Hazlitt weaves his argument though the use of syntax, diction and appeals to pathos, logos and ethos; by using these effective rhetorical strategies Hazlitt proves his point that money is a crucial part of happiness in today’s world. . Overview: This will give you some insight into Section I of the English Language and Composition Examination. Dr. Richard Nordquist is professor emeritus of rhetoric and English at Georgia Southern University and the author of several university-level grammar and composition textbooks. The web and texture of the universe, and of the heart of man, is a mystery to them: they have no faculty that strikes a chord in unison with it. sister projects: Wikipedia article, Wikidata item. Battle’s Opinions on Whist,” which is also the most free from obsolete allusions and turns of expression—. All provincial or bye-phrases come under the same mark of reprobation—all such as the writer transfers to the page from his fireside or a particular coterie, or that he invents for his own sole use and convenience. In the work of British romantic essayist and political radical William Hazlitt (1778–1830), vivid accounts of the sociable worlds of everyday speech in early nineteenth-century London—in the tavern, parlor, pulpit, theater, or Parliament—are often likewise enmeshed in questions of literary form, in a comparable if unsystematic fusion of literary and social criticism. They are very curious to inspect, but I myself would neither offer nor take them in the course of exchange. Welcome to my channel.Happy to help. Such writers have merely verbal imaginations, that retain nothing but words. Quotidiana is an online anthology of "classical" essays, from antiquity to the early twentieth century. 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. 15 Dec 2006. I never invented or gave a new and unauthorized meaning to any words but one single one (the term impersonal applied to feelings), and that was in an abstruse metaphysical discussion to express a very difficult distinction. William Hazlitt has a sharp, idiomatic, familiar style. The original footnote found in Keynes’ colllection; I have, in turn, placed them in parentheses. They are the mock-school in poetry and prose. A truly natural or familiar style can never be quaint or vulgar, for this reason, that it is of universal force and applicability, and that quaintness and vulgarity arise out of the immediate connection of certain words with coarse and disagreeable, or with confined ideas. He wrote with an aim to communicate with his readers. AP English Language and Composition Examination. It is not easy to write a familiar style. We wander farther form the point by persisting in a wrong scent; but it start up accidentally in the memory when we least expect it, by touching some link in the chain of previous association. . In 1764 he became pastor at Wisbechin Cambridgeshire, where in 1766 he married Grace Loftus, daughter of a recently deceased ironmonger. A master of invective and irony, essayist William Hazlitt was one of the great prose stylists of the 19th century. Words, like clothes, get old-fashioned, or mean and ridiculous, when they have been for some time laid aside. The florid style is the reverse of the familiar. Or their puny thoughts have dragon-wings, all green and gold. A person who does not deliberately dispose of all his thoughts alike in cumbrous draperies and flimsy disguises, may strike out twenty varieties of familiar every-day language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one which may be said to be identical with the exact impression in his mind. They flounder about between fustian in expression and bathos in sentiment. His father, the Rev. ThoughtCo uses cookies to provide you with a great user experience. FAMILIAR STYLE: Hazlitt cultivated a personal style which is called personal style. I do not say I would not use any phrase that had been brought into fashion before the middle or the end of the last century, but I should be shy of using any that had not been employed by any approved author during the whole of that time. Continue Reading Below. A word may be a find-sounding word, of an unusual length, and a very imposing from its learning and novelty, and yet in the connection in which it is introduced may be quite pointless and irrelevant. 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. Purchase books by our featured essayists at. 