Are we to gather from this most singular combination of words, that Hazlitt had a grain too much of sensuality in his composition, which diverted him from the search after truth? The expression, "the flesh was strong," and the quotation so curiously introduced from Shakspeare, seem to point this way. And then, again, are we to understand that this too much of sensuality was owing to a want of imagination?--that central power of imagination which is here described in a manner that no system of metaphysics we have studied enables us in the least to comprehend. We know something of Schelling's "intellectual intuition" transcending the ordinary scope of reason. Is this "intellectual vision, which the imagination substitutes for proof," of the same family? But indeed it would be idle insincerity to ask such questions. Sergeant Talfourd knows no more than we do what it means. The simple truth is, that here, as too frequently elsewhere, he aims at a certain subtlety of thought, and falls unfortunately upon no thought whatever--upon mere confusion of thought, which he attempts to hide by a quantity of somewhat faded phrase and rhetorical diction. If we refer to the original essay itself, we shall not be aiding ourselves or Mr Talfourd. The statement is fuller, and the confusion greater. In one point it relieves us--it relieves us entirely from the necessity of too deeply pondering the philosophic import of any phraseology our critic may adopt, for the phrase is changed merely to please the ear; and what at first has the air of definition proves to be merely a poetic colouring. He thus commences his essay: "As an author, Mr Hazlitt may be contemplated principally in three aspects--as a moral and political reasoner, as an observer of character and manners, and as a critic in literature and painting. It is in the first character only that he should be followed with caution." In the two others he is, of course, to be followed implicitly. Why he was not equally perfect as a moral and political reasoner, Mr Talfourd proceeds to explain. Mr Hazlitt had "a passionate desire for truth," and also "earnest aspirations for the beautiful." Now, continues our critic, "the vivid sense of beauty may, indeed, have fit home in the breast of the searcher after truth, but then he must also be endowed with the highest of all human faculties--the great mediatory and interfusing power of imagination, which presides supreme over the mind, brings all its powers and impulses into harmonious action, and becomes itself the single organ of all. At its touch, truth becomes visible in the shape of beauty; the fairest of material things become the living symbols of airy thought, and the mind apprehends _the finest affinities of the world of sense and spirit 'in clear dream and solemn vision.'_" This last expression conveys, we presume, all the meaning, or no-meaning, of the phrase afterwards adopted--the "intellectual vision which it substitutes for truth." Both are mere jingle.