Table-Talk

Table-Talk is a collection of essays by the English cultural critic and social commentator William Hazlitt. It was originally published as two volumes, the first of which appeared in April 1821. The essays deal with topics such as art, literature and philosophy.

Quotes

  • Indolence is a delightful but distressing state; we must be doing something to be happy.
    • "On the Pleasure of Painting"
  • First impressions are often the truest, as we find (not unfrequently) to our cost when we have been wheedled out of them by plausible professions or actions. A man's look is the work of years, it is stamped on his countenance by the events of his whole life, nay, more, by the hand of nature, and it is not to be got rid of easily.
    • "On the Knowledge of Character"
  • Great thoughts reduced to practice become great acts.
    • "On the Knowledge of Character"
  • Modesty is the lowest of the virtues, and is a real confession of the deficiency it indicates. He who undervalues himself is justly undervalued by others.
    • "On the Knowledge of Character"
  • One has no notion of him as making use of a fine pen, but a great mutton-fist; his style stuns readers...He is too much for any single newspaper antagonist; "lays waste" a city orator or Member of Parliament, and bears hard upon the government itself. He is kind of fourth estate in the politics of the country.
  • He changes his opinions as he does his friends, and much on the same account. He has no comfort in fixed principles; as soon as anything is settled in his own mind, he quarrels with it. He has no satisfaction but the chase after truth, runs a question down, worries and kills it, then quits it like a vermin, and starts some new game, to lead him a new dance, and give him a fresh breathing through bog and brake, with the rabble yelping at his heels and the leaders perpetually at fault.
    • "On the Character of Cobbett"
  • Scholars, like princes, may learn something by being incognito. Yet we see those who cannot go into a bookseller's shop, or bear to be five minutes in a stage-coach, without letting you know who they are. They carry their reputation about with them as the snail does its shell, and sit under its canopy, like the lady in the lobster. I cannot understand this at all. What is the use of a man's always revolving round his own little circle? He must, one should think, be tired of it himself, as well as tire other people.
    • "On People With One Idea"
  • Any one who has passed through the regular gradations of a classical education, and is not made a fool by it, may consider himself as having had a very narrow escape.
    • "On the Ignorance of the Learned"
  • Learning is, in too many cases, but a foil to common sense; a substitute for true knowledge.
    • "On the Ignorance of the Learned"
  • The thing is plain. All that men really understand is confined to a very small compass; to their daily affairs and experience; to what they have an opportunity to know and motives to study or practise. The rest is affectation and imposture.
    • "On the Ignorance of the Learned"
  • The most sensible people to be met with in society are men of business and of the world, who argue from what they see and know, instead of spinning cobweb distinctions of what things ought to be.
    • "On the Ignorance of the Learned"
  • It is better to be able neither to read nor write than to be able to do nothing else.
    • "On the Ignorance of the Learned"
  • If we wish to know the force of human genius, we should read Shakespeare. If we wish to see the insignificance of human learning, we may study his commentators.
    • "On the Ignorance of the Learned"
  • Danger is a good teacher, and makes apt scholars. So are disgrace, defeat, exposure to immediate scorn and laughter. There is no opportunity in such cases for self-delusion, no idling time away, no being off your guard (or you must take the consequences) — neither is there any room for humour or caprice or prejudice.
    • "The Indian Jugglers"
  • No man is truly great who is great only in his lifetime. The test of greatness is the page of history.
    • "The Indian Jugglers"
  • What I mean by living to one's-self is living in the world, as in it, not of it: it is as if no one know there was such a person, and you wished no one to know it: it is to be a silent spectator of the mighty scene of things, not an object of attention or curiosity in it; to take a thoughtful, anxious interest in what is passing in the world, but not to feel the slightest inclination to make or meddle with it.
    • "On Living to One's-Self"
  • Even in the common affairs of life, in love, friendship, and marriage, how little security have we when we trust our happiness in the hands of others!
    • "On Living to One's-Self"
  • There is not a more mean, stupid, dastardly, pitiful, selfish, spiteful, envious, ungrateful animal than the Public. It is the greatest of cowards, for it is afraid of itself.
    • "On Living to One's-Self"
  • When a man is dead, they put money in his coffin, erect monuments to his memory, and celebrate the anniversary of his birthday in set speeches. Would they take any notice of him if he were living? No!
    • "On Living to One's-Self"
  • Thought depends on the habitual exercise of the speculative faculties; action, on the determination of the will. The one assigns reasons for things, the other puts causes into act. … Such is the effeminacy of the speculative and philosophical temperament, compared with the promptness and vigour of the practical! … Reasoners in general are undecided, wavering, and sceptical, or yield at last to the weakest motive as most congenial to their feeble habit of soul.
