William Hazlitt

William Hazlitt, born on April 10, 1778, was a multifaceted figure in English literature-an essayist, critic, painter, social observer, and thinker. Regarded today as one of the most esteemed critics and essayists in English history, he is often mentioned alongside luminaries such as Samuel Johnson and George Orwell. Notably, he held the esteemed title of the finest art critic of his era.

Despite his esteemed position among scholars focusing on literature and art, Hazlitt's works have largely faded from contemporary readership and are predominantly unavailable in print. Throughout his life, Hazlitt formed close bonds with several influential figures now considered part of the 19th-century literary canon, counting among his friends Charles and Mary Lamb, Stendhal, Samuel Taylor Coleridge, William Wordsworth, and John Keats.

Background

Hazlitt's paternal lineage is traced back to Irish Protestants who relocated from Antrim to Tipperary in the early 18th century. Sharing the same name, William Hazlitt Sr., Hazlitt's father, pursued education at the University of Glasgow under the tutelage of Adam Smith, earning a master's degree in 1760. While not entirely content with his Presbyterian beliefs, he transitioned to become a Unitarian minister in England.

By 1764, he assumed the role of pastor in Wisbech, Cambridgeshire, marrying Grace Loftus in 1766, the daughter of a recently deceased ironmonger. Despite their numerous offspring, only three survived infancy. The eldest, John (later recognized as a portrait artist), was born in 1767 in Marshfield, Gloucestershire, where Reverend William Hazlitt had relocated for a new pastoral assignment after his wedding.

In 1770, the elder Hazlitt embarked on another pastoral venture, settling with his family in Maidstone, Kent. It was there that his first and sole surviving daughter, Margaret, commonly known as "Peggy," was born in the same year.

Childhood

As the youngest of the Hazlitt siblings who survived infancy, William came into the world in Mitre Lane, Maidstone, in 1778. His early years were marked by a nomadic lifestyle that commenced when he was just two years old in 1780. Their journey took them from Maidstone to Bandon, County Cork, Ireland, and then onwards to the United States by 1783, where his father, the elder Hazlitt, engaged in preaching, lecturing, and sought a position within a progressive congregation. Despite his endeavors, securing a post proved elusive, although his influence played a role in the establishment of Boston's first Unitarian church.

The family's return to England occurred between 1786 and 1787, settling in Wem, Shropshire. Hazlitt retained scarce memories of his time in America, with only fleeting recollections, such as the taste of barberries, remaining from that period.

Education

Hazlitt received his education both at home and in a local school. His earliest taste of published writing came at the age of 13 when the Shrewsbury Chronicle printed his letter in July 1791, denouncing the riots in Birmingham over Joseph Priestley's support for the French Revolution.

In 1793, his father sent him to Hackney College, a Unitarian seminary on the outskirts of London. Though his time there spanned only about two years, it left an enduring impression on Hazlitt. The curriculum was extensive, encompassing classics like Greek and Latin, mathematics, history, government, science, and religious studies. Influenced by Dissenting luminaries such as Richard Price and Joseph Priestley, the education Hazlitt received was a blend of traditional and nonconformist teachings. The passionate political commentary of figures like Priestley, whom Hazlitt both read and learned from, sparked animated discussions among Hazlitt and his peers about the societal transformations amidst the French Revolution's aftermath.

This period marked a change within Hazlitt himself. Though he never openly disputed his father's beliefs, he underwent a personal shift, experiencing a loss of faith and departing from Hackney before completing his ministerial training.

Despite rejecting Unitarian theology, his time at Hackney instilled in him more than religious skepticism. It cultivated in him a penchant for independent thinking, a reverence for truth, and a deep-seated belief in liberty, human rights, and the transformative power of knowledge in both arts and sciences. The school's emphasis on individual agency within a supportive community framework left an indelible mark, shaping Hazlitt's enduring disdain for tyranny and persecution, evident even years later in his 1819 collection of Political Essays. His experiences tempered some of his earlier ideals about human nature, yet his hatred of oppression persisted until his final days.

Young Philosper

Upon returning home around 1795, Hazlitt's focus shifted toward more secular realms, delving into politics and, increasingly, modern philosophy-a fascination sparked during his time at Hackney. In September 1794, he encountered William Godwin, whose influential work "Political Justice" had captivated English intellectual circles. While not entirely aligned with Godwin's philosophy, it served as a substantial source of contemplation for Hazlitt.

His homebound period became an intense study phase, immersing himself in the works of various English, Scottish, Irish, and French philosophers. This pursuit aimed at understanding man's social and political nature, particularly delving into what would later be termed psychology, focusing on the philosophy of mind.

