that is associated with their names;-making it an honour even to have been their cotemporaries, and an hereditary rank to be their descendants.

THE AUTHOR OF EUGENE ARAM,' &c.

London, March 10, 1835.

As an author, Mr Hazlitt may be contemplated principally in three aspects,-as a moral and political reasoner; as an observer of character and manners; and as a critic in literature and painting. It is in the first character only that he should be followed with caution. His metaphysical and political essays contain rich treasures, sought with years of patient toil, and poured forth with careless prodigality,-materials for thinking, a small part of which wisely employed will enrich him who makes them his own, but the choice is not wholly unattended with perplexity and danger. He had, indeed, as passionate a desire for truth as others have for wealth, or power, or fame. The purpose of his research was always steady and pure; and

no temptation from without could induce him to pervert or to conceal the faith that was in him. But, besides that love of truth, that sincerity in pursuing it, and that boldness in telling it, he had earnest aspirations after the beautiful, a strong sense of pleasure, an intense consciousness of his own individual being, which broke the current of abstract speculation into dazzling eddies, and sometimes turned it astray. The vivid sense of beauty may, indeed, have fit home in the breast of the searcher after truth,but then he must also be endowed with the highest of all human faculties, the great mediatory and interfusing power of Imagination, which presides supreme in the mind, brings all its powers and impulses into harmonious action, and becomes itself the single organ of all. At its touch, truth becomes visible in the shapes of beauty; the fairest of material things appear the living symbols of airy thought; and the mind apprehends the finest affinities of the worlds of sense and of spirit "in clear dream and solemn vision." By its aid the faculties are not only balanced, but multiplied into each other; are pervaded by one feeling, and directed to one issue. But, without it, the inquirer after truth will sometimes be confounded by too intense a yearning after the grand and the lovely,

-not, indeed, by an elegant taste, the indulgence of which is a graceful and harmless recreation amidst severer studies, but by that passionate regard which quickens the pulse, and tingles in the veins, and "hangs upon the beatings of the heart." Such was the power of beauty in Hazlitt's mind; and the interfusing faculty was wanting. The spirit, indeed, was willing, but the flesh was strong; and when these contend it is not difficult to foretel which will obtain the mastery; for "the power of beauty shall sooner transform honesty from what it is into a bawd, than the power of honesty shall transform beauty into its likeness." How this some-time paradox became exemplified in the writings of one whose purpose was always single, may be traced in the history of his mind, at which it may be well to glance before adverting to the examples.

His

William Hazlitt was the son of a dissenting minister, who presided over a small Unitarian congregation at Wem, in Shropshire. father was one of those blameless enthusiasts who, taking only one view of the question between right and power, embrace it with singleness of heart, and hold it fast with inflexible purpose. He cherished in his son that attachment to truth for its own sake, and those habits of fearless investigation which are the

natural defences of a creed maintaining its ground against the indolent force of a wealthy establishment, and the fervid attacks of combining sectaries without the fascinations of mystery or terror. In the solitude of the country, his pupil learned, at an early age, to think. But that solitude was something more to him than a noiseless study, in which he might fight over the battle between Filmer and Locke; or exult on the shattered dogmas of Calvin; or rivet the links of the immortal chain of necessity, and strike with the force of ponderous understanding on all mental fetters. A temperament of unusual ardour glowed amidst those lonely fields, and imparted to the silent objects of nature a weight of interest akin to that with which Rousseau has oppressed the picture of his early years. He had not then, nor did he find till long afterwards, power to embody his meditations and feelings in words; the consciousness of thoughts which he could not hope adequately to express increased his natural reserve; and he turned for relief to the art of painting, in which he might silently realize his dreams of beauty, and repay the bounties of nature. A few old prints from the old masters awakened the spirit of emulation within him; the sense of beauty became identi