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

others. There is Britton, the responsible conductor of several works of taste and erudition, yet (God knows) without an idea in his head relating to any one of them. He is learned by proxy, and successful from sheer imbecility. If he were to get the smallest smattering of the departments which are under his control, he would betray himself from his desire to shine; but as it is, he leaves others to do all the drudgery for him. He signs his name in the title-page or at the bottom of a vignette, and nobody suspects any mistake. This contractor for useful and ornamental literature once offered me two guineas for a Life and Character of Shakespeare, with an admission to his converzationi. I went once. There was a collection of learned lumber, of antiquaries, lexicographers, and other “illustrious obscure,” and I had given up the day for lost, when in dropped Jack Taylor of the Sun⁠—(who would dare to deny that he was “the Sun of our table”?)⁠—and I had nothing now to do but hear and laugh. Mr. Taylor knows most of the good things that have been said in the metropolis for the last thirty years, and is in particular an excellent retailer of the humours and extravagances of his old friend Peter Pindar. He had recounted a series of them, each rising above the other in a sort of magnificent burlesque and want of literal preciseness, to a medley of laughing and sour faces, when on his proceeding to state a joke of a practical nature by the said Peter, a Mr. ⸻ (I forget the name) objected to the moral of the story, and to the whole texture of Mr. Taylor’s facetiae⁠—upon which our host, who had till now supposed that all was going on swimmingly, thought it time to interfere and give a turn to the conversation by saying, “Why, yes, gentlemen, what we have hitherto heard fall from the lips of our friend has been no doubt entertaining and highly agreeable in its way; but perhaps we have had enough of what is altogether delightful and pleasant and light and laughable in conduct. Suppose, therefore, we were to shift the subject, and talk of what is serious and moral and industrious and laudable in character⁠—Let us talk of Mr. Tomkins the Penman!”⁠—This staggered the gravest of us, broke up our dinner-party, and we went upstairs to tea. So much for the didactic vein of one of our principal guides in the embellished walks of modern taste, and master manufacturers of letters. He had found that gravity had been a never-failing resource when taken at a pinch⁠—for once the joke miscarried⁠—and Mr. Tomkins the Penman figures to this day nowhere but in Sir Joshua’s picture of him!

To complete the natural Aristocracy of Letters, we only want a Royal Society of Authors!

On Criticism

Criticism is an art that undergoes a great variety of changes, and aims at different objects at different times.

At first, it is generally satisfied to give an opinion whether a work is good or bad, and to quote a passage or two in support of this opinion: afterwards, it is bound to assign the reasons of its decision and to analyse supposed beauties or defects with microscopic minuteness. A critic does nothing nowadays who does not try to torture the most obvious expression into a thousand meanings, and enter into a circuitous explanation of all that can be urged for or against its being in the best or worst style possible. His object indeed is not to do justice to his author, whom he treats with very little ceremony, but to do himself homage, and to show his acquaintance with all the topics and resources of criticism. If he recurs to the stipulated subject in the end, it is not till after he has exhausted his budget of general knowledge; and he establishes his own claims first in an elaborate inaugural dissertation de omni scibile et quibusdam aliis, before he deigns to bring forward the pretensions of the original candidate for praise, who is only the second figure in the piece. We may sometimes see articles of this sort, in which no allusion whatever is made to the work under sentence of death, after the first announcement of the title-page; and I apprehend it would be a clear improvement on this species of nominal criticism to give stated periodical accounts of works that had never appeared at all, which would save the hapless author the mortification of writing, and his reviewer the trouble of reading them. If the real author is made of so little account by the modern critic, he is scarcely more an object of regard to the modern reader; and it must be confessed that after a dozen close-packed pages of subtle metaphysical distinction or solemn didactic declamation, in which the disembodied principles of all arts and sciences float before the imagination in undefined profusion, the eye turns with impatience and indifference to the imperfect embryo specimens of them, and the hopeless attempts to realise this splendid jargon in one poor work by one poor author, which is given up to summary execution with as little justice as pity. “As when a well-graced actor leaves the stage, men’s eyes are idly bent on him that enters next”⁠—so it is here. Whether this state of the press is not a serious abuse and a violent encroachment in the republic of letters, is more than I shall pretend to determine. The truth is, that in the quantity of works that issue from the press, it is utterly impossible they should all be read by all sorts of people. There must be tasters for the public, who must have a discretionary power vested in them, for which it is difficult to make them properly accountable. Authors in proportion to their numbers become not formidable, but despicable. They would not be heard of or severed from the crowd without the critic’s