During this period, Hazlitt encountered significant influences, such as Jean-Jacques Rousseau, whose ideas profoundly shaped his thinking. He also admired the writing style of Edmund Burke. This phase prompted Hazlitt's meticulous work on a treatise challenging the notion of man's inherent selfishness, intending to debunk the prevalent belief that benevolent actions stemmed solely from modified selfishness.

Around 1796, Joseph Fawcett, a retired clergyman and reformer, became another crucial influence, instilling in Hazlitt an appreciation for literature and passionate writing. Their discussions spanned radical thinkers and encompassed a wide array of literature, contributing substantially to Hazlitt's critical writings later on.

Hazlitt's contemplative phase, spent primarily with his father and occasionally with his portrait painter brother John, was punctuated by London's theatrical experiences. However, despite his immersion in thought, Hazlitt grappled with the challenge of translating his swirling thoughts and emotions onto paper. It was during this period that Hazlitt's life took a significant turn with his encounter with Samuel Taylor Coleridge, an event he considered transformative and more influential on his writing career than any other.

First Acquaintance With a Poet

In a pivotal moment on January 14, 1798, Hazlitt's life took a significant turn as he encountered Coleridge, then a minister, delivering a sermon at the Unitarian Chapel in Shrewsbury. Though Coleridge hadn't yet gained fame as a poet, critic, or philosopher, his eloquence left an indelible impression on Hazlitt, much like it did on Thomas de Quincey and countless others. Hazlitt later expressed his delight in an essay, describing it as akin to the meeting of Poetry and Philosophy, Truth and Genius, all under the auspices of Religion. Throughout their separation, Hazlitt continued to regard Coleridge as the embodiment of a man of genius and credited him with helping shape his expressive language and philosophical ideas.

This encounter led Hazlitt to visit Coleridge at Nether Stowey in April, where he was introduced to William Wordsworth at Alfoxton House on the same day. Despite not being immediately struck by Wordsworth's appearance, Hazlitt was captivated by the way Wordsworth observed nature, an observation that sparked a realization about the poet's mind and a new style in poetry.

The trio-Hazlitt, Coleridge, and Wordsworth-shared fervor for liberty and human rights. As they roamed the countryside, discussions on poetry, philosophy, and political upheavals abounded. However, this unity didn't remain intact: disagreements arose, with Hazlitt differing on philosophical matters with both Wordsworth and Coleridge. Nonetheless, this experience, occurring when Hazlitt was just 20, highlighted to him the value of not only philosophy but also poetry in shaping thoughts and ideas. The three-week visit served as a catalyst, fueling his desire to delve further into his intellectual pursuits.

Coleridge, recognizing Hazlitt's promise as a thinker, later praised his ability to articulate thoughts with precision, likening it to well-aimed arrows hitting their mark.

Iterate Painter

During this period, Hazlitt made significant shifts in his life choices. Despite harboring the aspiration of crafting a philosophical treatise on the disinterestedness of the human mind, practical constraints compelled him to delay this endeavor indefinitely. As he was still reliant on his father, Hazlitt found himself in need of a livelihood. His family's artistic inclinations, particularly on his mother's side, drew his interest in painting, particularly starting in 1798.

His brother John, established as a successful miniature portrait painter, became Hazlitt's teacher, sparking his journey into the art form. Hazlitt honed his skills, painting portraits with shades reminiscent of Rembrandt's style. This pursuit enabled him to sustain himself, traveling between London and different locales where commissions awaited.

By 1802, Hazlitt's artistic prowess gained recognition when the Royal Academy accepted his portrait of his father for exhibition. Later that year, an opportunity arose for him to travel to Paris and replicate several Old Masters' works at The Louvre. This immersive experience profoundly impacted his art criticism, culminating in insightful analyses influenced by his extensive contemplation of the gallery's collections. His admiration for Napoleon as a liberator from royal oppression was another notable facet of this period.

Returning to England, Hazlitt continued portrait commissions, which unexpectedly reconnected him with Coleridge and Wordsworth. Despite striving to create sincere portraits rather than flattering renditions, his efforts often fell short of the subjects' expectations. This phase also saw Hazlitt's encounters and struggles, including his uncomfortable interactions within certain societal circles, his candid acknowledgment of liaisons with prostitutes, and an ill-fated romantic overture during a visit to the Lake District.

In March 1803, at a dinner hosted by William Godwin, Hazlitt met Charles Lamb and his sister Mary, sparking a lasting friendship, particularly with Charles. Hazlitt admired Mary's rationality despite intermittent mental health issues, even as his views on women occasionally veered toward misogyny. He became a frequent presence at the Lambs' literary gatherings.

With limited painting commissions, Hazlitt turned his attention to publishing his philosophical treatise. However, its reception fell short of his expectations, although it established his reputation in contemporary philosophy circles. He ventured into political pamphleteering, fiercely critiquing events in English politics, and contributed to publications, showcasing his sharp prose style.

