various subjects, a few of which had previously appeared in the “London Magazine.” In 1824, Mr. H. married Isabella, widow of Lieut. Col. Bridgewater, a lady of some property; proceeding, after the wedding, on a tour through France and Italy. “Notes” of this journey appeared in the “Morning Chronicle,” and were afterwards collected in a volume. In 1825, appeared the second series of “Table-Talk,” and the “Spirit of the Age,” a series of criticisms on the more prominent literary men then living. In 1826, the “Plain Speaker” was published, and another edition of the “Table-Talk.” At this period, and for some years previous, Mr. Hazlitt was a frequent contributor to the “Edinburgh Review,” the “New Monthly,” “Monthly,” and “London” Magazines, and other periodicals. In 1829, he published “Selections from the British Poets,” and in 1830, “Northcote's Conversations,” the “Life of Titian,” (in which Mr. Northcote had a large share, and whose name, indeed, appeared as author on the title-page) and his chief work, “The Life of Napoleon,” in four volumes. In August of this year he was attacked by a species of cholera, and on the 18th of September he died. We are indebted for the facts in this naked outline of Mr. Hazlitt's life, principally to the memoir by his son in the volume before us. The Memoir itself bears upon its face so obvious and indeed so very natural an air of the most enthusiastic filial affection and admiration, that we are forced to place but little reliance upon the critical opinions it advances. The “Thoughts on the Genius of William Hazlitt,” by Mr. Bulwer, differ in many striking points from the “Thoughts” by Sergeant Talfourd, on his “Intellectual Character.” We give the preference unhesitatingly to the noble paper of Talfourd—a brilliant specimen of accurate thinking and fine writing. The article of Bulwer, indeed, seems to be a compulsory thing—an effort probably induced by earnest solicitation—and no labor of love. Hazlitt, moreover, was personally unknown to him. Sergeant Talfourd, on the contrary, appears to write with a vivid interest in the man, and a thorough knowledge of his books. Nothing more fully than is here said, need be said, on the character, on the capacities, or on the works of Hazlitt, and nothing possibly _can_ be said more happily or more wisely. Of the Essays which constitute the body of the book before us, all have a relative—most of them a very high positive value. To American readers Hazlitt is principally known, we believe, as the Dramatic Critic, and the Lecturer on the Elder Poetry of England. Some of the papers in the present volume will prove the great extent and comprehensiveness of his genius. One on the “Fine Arts” especially, cannot fail of seizing public attention. Mr. Hazlitt discourses of Painting, as Chorley of Music. Neither have been equalled in their way. A fine passage of Hazlitt's on the _ideal_ commences thus—