The collected works of William Hazlitt, Vol. 07 (of 12)Hazlitt, William
General
The collected works of William Hazlitt, Vol. 07 (of 12)
Hazlitt, William
English essays -- 19th century
How fine is the constancy with which he first fixes his eye on the dead
body, with a forced courage, and then, as his resolution wavers, how
natural is his turning his face away, and the reflection that strikes
him on her youth and beauty and untimely death, and the thought that
they were twins, and his measuring his life by hers up to the present
period, as if all that was to come of it were nothing! Now, I would fain
ask whether there is not in this contemplation of the interval that
separates the beginning from the end of life, of a life too so varied
from good to ill, and of the pitiable termination of which the person
speaking has been the wilful and guilty cause, enough to ‘give the mind
pause?’ Is not that revelation as it were of the whole extent of our
being which is made by the flashes of passion and stroke of calamity, a
subject sufficiently staggering to have place in legitimate tragedy? Are
not the struggles of the will with untoward events and the adverse
passions of others as interesting and instructive in the representation
as reflections on the mutability of fortune or inevitableness of
destiny, or on the passions of men in general? The tragic Muse does not
merely utter muffled sounds: but we see the paleness on the cheek, and
the life-blood gushing from the heart! The interest we take in our own
lives, in our successes or disappointments, and the _home_ feelings that
arise out of these, when well described, are the clearest and truest
mirror in which we can see the image of human nature. For in this sense
each man is a microcosm. What he is, the rest are—whatever his joys and
sorrows are composed of, theirs are the same—no more, no less.
‘One touch of nature makes the whole world kin.’
But it must be the genuine touch of nature, not the outward flourishes
and varnish of art. The spouting, oracular, didactic figure of the poet
no more answers to the living man, than the lay-figure of the painter
does. We may well say to such a one,
‘Thou hast no speculation in those eyes
That thou dost glare with: thy bones are marrowless,
Thy blood is cold!’
Public-domain text, read in full here on John Shaqi.
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