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Appendix: Overview of the Complete Works of William Hazlitt Appendix: Overview of The Complete Works of William Hazlitt In his early ‘Character of Mr. Burke,’ Hazlitt remarks that ‘there is no single speech which can convey a satisfactory idea of his powers of mind: to do him justice, it would be necessary to quote all his works; the only specimen of Burke is, all that he wrote’ (WH 7.301; emphasis added). A similar specter of the mathematical sublime might be invoked in regard to Hazlitt’s own writing, spread as it is over seemingly innumerable articles across a variety of genres. Given the fragmentary nature of Hazlitt’s œuvre, and the frequency with which he draws on and partially reprints his own earlier work, I append the following index of his writing to provide a detailed overview of the place of his writings in this study. (For a complete listing of Hazlitt’s titles, see WH 21.xi–xxi.) Volume 1: An Essay on the Principles of Human Action, 1–91 (1805). Volume 4: The Round Table (1817): ‘On Milton’s “Lycidas,”’ 31–6. (Examiner 6 Aug. 1815) ‘On Milton’s Versification,’ 36–41. (Examiner 20 Aug. 1815) ‘On Gusto,’ 77–80. (Examiner 26 May 1816) ‘On Poetical Versatility,’ 151–3. (Examiner 22 Dec. 1816; ‘Illustrations of the Times Newspaper’ [7.142–4]) ‘Observations on Mr. Wordsworth’s Poem The Excursion,’ 111–25. (Examiner 21, 28 Aug., 2 Oct. 1814; see also 19.9–24) Characters of Shakespear’s Plays (1817): Preface, 171–8. ‘Julius Caesar,’ 195–9. ‘Coriolanus,’ 214–21. (Examiner 15 Dec. 1816; see also 5.347–50) ‘The Tempest,’ 238–44. ‘Henry V,’ 285–91. Volume 5: Lectures on the English Poets (1818): ‘On Poetry in General,’ 1–18. ‘On Shakespeare and Milton,’ 44–68. ‘On the Living Poets,’ 143–68. A View of the English Stage (1818): ‘Mr. Kean’s Shylock,’ 179–80. (Morning Chronicle 27 Jan. 1814) ‘“Comus,”’ 230–3. (Examiner 11 June 1815) ‘Mr. Kemble’s King John,’ 345–7. (Examiner 8 Dec. 1816) 198 Appendix 199 ‘Coriolanus,’ 347–50. (Examiner 15 Dec. 1816; see also 4.214–21) ‘Mr. Kemble’s Retirement,’ 374–9. (Times 25 June 1817) Volume 6: Lectures on the English Comic Writers, 1–168. (1819) Lectures on the Dramatic Literature of the Age of Elizabeth, 169–364. (1820) Volume 7: Political Essays (1819): Preface, 7–22. (Feb. 1819) ‘Mr. Southey, Poet Laureat,’ 24–5. (Morning Chronicle 18 Sept. 1813) ‘Mr. Southey’s New-Year’s Ode,’ 25–7. (Morning Chronicle 8 Jan. 1814) ‘The Lay of the Laureate,’ 85–96. (Examiner 7 July 1816) ‘Mr. Coleridge’s Lay Sermon,’ 114–18. (Examiner 8 Sept. 1816) ‘Mr. Coleridge’s Statesman’s Manual,’ 119–28. (Examiner 29 Dec. 1816) ‘Mr. Coleridge’s Lay Sermon,’ 128–9. (Examiner 12 Jan. 1817) ‘Illustrations of the Times Newspaper (On Modern Apostates),’ 131–7. (Examiner 15 Dec. 1816) ‘Illustrations of the Times Newspaper (On Modern Lawyers and Poets),’ 137–45. (Examiner 22 Dec. 1816; see also 4.151–3) ‘The Times Newspaper (On the Connexion Between Toad-Eaters and Tyrants),’ 145–52. (Examiner 12 Jan. 1817) ‘Wat Tyler and the Quarterly Review,’ 168–76. (Examiner 9 March 1817) ‘The Courier and Wat Tyler,’ 176–86. (Examiner 30 March 1817) ‘Mr. Southey’s Letter to William Smith, Esq.,’ 186–208. (Examiner 4, 11, 18 May 1817) ‘Character of Mr. Burke,’ 226–9. (‘Coleridge’s Literary Life,’ Edinburgh Review Aug. 1817 [16.115–38]; Champion 5 Oct. 1817) ‘Character of Mr. Burke, 1807,’ 301–13. (The Eloquence of the British Senate, 1807) Volume 8: Table-Talk (1821/22): ‘The Indian Jugglers,’ 77–89. ‘On Living to one’s-self,’ 90–101. ‘On Paradox and Common-Place,’ 146–56. ‘On Milton’s Sonnets,’ 174–81. (New Monthly Magazine March 1822) ‘On Criticism,’ 215–26. ‘On Effeminacy of Character,’ 248–55. Volume 9: ‘A Reply to Z,’ 1–10 (1818). A Letter to William Gifford, Esq., 12–59 (1819). Volume 10: Notes of a Journey Through France and Italy (1826): Chapter 20, ‘English and Foreign Manners,’ 241–52. (Examiner 1 May 1825) 200 Appendix Volume 11: The Spirit of the Age (1825): ‘William Godwin,’ 16–28. ‘Mr. Coleridge,’ 28–38. ‘Mr. Southey,’ 78–86. ‘Mr. Wordsworth,’ 86–95. ‘Sir James Mackintosh,’ 95–103. ‘Mr. Gifford,’ 114–26. ‘Mr. Jeffrey,’ 126–34. Volume 12: The Plain Speaker (1826): ‘On the Prose-Style of Poets,’ 5–17. (Aug. 1822) ‘On Reading Old Books,’ 220–9. (London Magazine Feb. 1821) ‘On the Difference Between Writing and Speaking,’ 262–79. (London Magazine July 1820) Volume 16: Contributions to the Edinburgh Review: ‘Coleridge’s Lay Sermon,’ 99–114. (Dec. 1816) ‘Coleridge’s Literary Life,’ 115–38. (Aug. 1817) ‘The Periodical Press,’ 211–39. (May 1823) ‘Shelley’s Posthumous Poems,’ 265–84. (July 1824) Volume 17 (Uncollected Essays): ‘On Consistency of Opinion,’ 22–34. (London Magazine Nov. 1821) ‘The Fight,’ 72–86. (New Monthly Magazine Feb. 1822) ‘My First Acquaintance with Poets,’ 106–22. (Liberal April 1823) Volume 18 (Art and Dramatic Criticism): ‘The