No; it is the sheer joy of being in the open, and learning what Whitman called the “profound lesson of reception,” that attracted Hazlitt. “What I like best,” he declares, “is to lie whole mornings on a sunny bank on Salisbury Plain, without any object before me, neither knowing nor caring how time passes, and thus, ‘with light-winged toys and feathered idleness, to melt down hours to moments.’” A genuine Vagabond mood this. Hazlitt, like De Quincey, had felt the glamour of the city as well as the glamour of the country; not with the irresistibility of Lamb, but for all that potently. But an instinct for the open, the craving for pleasant spaces, and the longing of the hard-driven journalist for the gracious leisure of the country, these things were paramount with both Hazlitt and De Quincey. In Hazlitt’s case there is a touch of wildness, a more primal delight in the roughness and solitude of country places than we find in De Quincey. “One of the pleasantest things,” says Hazlitt, in true Vagabond spirit, “is going on a journey; but I like to go by myself.” The last touch is not only characteristic of Hazlitt, it touches that note of reserve verging on anti-social sentiment that was mentioned as characteristic of the Vagabond. He justifies his feeling thus with an engaging frankness: “The soul of a journey is liberty, perfect liberty, to think, feel. Do just as one pleases. We go a journey chiefly to be free of all impediments and of all inconveniences; to leave ourselves behind; much more to get rid of others. . . . It is hard if I cannot start some game on these lone heaths. I laugh, I run, I leap, I sing for joy. From the point of yonder rolling cloud I plunge into my past being, and revel there, as the sunburnt Indian plunges headlong into the wave that wafts him to his native shore. Then long-forgotten things, like ‘sunken wrack and sunless treasures,’ burst upon my eager sight, and I begin to feel, think, and be myself again.” IV Taken on the whole, the English literary Vagabond is a man of joy, not necessarily a cheerful man. There is a deeper quality about joy than about cheerfulness. Cheerfulness indeed is almost entirely a physical idiosyncrasy. It lies on the surface. A man, serious and silent, may be a joyful man; he can scarcely be a cheerful man. Moody as he was at times, sour-tempered and whimsical as he could be, yet there was a fine quality of joy about Hazlitt. It is this quality of joy that gives the sparkle and relish to his essays. He took the same joy in his books as in his walks, and he communicates this joy to the reader. He appears misanthropic at times, and rages violently at the world; but ’tis merely a passing gust of feeling, and when over, it is easy to see how superficial it was, so little is his general attitude affected by it.