    • "On Thought and Action"
  • The great requisite … for the prosperous management of ordinary business is the want of imagination.
  • It [will-making] is the latest opportunity we have of exercising the natural perversity of the disposition … This last act of our lives seldom belies the former tenor of them for stupidity, caprice, and unmeaning spite. All that we seem to think of is to manage matters so (in settling accounts with those who are so unmannerly as to survive us) as to do as little good, and to plague and disappoint as many people, as possible.
    • "On Will-Making"
  • His hypothesis goes to this — to make the common run of his readers fancy they can do all that can be done by genius, and to make the man of genius believe he can only do what is to be done by mechanical rules and systematic industry. This is not a very feasible scheme; nor is Sir Joshua sufficiently clear and explicit in his reasoning in support of it.
  • It has been the resolution of mankind in all ages of the world. No people, no age, ever threw away the fruits of past wisdom, or the enjoyment of present blessings, for visionary schemes of ideal perfection. It is the knowledge of the past, the actual infliction of the present, that has produced all changes, all innovations, and all improvements — not (as is pretended) the chimerical anticipation of possible advantages, but the intolerable pressure of long-established, notorious, aggravated, and growing abuses.
    • "On Paradox and Common-Place"
  • Of the two classes of people, I hardly know which is to be regarded with most distaste, the vulgar aping the genteel, or the genteel constantly sneering at and endeavouring to distinguish themselves from the vulgar. … True worth does not exult in the faults and deficiencies of others; as true refinement turns away from grossness and deformity, instead of being tempted to indulge in an unmanly triumph over it. … Real power, real excellence, does not seek for a foil in inferiority; nor fear contamination from coming in contact with that which is coarse and homely.
    • "On Vulgarity and Affectation"
  • Our first of poets was one of our first of men. He was an eminent instance to prove that a poet is not another name for the slave of power and fashion … who merely aspire to make up the pageant and show of the day. There are persons in common life who … can so little bear to be left for any length of time out of the grand carnival and masquerade of pride and folly, that they will gain admittance to it at the expense of their characters … Milton was not one of these. He had lofty contemplative principle, and consciousness of inward power and worth, [not] to be tempted by such idle baits.
    • "On Milton's Sonnets"
  • One of the pleasantest things in the world is going a journey; but I like to do it myself. I can enjoy society in a room; but out of doors, nature is company enough for me. I am then never less alone than when alone.
    • "On Going on a Journey"
  • I cannot see the wit of walking and talking at the same time. When I am in the country, I wish to vegetate like the country.
    • "On Going on a Journey"
  • The soul of a journey is liberty, perfect liberty, to think, feel, do just as one pleases.
    • "On Going on a Journey"
  • Give me the clear blue sky over my head, and the green turf beneath my feet, a winding road before me, and a three hours' march to dinner — and then to thinking! … I begin to feel, think, and be myself again. Instead of an awkward silence, broken by attempts at wit or dull common-places, mine is that undisturbed silence of the heart which alone is perfect eloquence.
    • "On Going on a Journey"
  • I should on this account like well enough to spend the whole of my life in travelling abroad, if I could anywhere borrow another life to spend afterwards at home.
    • "On Going on a Journey"
  • It is strange that people should take so much interest at one time in what they so soon forget; — the truth is, they feel no interest in it [news of the day] at any time, but it does for something to talk about. Their ideas are served up to them, like their bill of fare, for the day; and the whole creation, history, war, politics, morals, poetry, metaphysics, is to them like a file of antedated newspapers, of no use, not even for reference, except the one which lies on the table! You cannot take any of these persons at a greater disadvantage than before they are provided with their cue for the day. They ask with a face of dreary vacuity, 'Have you anything new?' — and on receiving an answer in the negative, have nothing further to say.
    • "On Coffee-House Politicians"
  • We cannot by a little verbal sophistry confound the qualities of different minds, nor force opposite excellences into a union by all the intolerance in the world. … If we have a taste for some one precise style or manner, we may keep it to ourselves and let others have theirs. If we are more catholic in our notions, and want variety of excellence and beauty, it is spread abroad for us to profusion in the variety of books and in the several growth of men's minds, fettered by no capricious or arbitrary rules.
    • "On Criticism"
  • The last sort I shall mention are verbal critics — mere word-catchers, fellows that pick out a word in a sentence and a sentence in a volume, and tell you it is wrong. The title of Ultra-Crepidarian critics has been given to a variety of this species.