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. Nothing more is meant by them than meets the ear: they understand or feel nothing more than meet their eye. You do not assume, indeed, the solemnity of the pulpit, or the tone of stage declamation; neither are you at liberty to gabble on at a venture, without emphasis or discretion, or to resort to a vulgar dialect or clownish pronunciation. Here is the opening of William Hazlitt's "On Familiar Style" "It is not easy to write a familiar style. Again, it is the practice with the German school, and in particular with Dr. Spurzheim, to run counter to common sense and the best authenticated opinions. Patrick Madden. William Hazlitt on Familiar Style . It is not easy to write a familiar style. Their Temple of Fame is like a shadow structure raised by Dulness to Vanity, or like Cowper’s description of the Empress of Russia’s palace of ice, “as worthless as in show ’twas glittering”—. . Also named William Hazlitt, Hazlitt's father attended the University of Glasgow (where he was taught by Adam Smith), receiving a master's degree in 1760. A thought, a distinction is the rock on which all this brittle cargo of verbiage splits at once. His interests, however, were much more philosophical and political than. A truly natural or familiar style can never be quaint or vulgar, for this reason,, that arise out of the immediate connection of certain words with coarse and disagreeable, or with confined ideas. I hate anything that occupies more space than it is worth. The Project Gutenberg EBook of Table-Talk, by William Hazlitt This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. The reason why I object to Dr. Johnson’s style is that there is no discrimination, no selection, no variety in it. Yet the charm and sweetness of Marlow’s lines depended often on their being made up almost entirely of monosyllables.) Or their puny thoughts have dragon-wings, all green and gold. There is an inward unction, a marrowy vein, both in the thought and feeling, an intuition, deep and lively, of his subject, that carries off any quaintness or awkwardness arising from an antiquated style and dress. Swell out an unmeaning truism to a perfect tympany of style. The matter is completely his own, though the manner is assumed. Rouge high enough, and never mind the natural complexion. If some of us, whose “ambition is more lowly, “pry a little too narrowly into nooks and corners to pick up a number of “unconsidered trifles,” they never once direct their eyes or lift their hands to seize on any but the most gorgeous, tarnished, thread-bare, patchwork set of phrases, the left-off finery of poetic extravagance, transmitted down through successive generations of barren pretenders. In "On Familiar Style" (originally published in the London Magazine and reprinted in Table Talk, 1822), Hazlitt explains his preference for "plain words and popular modes of construction." All essays and images are in the public domain. This would seem to show that Mr. Cobbet is hardly right in saying that the first word that occurs is always the best. The essay examines the use of colloquial and vernacular English in early 19th century romantic literature as a distinct literary style. “On familiar style.” 1821. The last form what we understand by cant or slang phrases.—To give an example of what is not very clear in the general statement. Although he did not strain after any particular style, he had a style of his own. Such persons are in fact besotted with words, and their brains are turned with the glittering but empty and sterile phantoms of things. With a sovereign contempt for what is familiar and natural, they are the slaves of vulgar affectation—of a routine of high-flown phrases. The passages which he has quoted are, with one or two exceptions, familiar to all who have the slightest acquaintance with English literature. I hate anything that occupies more space than it is worth. William Hazlitt, ‘On Going a Journey’ (1822) By invoking in his title Hazlitt’s celebrated essay on the joys of solitude among nature, and the value of the unmediated aesthetic experience, John Woolrich lays down a particular challenge for the writer of programme notes! Junior English Language: Rhetorical Analysis [AP] Mr. Sanders. Not to be confused with The Table Talk, a translation of Martin Luther by William Hazlitt's son William Hazlitt. Swell out an unmeaning truism to a perfect tympany of style. Images stands out in their minds isolated and important merely in themselves, without any ground-work of feeling— there is no context in their imaginations. They soar far above the vulgar failing of the Sermo humi obrepens--their most ordinary speech is never short of an hyperbole, splendid, imposing, vague, incomprehensible, magniloquent, a cento of sounding common-places. I do not, however, know how far this is the case or not, till he condescends to write like one of us. Its true’s to say in the least possible space. Any one may mouth out a passage with a theatrical cadence, or get upon stilts to tell his thoughts; but to write or speak with propriety and simplicity is a more difficult task. . --"What is the matter?" 