He was, they held, telling the tyrants that it was not their fault if the poor were miserable. The essay was thus an apology for the heartlessness of the rich. This view was set forth by Hazlitt in an attack upon Malthus in 1807.[431] It appears again in the _Enquiry_ by G. Ensor (1769-1843)--a vivacious though rather long-winded Irishman, who was known both to O'Connell and to Bentham.[432] Godwin himself was roused by the appearance of the fifth edition of Malthus's _Essay_ to write a reply, which appeared in 1820. He was helped by David Booth (1766-1846),[433] a man of some mathematical and statistical knowledge. Hazlitt's performance is sufficiently significant of the general tendency. Hazlitt had been an enthusiastic admirer of Godwin, and retained as much of the enthusiasm as his wayward prejudices would allow. He was through life what may be called a sentimental Radical, so far as Radicalism was compatible with an ardent worship of Napoleon. To him Napoleon meant the enemy of Pitt and Liverpool and Castlereagh and the Holy Alliance. Hazlitt could forgive any policy which meant the humiliation of the men whom he most heartily hated. His attack upon Malthus was such as might satisfy even Cobbett, whose capacity for hatred, and especially for this particular object of hatred, was equal to Hazlitt's. The personal rancour of which Hazlitt was unfortunately capable leads to monstrous imputations. Not only does Malthus's essay show the 'little low rankling malice of a parish beadle ... disguised in the garb of philosophy,' and bury 'false logic' under 'a heap of garbled calculations,'[434] and so forth; but he founds insinuations upon Malthus's argument as to the constancy of the sexual passion. Malthus, he fully believes, has none of the ordinary passions, anger, pride, avarice, or the like, but declares that he must be a slave to an 'amorous complexion,' and believe all other men to be made 'of the same combustible materials.'[435] This foul blow is too characteristic of Hazlitt's usual method; but indicates also the tone which could be taken by contemporary journalism.