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• W594682678 abstract "William Hazlitt is the Romantic age's exemplary writer on personality, his own and the personalities of others, and The Spirit of the Age (1825) is arguably his signature work in respect. Like Liber Amoris, it is an experiment on character but on the epochal scale of an age's public life. This essay argues that certain of Hazlitt's subjects in The Spirit of the Age negotiate the insidiously fine line between merely personal and the merely abstracted, in way demonstrating the costs involved in public enactments of personality. ********** In Table-Talk essay entitled Whether Ought to Sit in the Boxes, William Hazlitt considers the dilemma popular actors face in showing themselves in ordinary life, and advises discretion: Actors belong to the public: their persons are not their own property. They exhibit themselves on the stage: that is enough, without displaying themselves in the boxes of the theatre (8:272). This is not an invidious class argument, but simply warning against overexposure. It is, after all, the public persona, what Hazlitt terms a certain abstract idea, that is popular; as for the private persons, had better keep out of the way--the acts and sentiments emanating from themselves will not carry on the illusion of our prepossessions (8:274). Hazlitt's advice also holds for those who deal in ideas rather than their persons (though the distinction can be fine one). In his Examiner review of Robert Owen's A New View of Society (1813-14), Hazlitt detects an imminent turning of the tide in its author's remarkable popularity, predicting that Dr. Parr will preach Spital sermon against him; lectures will be delivered in Lincoln's Inn Hall, to prove that perfect man is such another chimera as golden mountain; Malthus will set up his two checks of vice and misery as insuperable bars against him; Southey will put into the 'Quarterly Review'; his name will be in the newspapers, The Times, The Courier, and The Morning Post; the three estates will set their faces against him (7:102). The reaction Hazlitt describes here will focus not on Owen's controversial ideas but on his person: There will be fine hue and cry raised by all the good and wise, by all 'those acute minds' who, Owen tells us, have not been able to find flaw in his reasonings, but who will soon discover flaw in his (7:102). Moreover, as Hazlitt suggests by the very act of naming names, the point will be who makes the arguments--the Parrs, the Malthuses, the Southeys--not what they argue. It is little wonder, then, that Coleridge (who largely credited his own popular to critics and satirists he had never met) should have described the age as this AGE OF PERSONALITY, age of literary and political Gossiping (4.I:210). William Hazlitt was no stranger to public notoriety, as either participant or observer. Indeed, another ubiquitous observer of the age, Crabb Robinson, went so far as to say of the painfully candid Liber Amoris (1823) that it ought to exclude the author from all decent society (Robinson 1:296). Yet Hazlitt is surely the Romantic age's exemplary writer on personality, his own and the personalities of others. A journalist by trade and philosopher by inclination, he observed both his age and himself--in public--to degree that cannot fail to resonate with our own age's multifaceted self-preoccupations. The Spirit of the Age (1825) is arguably his signature work in respect. If it seems to lack the obsessive focus of work like Liber Amoris, the latter's very public exploration of its author's compulsions in love and politics alike, (2) The Spirit of the Age also reckons the expense of spirit involved in public enactments of personality. Hazlitt's opening essay portrays figure whose reputation lies at the circumference (11:5). Hardly noticed in Westminster where he has quietly lived for forty years, Jeremy Bentham is known the world over: Mr. …" @default.
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• W594682678 date "2009-03-22" @default.
• W594682678 modified "2023-09-23" @default.
• W594682678 title "Hazlitt and the Merely Personal in the Spirit of the Age" @default.
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