Marriage and Family

In May 1808, Hazlitt married Sarah Stoddart, establishing a playful yet affectionate partnership that, despite initial compatibility, later revealed incompatibilities, leading to their eventual separation.Their social life intertwined with the Lambs, and they settled in Winterslow, having three sons, only one of whom survived infancy. Financial constraints persisted, leading Hazlitt to take on diverse projects, from writing an English grammar book to contributing to publications.

Hazlitt's varied endeavors continued, including landscape painting and delivering lectures on British philosophers in 1812. Despite his efforts as a portrait painter, he struggled to attain the mastery he sought, often refusing to compromise artistic integrity for financial gains, which affected his client base. However, amidst these challenges, new prospects awaited Hazlitt.

Journalist, Essayist and Liber Amoris

William Hazlitt was a prolific journalist, essayist, and critic in the early 19th century. He kicked off his career in 1812 at The Morning Chronicle and later contributed to The Examiner and The Champion. His circle of friends expanded, but his outspoken nature and firm stance on liberty made forming close relationships challenging. He critiqued Wordsworth's poetry, attracting both praise and disdain. His involvement with The Edinburgh Review elevated his status, but Napoleon's defeat in 1815 hit him hard, leading to a bout of depression and personal struggles.

Solitude

He found solace in racquetball-like games and focused on varied topics in his essays. His marriage deteriorated, and he delved into heavy drinking, spending more time away from home. Despite considering himself a metaphysician, he embraced journalism. His critical acclaim surged with works like "Characters of Shakespear's Plays" and lectures on English poets and comic writers.

Trouble

Troubles brewed as he faced attacks from publications like The Quarterly Review and Blackwood's Magazine. His personal life was tumultuous; infatuation with a younger woman complicated his failing marriage. Divorce and subsequent emotional turmoil led him to consider suicide. Liber Amoris, a deeply personal account of his frustrated love, caused controversy among critics and friends, further straining his relationships. Hazlitt's life was marked by professional success but also personal struggles, a blend of journalistic prowess, and a turbulent emotional journey that influenced his works.

Rediscovering Philosophy, Remarriage, and European Exploration (1823-1825)

Amidst upheaval and turmoil, Hazlitt found solace in moments of profound reflection, often retreating to Winterslow for what he called a "philosophic detachment." In these periods, he produced a diverse array of essays, most notably the two volumes known as Table-Talk. While some essays reflected on his own life, others delved into the complexities of human nature, inviting readers to observe the quirks and follies of society. His exploration ranged from the workings of the individual mind to scrutinizing societal manners and morals.

The Table-Talk essays not only showcased Hazlitt's interest in artistic creativity and genius but also scrutinized the limitations of the human mind when measured against the vastness of the universe and human history. They offered insights into criticism itself and reflexively examined the principles guiding their composition, all knit together by Hazlitt's lifetime of profound contemplation on life, art, and literature.

While these essays garnered some admiration during Hazlitt's life, their true recognition came posthumously. Today, they're often regarded as some of the finest essays in English literature. Alongside these, Hazlitt also authored "Characteristics: In the Manner of Rochefoucault's Maxims," a collection of aphorisms reflecting his disillusionment at that stage of his life. Though not as acclaimed as his other works, it carried his signature style of paradoxical arguments.

By early 1824, Hazlitt, fatigued by personal struggles and the fallout from Liber Amoris, began to find equilibrium. Financial constraints persisted, and his divorce from Sarah Walker drove him to a second marriage with Isabella Bridgwater in Scotland, offering some relief from loneliness and financial worries, although it was more convenient than a love match. The couple embarked on a European tour in 1824, visiting Scotland, France, Italy, Switzerland, Germany, the Netherlands, Belgium, and back to France by 1825.

Hazlitt's literary output during this period included essays exploring contemporary figures, eventually compiled as 'The Spirit of the Age.' These sketches depicted notable individuals, offering insights drawn from personal observations and interactions. They were received with enthusiasm and some critique for being a collection of perceptive yet disparate character portraits.

The European tour served as an escape from conflicts in England, allowing Hazlitt to indulge in artistic and cultural experiences. His writings, published as 'Notes of a Journey through France and Italy,' captured the vividness of his observations, painting a detailed picture of his travels.

Hazlitt's journey was a blend of artistic appreciation, philosophical reflection, and cultural exploration. He interacted with prominent figures, found solace in friendships, and embraced the beauty and nuances of various European landscapes. The return to London brought a mix of emotions, a blend of longing for the recent retreat and the challenges of readjusting to urban life.