Drama: No. II,’ 280–91. (London Magazine Feb. 1820) Volume 19 (Miscellaneous Literary and Political Criticism): ‘Character of Mr. Wordsworth’s New Poem, The Excursion,’ 9–25. (Examiner 21, 28 Aug., 2 Oct. 1814; see also 4.111–25) ‘The Laureat,’ 115–7. (Morning Chronicle 20 Sept. 1813) ‘The Times Newspaper,’ 177–82. (Examiner 1 Dec. 1816) ‘Mr. Coleridge and Mr. Southey,’ 196–8. (Examiner 6 April 1817) ‘The Press – Coleridge, Southey, Wordsworth, and Bentham,’ 202–6. (Yellow Dwarf 3 Jan. 1818) ‘Mr. Coleridge’s Lectures,’ 206–10. (Yellow Dwarf 14 Feb. 1818) ‘Mr. Wordsworth and the Westmoreland Election,’ 213–14. (Examiner 5 July 1818) ‘Arguing in a Circle,’ 267–78. (Liberal July 1823) ‘Personal Politics,’ 329–34. (Aug. 1830) Volume 20 (Miscellaneous Writings): ‘Coquets,’ 218–20. (Atlas 22 March 1829) Notes Introduction: On the Discrimination of Apostasies 1. In this regard, ‘apostasy’ operates according to the logic of what Bataille has termed a mot glissant, a word which is either so perverse or so poetic that it succeeds in positing itself as the only tenable gauge of its own dissolution. The most immediately recognizable examples (for example, Blanchot’s le néant) behave according to Bataille’s inflection of le silence: “Du mot il est déjà … l’abolition du bruit qu’est le mot; entre tous les mots c’est le plus pervers, ou le plus poétique: il est lui-même gauge de sa mort” (28). 2. I am thinking specifically of Romanticism Reconsidered (1963; ed. Northrop Frye), a collection of papers from the English Institute by Frye, Abrams, Trilling, and Wellek. In positioning the papers as both silencing the waning influence of the anti-Romantic criticism of Hulme, Eliot, and Pound, and examining the ‘degree of real content which the term Romanticism has,’ Frye stresses the inseparability of Romanticism and revolution, stating unequivocally that Romanticism ‘is not only a revolution but inherently revolutionary, and enables poets to articulate a revolutionary age’ (viii). 3. On a different plane (one with wide-ranging implications for our study here of the linguistic forms and structures of power), we might position Abrams’s own ‘high argument’ – his attempt to read ‘many seemingly apo- litical poems of the later Romantic period’ as political poems (‘Spirit’ 55) – as an articulation of, as it were, a formal politics, or of politics conducted aesthetically. As Ferguson observes, ‘what has Abrams done other than to claim that the French Revolution has become so deeply implicated in Romantic structures of emotion that it must remain as implicit referent … ? And if Abrams’s point is that politics gets sustained by form, McGann’s point ought to be that politics can never be conducted by formal means (since, presumably, the formal version of politics continually tends toward the political masquerading as the apolitical)’ (105). Two of the critics who have usefully complicated our sense of Hazlitt’s abiding presence in such debates are Klancher and James Chandler. Analyzing the relations between romantic criticism and the political lega- cies of the French Revolution, Klancher succinctly identifies one of the primary obstacles to a critical reading of Hazlitt when he observes, apropos Abrams’s idealizing reading of Wordsworth, that ‘Hazlitt is usually cited as verifying Wordsworth’s claim to base literary innovation upon social revolution’ (as when Hazlitt writes, ‘the political changes of the day were the model on which he formed and conducted his poetical experiments. His muse … is a levelling one’ [WH 11.86–7]). Klancher then quickly moves to demystify Abrams’s alignment, noting that ‘it only requires a little further reading of Hazlitt to see that he regarded the stance of “Jacobin poet” as a disturbingly ideological one’ (‘English Criticism’ 466; emphasis added). Klancher suggests that, in citing 201 202 Notes Hazlitt’s judgement rather than reading it with more explicit attention to its textual, cultural, or political context (that of his portrait of Wordsworth in The Spirit of the Age), Abrams flattens Hazlitt into a critical spokesperson for Wordsworth in order to validate his own view that Wordsworth translates political principles into poetical forms, a transla- tion which he values as the representative gesture of romantic writing. In Chandler’s remarks on The Spirit of the Age, he, like Klancher, similarly emphasizes the impossibility of citing any one formulation of Hazlitt’s as somehow ‘representative,’ particularly when the volume from which such pronouncements are excised itself ‘refuses either to capture “the spirit of the age” in a single portrait that could stand as its total represen- tation or to select from among the “spirits of the age” one “proxy” … whose own “portrait” could be definitively representative’ (England in 1819 185).
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