Table-Talk · Chapter
On Patronage and Puffing explained
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
What happens
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.
Themes in this chapter
Fame, Reputation, and Public Opinion
Hazlitt dissects how reputation is artificially constructed through puffing, patronage, and sycophancy, rather than genuine merit.
Criticism and Critical Practice
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.
Characters to notice
- William Hazlitt
Author and narrator; reflects on his own experiences with critical verdicts and puffing.
- Edmund Kean
Mentioned as a theatrical favorite whose popularity was defended against claims of mere novelty.
- Master Betty
Discussed as a child actor whose early success was a nine days' wonder, contrasted with Kean's lasting talent.
- Samuel Taylor Coleridge
Recounted as delivering a tirade against the gullibility of the English public regarding Master Betty, then praising a young artist he discovered in Italy.
- Mr. Perry
Mentioned as the editor who complained about Hazlitt's critical attacks affecting his social invitations.
Key passages
“The same proneness to adulation which made them lick the dust before one idol makes them bow as low to the rising Sun; they are as lavish of detraction as they were prurient with praise; and the protégé and admirer of the editor of the ⸻ figures in Blackwood ’s train.”
Sycophants who flatter one powerful figure will just as easily flatter another when the first falls from favor, and they will be as quick to slander as they were to praise.
Hazlitt describes the fickleness of flatterers who shift allegiance to new patrons.
“I remember once hearing a player declare that he never looked into any newspapers or magazines on account of the abuse that was always levelled at himself in them, though there were not less than three persons in company who made it their business through these conduit pipes of fame to 'cry him up to the top of the compass.'”
An actor claimed to ignore the press because of the abuse he received, even though three people present were actively praising him in those same publications.
Hazlitt highlights the irony of an actor oblivious to the puffing done on his behalf.
“It was pretended by the Covent Garden people, and some others at the time, that Mr. Kean’s popularity was a mere effect of love of novelty, a nine days’ wonder, like the rage after Master Betty’s acting, and would be as soon over.”
Some claimed Kean's success was just a passing fad, similar to the brief craze for the child actor Master Betty.
Hazlitt refutes the comparison, arguing Kean's talent was genuine and lasting.