The collected works of William Hazlitt, Vol. 12 (of 12)Hazlitt, William
General
The collected works of William Hazlitt, Vol. 12 (of 12)
Hazlitt, William
English essays -- 19th century
What a difference between this subject and my last—a ‘Free Admission!’
Yet from the crowded theatre to the sick chamber, from the noise, the
glare, the keen delight, to the loneliness, the darkness, the dulness,
and the pain, there is but one step. A breath of air, an overhanging
cloud effects it; and though the transition is made in an instant, it
seems as if it would last for ever. A sudden illness not only puts a
stop to the career of our triumphs and agreeable sensations, but blots
out and cancels all recollection of and desire for them. We lose the
relish of enjoyment; we are effectually cured of our romance. Our bodies
are confined to our beds; nor can our thoughts wantonly detach
themselves and take the road to pleasure, but turn back with doubt and
loathing at the faint, evanescent phantom which has usurped its place.
If the folding-doors of the imagination were thrown open or left a-jar,
so that from the disordered couch where we lay, we could still hail the
vista of the past or future, and see the gay and gorgeous visions
floating at a distance, however denied to our embrace, the contrast,
though mortifying, might have something soothing in it, the
mock-splendour might be the greater for the actual gloom: but the misery
is that we cannot conceive any thing beyond or better than the present
evil; we are shut up and spell-bound in that, the curtains of the mind
are drawn close, we cannot escape from ‘the body of this death,’ our
souls are conquered, dismayed, ‘cooped and cabined in,’ and thrown with
the lumber of our corporeal frames in one corner of a neglected and
solitary room. We hate ourselves and everything else; nor does one ray
of comfort ‘peep through the blanket of the dark’ to give us hope. How
should we entertain the image of grace and beauty, when our bodies
writhe with pain? To what purpose invoke the echo of some rich strain of
music, when we ourselves can scarcely breathe? The very attempt is an
impossibility. We give up the vain task of linking delight to agony, of
urging torpor into ecstasy, which makes the very heart sick. We feel the
present pain, and an impatient longing to get rid of it. This were
indeed ‘a consummation devoutly to be wished’: on this we are intent, in
earnest, inexorable: all else is impertinence and folly; and could we
but obtain _ease_ (that Goddess of the infirm and suffering) at any
price, we think we could forswear all other joy and all other sorrows.
_Hoc erat in votis._ All other things but our disorder and its cure seem
less than nothing and vanity. It assumes a palpable form; it becomes a
demon, a spectre, an incubus hovering over and oppressing us: we grapple
with it: it strikes its fangs into us, spreads its arms round us,
infects us with its breath, glares upon us with its hideous aspect; we
feel it take possession of every fibre and of every faculty; and we are
at length so absorbed and fascinated by it, that we cannot divert our
Public-domain text, read in full here on John Shaqi.
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