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. from “On Familiar Style” by William Hazlitt. It is clear you cannot use a vulgar English word if you never use a common English word at all. How simple is it to be dignified without ease, to be pompous without meaning! It is not a reflection of tones and hues which “nature’s own sweet and cunning hand laid on, “put piles of precious stones, rubies, pearls, emeralds, Golconda’s mines, and all the blazonry of art. The Gentleman In The Parlour. It is as easy to write a gaudy style without ideas, as it is to spread a pallet of showy colours, or to smear in a flaunting transparency. Yet, as Kevin Gilmartin argues in this rich and consistently revealing study, Hazlitt’s politics have often been viewed as distracting from or even compromising his more narrowly literary achievements, … I should say that the phrase “To cut with a knife,” or “To cut a piece of wood,” is perfectly free from vulgarity, because it is perfectly common; but to cut an acquaintance is not quite unexceptionable, because it is not perfectly common or intelligible, and has hardly yet escaped out of the limits of slang phraseology. Not a glimpse can you get of the merits of defects of the performers: they are hidden in a profusion of barbarous epithets and willful rodomontade. To write a genuine familiar or truly English style, is to write as any one 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. Keep to your sounding generalities, your tinkling phrases, and all will be well. His many essays are famous for the lucidity and brilliance in both style and content. . by William Hazlitt. 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. 2 (I have heard of such a thing as an author who makes it a rule never to admit a monosyllable into his vapid verse. He is recognized as the best art critic of the Romantic period. 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. The Coronation at either House is nothing to it. If they describe kings and queens, it is an Eastern pageant. The last is employed as an unvarnished medium to convey ideas; the first is resorted to as a spangled veil to conceal the want of them. His remarks on particular quotations are often injudicious; his general reasonings, for the most part, unintelligible" Quarterly Review 19 (July 1818) 424-25. William Hazlitt "On Familiar Style" Flashcard maker : Lily Taylor 1 test answers What is the rhetorical function of this sentence, “many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random.” He was the son of a poor Irish farmer, and after preparing for the ministry at Glasgow University had married in 1766 the daughter of an iron- monger at Wisbeach in … TABLE-TALK. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, … . Hazlitt himself describes the features of his style. A word may be a fine-sounding word, of an unusual length, and very imposing from its learning and novelty, and yet in the connection in which it is introduced may be quite pointless and irrelevant. There is always in the style of Hazlitt a certain amount of refine taste which becomes his most marked characteristic. I think not of making morality full of embroidery, cutworks, but to clothe her in truth, and plainness. The essays deal with topics such as art, literature and philosophy. It utterly rejects not only all unmeaning pomp, but all low, cant phrases, and loose, unconnected, slipshod allusions. I hate to see a load of band-boxes go along the street, and I hate to see a parcel of big words without anything in them. It should be suggested naturally, however, and spontaneously, from a fresh and lively conception of the subject. They cannot get beyond the daubings of fancy, the varnish of sentiment. You are tied down to a given and appropriate articulation, which is determined by the habitual associations between sense and sound, and which you can only hit by entering into the author’s meaning, as you must find the proper words and style to express yourself by fixing your thoughts on the subject you have to write about. This style is free from affectation or vulgarity. You must steer a middle course. . The vulgar, who are not in the secret, will admire the look of preternatural health and vigour; and the fashionable, who regard only appearances, will be delighted with the imposition. A sprinkling of archaisms is not amiss, but a tissue of obsolete expressions is more fit for keep than wear. All is far-fetched, dear bought, artificial, oriental in subject and allusion; all is mechanical, conventional, vapid, formal, pedantic in style and execution. These are with them the wardrobe of a lofty imagination; and they turn their servile strains to servile uses. If a fine style depended on this sort of arbitrary pretension, it would be fair to judge of an author’s elegance by the measurement of his words and the substitution of foreign circumlocutions (with no precise associations) for the mother-tongue.