Table-Talk by William Hazlitt (best pdf reader for ebooks txt) 📕

is a pampered and aristocratic writer, but he is not effeminate, or we should not have his works with only the printer’s name to them! I cannot help thinking that the fault of Mr. Keats’s poems was a deficiency in masculine energy of style. He had beauty, tenderness, delicacy, in an uncommon degree, but there was a want of strength and substance. His “Endymion” is a very delightful description of the illusions of a youthful imagination given up to airy dreams⁠—we have flowers, clouds, rainbows, moonlight, all sweet sounds and smells, and Oreads and Dryads flitting by⁠—but there is nothing tangible in it, nothing marked or palpable⁠—we have none of the hardy spirit or rigid forms of antiquity. He painted his own thoughts and character, and did not transport himself into the fabulous and heroic ages. There is a want of action, of character, and so far of imagination, but there is exquisite fancy. All is soft and fleshy, without bone or muscle. We see in him the youth without the manhood of poetry. His genius breathed “vernal delight and joy.” “Like Maia’s son he stood and shook his plumes,” with fragrance filled. His mind was redolent of spring. He had not the fierceness of summer, nor the richness of autumn, and winter he seemed not to have known till he felt the icy hand of death! Why Distant Objects Please

Distant objects please, because, in the first place, they imply an idea of space and magnitude, and because, not being obtruded too close upon the eye, we clothe them with the indistinct and airy colours of fancy. In looking at the misty mountain-tops that bound the horizon, the mind is as it were conscious of all the conceivable objects and interests that lie between; we imagine all sorts of adventures in the interim; strain our hopes and wishes to reach the air-drawn circle, or to “descry new lands, rivers, and mountains,” stretching far beyond it: our feelings, carried out of themselves, lose their grossness and their husk, are rarefied, expanded, melt into softness and brighten into beauty, turning to ethereal mould, sky-tinctured. We drink the air before us, and borrow a more refined existence from objects that hover on the brink of nothing. Where the landscape fades from the dull sight, we fill the thin, viewless space with shapes of unknown good, and tinge the hazy prospect with hopes and wishes and more charming fears.

“But thou, oh Hope! with eyes so fair,
What was thy delighted measure?
Still it whisper’d promised pleasure,
And bade the lovely scenes at distance hail!”

Whatever is placed beyond the reach of sense and knowledge, whatever is imperfectly discerned, the fancy pieces out at its leisure; and all but the present moment, but the present spot, passion claims for its own, and brooding over it with wings outspread, stamps it with an image of itself. Passion is lord of infinite space, and distant objects please because they border on its confines and are moulded by its touch. When I was a boy, I lived within sight of a range of lofty hills, whose blue tops blending with the setting sun had often tempted my longing eyes and wandering feet. At last I put my project in execution, and on a nearer approach, instead of glimmering air woven into fantastic shapes, found them huge lumpish heaps of discoloured earth. I learnt from this (in part) to leave “Yarrow unvisited,” and not idly to disturb a dream of good!

Distance of time has much the same effect as distance of place. It is not surprising that fancy colours the prospect of the future as it thinks good, when it even effaces the forms of memory. Time takes out the sting of pain; our sorrows after a certain period have been so often steeped in a medium of thought and passion that they “unmould their essence”; and all that remains of our original impressions is what we would wish them to have been. Not only the untried steep ascent before us, but the rude, unsightly masses of our past experience presently resume their power of deception over the eye: the golden cloud soon rests upon their heads, and the purple light of fancy clothes their barren sides! Thus we pass on, while both ends of our existence touch upon Heaven! There is (so to speak) “a mighty stream of tendency” to good in the human mind, upon which all objects float and are imperceptibly borne along; and though in the voyage of life we meet with strong rebuffs, with rocks and quicksands, yet there is “a tide in the affairs of men,” a heaving and a restless aspiration of the soul, by means of which, “with sails and tackle torn,” the wreck and scattered fragments of our entire being drift into the port and haven of our desires! In all that relates to the affections, we put the will for the deed; so that the instant the pressure of unwelcome circumstances is removed, the mind recoils from their hold, recovers its elasticity, and reunites itself to that image of good which is but a reflection and configuration of its own nature. Seen in the distance, in the long perspective of waning years, the meanest incidents, enlarged and enriched by countless recollections, become interesting; the most painful, broken and softened by time, soothe. How any object that unexpectedly brings back to us old scenes and associations startles the mind! What a yearning it creates within us; what a longing to leap the intermediate space! How fondly we cling to, and try to revive the impression of all that we then were!

“Such tricks hath strong imagination!”

In truth we impose upon ourselves, and know not what we wish. It is a cunning artifice, a quaint delusion, by which, in pretending to be what we were at a particular moment of time, we would fain be all that we have since been, and have our lives to come over again. It is not the little,