    • "On Criticism"
  • It is not easy to write a familiar style. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. On the contrary, there is nothing that requires more precision, and, if I may so say, purity of expression, than the style I am speaking of. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions. It is not to take the first word that offers, but the best word in common use; it is not to throw words together in any combinations we please, but to follow and avail ourselves of the true idiom of the language. To write a genuine familiar or truly English style, is to write as anyone would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes... It is easy to affect a pompous style, to use a word twice as big as the thing you want to express: it is not so easy to pitch upon the very word that exactly fits it, out of eight or ten words equally common, equally intelligible, with nearly equal pretensions, it is a matter of some nicety and discrimination to pick out the very one the preferableness of which is scarcely perceptible, but decisive.
    • "On Familiar Style" (1821)
  • Very trifling circumstances do give great and daily annoyance, and as often prove too much for our philosophy and forbearance, as matters of the highest moment. … The truth is, we pamper little griefs into great ones, and bear great ones as well as we can … To great evils we submit; we resent little provocations.
    • "On Great and Little Things"
  • If you think you can win, you can win. Faith is necessary to victory.
    • "On Great and Little Things"
  • Whatever is placed beyond the reach of sense and knowledge, whatever is imperfectly discerned, the fancy pieces out at its leisure; and all but the present moment, but the present spot, passion claims for its own, and brooding over it with wings outspread, stamps it with an image of itself. Passion is lord of infinite space, and distant objects please because they border on its confines and are moulded by its touch.
    • "Why Distant Objects Please"
  • There is (so to speak) "a mighty stream of tendency" to good in the human mind, upon which all objects float and are imperceptibly borne along; and though in the voyage of life we meet with strong rebuffs, with rocks and quicksands, yet there is a "a tide in the affairs of men," a heaving and a restless aspiration of the soul, by means of which, "with sails and tackle torn," the wreck and scattered fragments of our entire being drift into the port and haven of our desires!
    • "Why Distant Objects Please"
  • We can scarcely hate any one that we know.
    • "Why Distant Objects Please"
  • In art, in taste, in life, in speech, you decide from feeling, and not from reason … If we were obliged to enter into a theoretical deliberation on every occasion before we act, life would be at a stand, and Art would be impracticable.
    • "On Genius and Common Sense"
  • The objects that we have known in better days are the main props that sustain the weight of our affections, and give us strength to await our future lot. The future is like a dead wall or a thick mist hiding all objects from our view; the past is alive and stirring with objects, bright or solemn, and of unfading interest.
    • "On the Past and Future"
  • I think it is a rule that men in business should not be taught other things. Any one will be almost sure to make money who has no other idea in his head. A college education, or intense study of abstract truth, will not enable a man to drive a bargain … The best politicians are not those who are deeply grounded in mathematical or in ethical science. Rules stand in the way of expediency. Many a man has been hindered from pushing his fortune in the world by an early cultivation of his moral sense.
    • "On the Disadvantages of Intellectual Superiority"
  • Corporate bodies are more corrupt and profligate than individuals, because they have more power to do mischief, and are less amenable to disgrace or punishment. They feel neither shame, remorse, gratitude, nor goodwill.
    • "On Corporate Bodies"
  • They [universities] may be said to resemble antiquated coquettes of the last age, who think everything ridiculous and intolerable but what was in fashion when they were young, and yet are standing proofs of the progress of taste and the vanity of human pretensions. Our universities are, in a great measure, become cisterns to hold, not conduits to disperse knowledge. … they can only be of service as a check-weight on the too hasty and rapid career of innovation. … The unavoidable aim of all corporate bodies of learning is not to grow wise, or teach others wisdom, but to prevent any one else from being or seeming wiser than themselves.
    • "On Corporate Bodies"
  • Reputation runs in a vicious circle, and Merit limps behind it, mortified and abashed at its own insignificance. It has been said that the test of fame or popularity is to consider the number of times your name is repeated by others … So, if you see the same name staring you in the face in great letters at the corner of every street, you involuntarily think the owner of it must be a great man to occupy so large a space in the eye of the town. The appeal is made, in the first instance, to the senses, but it sinks below the surface into the mind. There are various ways of playing one's-self off before the public, and keeping one's name alive. The newspapers, the lamp-posts, the walls of empty houses, the shutters of windows, the blank covers of magazines and reviews, are open to every one.
    • "On Patronage and Puffing"
  • No young man believes he shall ever die.
    • "On the Feeling of Immortality in Youth"
  • There is a feeling of Eternity in youth which makes us amends for everything. To be young is to be as one of the Immortals.
    • "On the Feeling of Immortality in Youth"
  • Perhaps the best cure for the fear of death is to reflect that life has a beginning as well as an end. There was a time when we were not: this gives us no concern — why then should it trouble us that a time will come when we shall cease to be?
    • "On the Fear of Death"
  • The art of will-making chiefly consists in baffling the importunity of expectation.
    • "On Will-Making"
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