past contentment in solitary study.
Chapter 11
On Thought and Action
Hazlitt explores the relationship between thought and action, arguing that success in practical affairs often requires a lack of imagination and a narrow focus on self-interest, while genius and speculation are prone to error and overreach. He contrasts the qualities of active men—such as will, obstinacy, and a sense of power—with those of speculative thinkers, using historical and contemporary figures as examples.
Chapter 12
On Will-Making
Hazlitt explores the psychology and absurdities of will-making, examining how testators use their final dispositions to exert control, indulge caprices, punish slights, and project their egos beyond death. He discusses legacy-hunters, the disinheriting of relations for trivial offenses, posthumous avarice, and the strange case of a habitual liar who bequeathed imaginary wealth. The chapter reflects on how wills often reveal the testator's character—their weaknesses, whims, and prejudices—rather than rational generosity.
Chapter 13
On Certain Inconsistencies in Sir Joshua Reynolds's Discourses
Hazlitt critiques Sir Joshua Reynolds's Discourses, focusing on two main inconsistencies: Reynolds's claim that artistic excellence results from industry rather than genius, and his assertion that beauty exists in an ideal form rather than in nature. Hazlitt argues that Reynolds contradicts himself by simultaneously dismissing genius and later admitting its necessity, using examples like Carlo Maratti to show that industry cannot compensate for a lack of natural talent.
Chapter 14
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 15
On Paradox and Commonplace
Hazlitt contrasts the empty, smooth commonplaces of establishment figures like Mr. Canning with the wild paradoxes of poets and reformers, arguing that both extremes are flawed. He critiques Canning's conservative appeal to past experience as a bar to progress, then turns to attack the volatile, self-dramatizing nature of poets and reformers—particularly Shelley—who pursue novelty and shock at the expense of practical improvement and common sense.
Chapter 16
On Vulgarity and Affectation
Hazlitt explores the intertwined nature of vulgarity and affectation, arguing that both stem from a lack of genuine self-worth and a reliance on external opinion. He distinguishes true refinement from mere gentility, which he sees as a 'select and artificial kind of vulgarity,' and critiques those who define themselves by snobbery or imitation. Using examples from literature, theater, and social life, he defines vulgarity as the unthinking adoption of manners or opinions from others, whether from the crowd or the elite, and defends his own critical practice against accusations of vulgarity.
Chapter 17
On a Landscape of Nicolas Poussin
Hazlitt reflects on the annual exhibition of old master paintings at the British Gallery, celebrating the enduring power and beauty of works by artists like Rembrandt, Rubens, Titian, Claude, Guido, the Caracci, Raphael, and especially Nicolas Poussin. He praises Poussin as the most poetical of painters, one who imbues his scenes with intellectual and narrative depth, and contrasts his approach with that of Rubens and others. Hazlitt also critiques contemporary artists who fail to capture nature or the ideal, arguing that true art arises from a deep understanding of both nature and imagination.
Chapter 18
On Milton's Sonnets
Hazlitt praises Milton's sonnets for their personal, sincere, and patriotic character, contrasting them with those of Shakespeare, Sydney, Warton, and Wordsworth. He analyzes several of Milton's sonnets, including those on his blindness, to Cromwell, and on the Piedmont massacre, emphasizing Milton's consistency, integrity, and refusal to bow to power.
Chapter 19
On Going a Journey
Hazlitt extols the virtues of solitary travel, arguing that true enjoyment of nature and self-reflection requires being alone, free from the need to explain or share impressions with others. He contrasts this with the distractions of company and illustrates his points with personal anecdotes, including a vivid memory of a birthday visit to Llangollen and reflections on the poetry of Coleridge.
Chapter 20
On Coffeehouse Politicians
Hazlitt critiques the superficiality of coffeehouse politicians who consume and discard news daily without genuine intellectual engagement. He contrasts the vibrant literary society of London, where individuals are valued for their wit and sense, with provincial society's preoccupation with wealth and status. The chapter includes a reflection on the fleeting nature of fame, illustrated by a debate on Gray versus Byron, and laments the loss of Elizabethan literary heritage.
Chapter 21
On the Aristocracy of Letters
Hazlitt critiques the phenomenon of an 'aristocracy of letters,' where individuals gain unearned reputation through pretension, social standing, or association with nobility rather than actual literary achievement. He contrasts these privileged figures with struggling 'Grub Street' authors, using anecdotes about Britton, Jack Taylor, and Lord Byron to illustrate how birth, wealth, and a grave manner can sustain a false reputation, while true merit often goes unrecognized.
Chapter 22
On Criticism
Hazlitt explores the nature and evolution of criticism, contrasting insipid praise with dogmatic condemnation. He critiques modern critics who prioritize self-display over justice to authors, and laments the political and partisan corruption of literary judgment. He also contrasts the superficial formalism of earlier criticism with a more genuine criticism that reflects the soul and body of a work.
