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The rediscovery and restitution of William Hazlitt as a canonical Romantic author has been among the latest and most significant developments in present-day Romantic studies. This volume, a collection of previously unpublished essays by the foremost scholars in the field presents Hazlitt as a philosophical, and not simply a 'familiar' essayist. It offers a comprehensive statement of the significance and transmission of Hazlitt's philosophical principles, in his own work and in that of his contemporaries and succeeding writers. This book is an essential contribution to a vital new aspect of Romantic studies and shows Hazlitt to be, as his memorial claims, 'The first (unanswered) Metaphysician of the age'.
Hazlitt the Dissenter is unique in providing the first book-length account of Hazlitt's early life as a dissenter. As the first multi-disciplinary account of Hazlitt's early literary career, it provides a new insight into the literary, intellectual, political and religious culture of the late eighteenth and early nineteenth century.
Romanticism is where the modern age begins, and Hazlitt was its most articulate spokesman. No one else had the ability to see it whole; no one else knew so many of its politicians, poets, and philosophers. By interpreting it for his contemporaries, he speaks to us of ourselves - of the culture and world we now inhabit. Perhaps the most important development of his time, the creation of a mass media, is one that now dominates our lives. Hazlitt's livelihoo was dependent on it. As the biography argues, he took political sketch-writing to a new level, invented sports commentary as we know it, and created the essay-form as practised by Clive James, Gore Vidal, and Michael Foot. Duncan Wu's profile of one of the greatest journalists in the language draws on over a decade of archival research in libraries across Britain and North America, to reveal for the first time such matters as why Godwin broke with Hazlitt; how Hazlitt came to know Sir John Soane and J. M. W. Turner; the true nature of Hazlitt's dealings with Thomas Medwin, and what the likes of Joseph Farington and Sir Thomas Lawrence thought of him. In addition, it sheds new light on Hazlitt's dealings with such figures as Francis Jeffrey, Robert Stodart, John M'Creery, Henry Crabb Robinson, Joseph Parkes, John Cam Hobhouse, and Stendhal. It benefits also from Wu's New Writings of William Hazlitt, many of which make their appearance here, illuminating hitherto obscure passages of Hazlitt's life.
Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. In this volume, leading scholars assess the contribution of William Hazlitt, John Keats and Charles Lamb to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.
The 205 new writings by William Hazlitt collected for the first time in this volume provide a fuller picture than has hitherto been available of his career as journalist, particularly his work for the Morning Chronicle, The Times and The Atlas. Newly discovered works include major essays on the poetry of Wordsworth and Coleridge, a defence of Byron and Shelley against charges of immorality, an analysis of the three trials of the Regency publisher and writer William Hone, and a series of reminiscences and anecdotes from Hazlitt's last years. In addition, there are important essays on Napoleon, the Vienna Congress, and on Southey's appointment as Poet Laureate; notices of Edmund Kean, Dora Jordan and Fanny Kemble; reviews of Coleridge's Christabel, Byron's Sardanapalus and Hunt's Rimini; and essays on the fine arts, including exhibitions at the British Institution. Duncan Wu has surveyed all the publications for which Hazlitt wrote, as well as many for which he didn't, to find these neglected works. Each one is edited from its original printed source, prefaced with a detailed explanation of its attribution, and annotations providing information necessary to a full understanding of context and content. The volume also provides a partial bibliography of Hazlitt's journalism.
William Hazlitt is regarded as the finest prose stylist of the English Romantic period, by virtue of his work as an essayist, metaphysician, and a critic of literature and the fine arts. William Hazlitt: Political Essayist makes the case for including politics in this achievement.
This selection of three lectures and eight papers from the 42nd Wordsworth Summer Conference, opens with Heidi Thomson's fresh approach to Wordsworth's Salisbury Plain narrative, and closes with Deirdre Coleman's exploration of the Keats Circle's interest in Indian culture. Christopher Simons contributes a rare full-length treatment of Ecclesiastical Sketches vis-a-vis Wordsworth's oeuvre. The book also includes papers on Wordsworth by Peter Larkin, Tom Clucas, Simon Swift, Daniel Robinson, Rowan Boyson and Richard Gravil, and by Kimiyo Ogawa on Godwin and Hazlitt, Alexandra Paterson on Shelley, and by Richard Lansdown on 'Coralline history' in James Montgomery's remarkable 'Pelican Island'.
As a result of Napoleon’s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period’s political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. In offering cultural, historical and literary readings of the responses to Italian art by early nineteenth-century writers, Dr McCue illuminates the important role they played in shaping the themes that are central to our understanding of Romanticism.
The Testimony of Sense attempts to answer a neglected but important question: what became of epistemology in the late eighteenth century, in the period between Hume's scepticism and Romantic idealism? It finds that two factors in particular reshaped the nature of 'empiricism': the socialisation of experience by Scottish Enlightenment thinkers and the impact upon philosophical discourse of the belletrism of periodical culture. The book aims to correct the still widely-held assumption that Hume effectively silenced epistemological inquiry in Britain for over half a century. Instead, it argues that Hume encouraged the abandonment of subject-centred reason in favour of models of rationality based upon the performance of trusting actions within society. Of particular interest here is the way in which, after Hume, fundamental ideas like the self, truth, and meaning are conceived less in terms of introspection, correspondence, and reference, and more in terms of community, coherence, and communication. By tracing the idea of intersubjectivity through the issues of trust, testimony, virtue and language, the study offers new perspectives on the relationships between philosophy and literature, empiricism and transcendentalism, and Enlightenment and Romanticism. As philosophy grew more conversational, the familiar essay became a powerful metaphor for new forms of communication. The book explores what is epistemologically at stake in the familiar essay genre as it develops through the writings of Joseph Addison, David Hume, Samuel Johnson, Charles Lamb, and William Hazlitt. It also offers readings of philosophical texts, such as Hume's Treatise, Thomas Reid's Inquiry, and Adam Smith's Theory of Moral Sentiments, as literary performances.
The Critic in the Modern World explores the work of six influential literary critics—Samuel Johnson, William Hazlitt, Matthew Arnold, T.S. Eliot, Lionel Trilling and James Wood—each of whom occupies a distinct historical moment. It considers how these representative critics have constructed their public personae, the kinds of arguments they have used, and their core principles and philosophies. Spanning three hundred years of cultural history, The Critic in the Modern World considers the various ways in which literary critics have positioned themselves in relation to the modern tradition of descriptive criticism. In providing a lucid account of each critic's central principles and philosophies, it considers the role of the literary critic as a public figure, interpreting him as someone who is compelled to address the wider issues of individualism and the social implications of the democratising, secularising, liberalising forces of modernity.