Trip to Paris

In August 1826, Hazlitt embarked on a journey to Paris with his wife, aiming to research and craft a definitive biography of Napoleon. His deep conviction in Napoleon's greatness and his desire to counteract biased interpretations motivated this ambitious project. However, this endeavor faced hurdles-despite their comfortable lodgings in Paris, Hazlitt found himself distracted by visitors and distant from necessary libraries. Complications arose as conflicts between Hazlitt and his son strained his marriage, leading to its deterioration.

Financial strain loomed as Hazlitt's works struggled to sell. To cover expenses, he had to dedicate considerable time to producing articles, yet some of these essays stood out among his best works. Upon returning to London in August 1827, Hazlitt was stunned to learn of his wife's departure while she remained in Paris. This marked a period of unending financial hardship as he penned numerous articles for publications like The Atlas to make ends meet. His life became a relentless battle against poverty, spending time both in London and at Winterslow, trying to find solace.

Amid struggles with illness and nearly facing death in December 1827, Hazlitt persisted in working on his Napoleon biography. However, setbacks persisted-only two volumes of the biography were published in 1828, and the publisher's subsequent failure added to Hazlitt's financial woes. The biography, primarily composed of borrowed materials, failed both financially and critically.

Last Years

Hazlitt's final years are somewhat veiled in mystery, with scant details about his day-to-day life. Although he favored the serene surroundings of Winterslow, his business engagements often drew him back to London. During this time, he seemingly met old acquaintances but with few records documenting these encounters. Frequently, he was spotted in the company of his son and the son's fiancée. His dedication to producing articles persisted as a means of financial sustenance.

In 1828, Hazlitt resumed theater reviews for The Examiner, finding solace in playgoing. A notable essay, "The Free Admission," stemmed from this period. For him, the theater wasn't just an escape but a place to reflect on life's journey. He expressed this sentiment eloquently, describing his experience as one where he could observe the world's spectacle without the burden of cost or regret.

Despite health challenges, Hazlitt delved into philosophical musings, revisiting earlier themes in his writings. Pieces on "Common Sense," "Originality," "The Ideal," "Envy," and "Prejudice" emerged in The Atlas in early 1830. He returned to contributing to The Edinburgh Review, a more lucrative endeavor compared to other publications, which helped alleviate financial strains.

Moving to a small apartment at 6 Frith Street, Soho, Hazlitt continued writing for various journals like The Atlas, The London Weekly Review, and The Court Journal. Afflicted by frequent bouts of illness, he began withdrawing. Yet, amid suffering, he penned notable essays, particularly for The New Monthly Magazine. He eloquently depicted the impact of illness and recovery on the mind in "The Sick Chamber."

His health declined rapidly, leaving him bedridden and heavily reliant on opium for pain relief. In his final days, delirium took hold, fixating on a woman, sparking conjecture about her identity. Surrounded by his son and a select few, Hazlitt passed away on September 18, 1830. His last words, reportedly, were, "Well, I've had a happy life."

Hazlitt was laid to rest at St Anne's Church, Soho, on September 23, 1830, with only a handful of close associates, including his son William, Charles Lamb, P.G. Patmore, and perhaps a few others, attending the funeral.

Posthumuos Reputation

Hazlitt's stature dwindled as his works slipped out of print, leading to a decline in his reputation. However, in the late 1990s, his admirers revived interest in his legacy, prompting reprints of his works. This resurgence was accompanied by the publication of two significant works: Tom Paulin's "The Day-Star of Liberty: William Hazlitt's Radical Style" in 1998 and A. C. Grayling's "Quarrel of the Age: The Life and Times of William Hazlitt" in 2000. As a result, Hazlitt's standing in literary circles began to soar once again. Many contemporary thinkers, poets, and scholars now hail him as among the foremost critics in English literature and its finest essayist.

In 2003, a successful appeal initiated by Ian Mayes and A. C. Grayling led to the restoration of Hazlitt's gravestone in St Anne's Churchyard, a moment commemorated by its unveiling by Michael Foot. This initiative also marked the establishment of the Hazlitt Society, which publishes an annual peer-reviewed journal titled The Hazlitt Review.

Interestingly, the place Hazlitt once called home, situated on Frith Street in London, has transformed into Hazlitt's, now functioning as a hotel.

Furthermore, Jonathan Bate's novel "The Cure for Love" (1998) indirectly drew inspiration from Hazlitt's life.

Conclusion

William Hazlitt's life, marked by intellectual fervor and unwavering convictions, culminated in a period of profound struggle. His relentless pursuit of portraying Napoleon's story from a different perspective, driven by admiration and a desire for historical balance, resulted in financial hardship and personal turmoil.

Despite enduring financial challenges and battling ill health, Hazlitt's commitment to his craft remained resolute. His writings, though facing criticism and financial setbacks, revealed flashes of brilliance amidst adversity. The culmination of his efforts, "The Life of Napoleon Buonaparte," stands as a testament to his dedication, even though its reception fell short of his aspirations.