Chapter 23
On Great and Little Things
Hazlitt explores the paradox that trivial annoyances often provoke as much emotional response as major life events, arguing that the mind's capacity for irritation is not proportional to the importance of its object. He illustrates this with anecdotes of poets' vanity, the tragic story of Anthony Codrus Urceus, and reflections on love, class, and the psychology of disappointment.
Chapter 24
On Familiar Style
Hazlitt argues that writing in a familiar style is more difficult than it appears, requiring precision, purity, and a careful selection of the best common words rather than pompous or vulgar language. He criticizes Dr. Johnson's style for its lack of discrimination and reliance on Latinisms, and discusses the importance of using words that are common yet not debased. He praises Charles Lamb's imitation of old English style, particularly his essay on Mrs. Battle's Opinions on Whist, and contrasts the familiar style with the florid, empty style that relies on grandiose but meaningless phrases.
Chapter 25
On Effeminacy of Character
Hazlitt explores the concept of effeminacy in character and style, contrasting it with manly firmness and decision. He critiques writers who are overly concerned with polish and public reception, and discusses the related traits of timidity, dilatoriness, and the coarse opposite. The chapter includes reflections on Lord Byron, John Keats, and the Della Cruscan school, and ends with an impassioned apostrophe to a slumbering genius.
Chapter 26
Why Distant Objects Please
Hazlitt explores the psychological and aesthetic appeal of distant objects, arguing that distance—whether in space or time—allows the imagination to clothe objects with ideal beauty and emotional significance. He reflects on how memory, hope, and desire shape our perceptions, and how childhood scenes, sounds, and smells retain a vivid, almost sacred power over us.
Chapter 27
On Corporate Bodies
Hazlitt argues that corporate bodies—whether political, academic, or artistic—are inherently corrupt and self-serving, lacking individual conscience. The 'esprit de corps' replaces moral sense with collective self-interest, leading to insularity, hostility to outsiders, and resistance to innovation. He illustrates this through examples of universities, the Royal Academy, and municipal corporations, showing how they stifle genius, perpetuate mediocrity, and prioritize form over substance.
Chapter 28
Whether Actors Ought to Sit in the Boxes?
Hazlitt argues that actors should not sit in the boxes of the theatre because they belong to the public and their persons are not their own property. He contends that actors, after performing, should affect obscurity and avoid breaking the illusion they create on stage. He uses examples of Garrick, Mr. Mathews, and others to illustrate how appearing in propria persona can diminish the audience's admiration. He also contrasts the pit as the true resort of critics with the stage-boxes, which he sees as contemptuous of the stage.
Chapter 29
On the Disadvantages of Intellectual Superiority
Hazlitt argues that intellectual superiority isolates a person from society, as the common herd cannot understand or appreciate refined knowledge, leading to suspicion, hatred, and social awkwardness. He suggests that condescension only breeds contempt, and that the truly learned are often at a disadvantage in practical affairs and popular success.
Chapter 30
On Patronage and Puffing
Hazlitt critiques the systems of patronage and puffing (self-promotion) in the literary and artistic worlds, arguing that reputation is often manufactured through sycophants, paid praise, and manipulative publicity rather than genuine merit. He contrasts the fleeting novelty of Master Betty's acting with the enduring talent of Edmund Kean, and recounts anecdotes about Coleridge's contradictory views on prodigies.
Chapter 31
On the Knowledge of Character
Hazlitt explores the difficulty of truly knowing another's character, arguing that real character is complex and multifaceted, not reducible to simple judgments. He discusses how familiarity with even the worst criminals reveals their humanity, and examines the hypocrisy and deception common among uneducated servants and lower classes, who view their betters with hostility. He also reflects on self-knowledge, the nature of genius, and the limits of posthumous fame.
Chapter 32
On the Picturesque and Ideal
Hazlitt defines the picturesque as that which stands out through contrast and peculiarity, and the ideal as that which satisfies the mind's longing for harmony and beauty. He contrasts painters like Rubens, Rembrandt, Correggio, Van Dyke, Paul Veronese, and Claude, and discusses how the picturesque and ideal can coexist in objects like rainbows and moonlight. He also touches on the ideal in love and Shakespeare's Juliet, and recounts an anecdote about viewing Veronese's 'Marriage of Cana' at the Louvre.
Chapter 33
On the Fear of Death
Hazlitt explores the human fear of death, contrasting the heroic, passionate embrace of death in earlier eras with the modern, civilized clinging to life. He argues that a life of action mitigates the fear, while sedentary, studious men like Dr. Johnson are most apprehensive. He reflects on the imagination's role in making death ghastly, the vanity of thinking we leave a great void, and how posterity remembers only those who conferred benefit.
Chapter 34
Endnotes
The endnotes provide a collection of references, anecdotes, and clarifications that support the main text, including literary allusions, historical notes, and personal reflections on art, criticism, and society.