*. If they criticize actor and actresses, a huddled phantasmagoria of feathers, spangles, floods of light, and oceans of sounds float before their morbid sense, which they paint in the style of Ancient Pistol. "What do you read,"--"Words, words, words." --"Nothing," it might be answered. Writers are often so blind to the value of words that they are content with a bare expression of their thoughts, disdaining the "labor of the file," and confident that the phrase first seized is for them the phrase of inspiration. November 04, 2012. On Familiar Style (Hindi) | William Hazlitt | Summary and Analysis | part-2 | English literature || Hi!! “Nothing,” it might be answered. Contrariness of the kind manifest in the literary output and general disposition of the nineteenth century English essayist and journalist, William Hazlitt, has much to teach contemporary intellectuals working in the academy about how better to be critical, offering important lessons on the necessity for self-consistency and independence of thought and the need more to write for publication … . We get at four repeated images, a curtain, a throne, a sceptre, and a foot-stool. They must always be more knowing than every body else, and treat the wisdom of the ancients, and the wisdom of the moderns, much in the same supercilious way. He uses none but “tall, opaque words, “taken from the “first row of the rubric”—words with the greatest number of syllables, or Latin phrases with merely English terminations. 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. A thought, a distinction is the rock on which all this brittle cargo of verbiage splits at once. 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 is not easy to write a familiar style. The florid style is the reverse of the familiar. Our hypercritics are not thinking of these little fantoccini beings—, That strut and fret their hour upon the stage—, but of tall phantoms of words, abstractions, genera and species, sweeping clauses, periods that unite the Poles, forced alliterations, astounding antitheses—. Hazlitt, William, 1778-1830: Title: ... On great and little things -- On familiar style -- On effeminacy of character -- Why distant objects please -- On corporate bodies -- Whether actors ought to sit in the boxes? It is a fine style of mystifying. Consciousness and propriety of words and phrases is a great characteristic of him. It may be a very good one; and yet a better may present itself on reflection or from time to time. I cannot speak to that point; but so far I plead guilty to the determined use of acknowledged idioms and common elliptical expressions. I have been (I know) loudly accused of reveling in vulgarisms and broken English. In May 1823 he published anonymously a fictional account of a brief, illicit … Look through the dictionary and cull out a florilegium, rival the tulippomania. Such writers have merely verbal imaginations, that retain nothing but words. Or, to give another illustration, to write naturally is the same thing in regard to common conversation as to read naturally is in regard to common speech. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Table-Talk Essays on Men and Manners Author: William Hazlitt Release … Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. *NOTE: (I have heard of such a thing as an author who makes it a rule never to admit a monosyllable into his vapid verse. Many people mistake a familiar for a vulgar style, and suppose that to write without affectation is to write at random. Perhaps his ideas are altogether so marked and individual as to require their point and pungency to be neutralized by the affectation of a singular but traditional form of conveyance. William Hazlitt On familiar style. I must confess that what I like best of his papers under the signature of Elia (still I do no presume amidst such excellence, to decide what is most excellent) is the account of “Mrs. William Hazlitt - "On Familiar Style" Here is a piece by William Hazlitt (1778--1830) on writing style - an essayist about whom Somerset Maugham had this to say; If art is nature seen through the medium of a personality, 'Hazlitt is a great artist.' Thus his influence on the English essay has been healthier than Lamb’s. I hate to see a load of band-boxes go along the street, and I hate to see a parcel of big words without anything in them. Look through the dictionary and cull out a florilegium, rival the tulippomania. I am not sure that the critics in question know the one from the other, that is can distinguish any medium between formal pedantry and the most barbarous solecism. “What do you read?” “Words, words, words.”— What is the matter? Tricked out in the prevailing costume, they would probably seem more startling and out of the way. Rouge high enough, and never mind the natural complexion. Do we read a description of pictures? William Hazlitt, (born April 10, 1778, Maidstone, Kent, Eng.—died Sept. 18, 1830, Soho, London), English writer best known for his humanistic essays. The family of Hazlitt's father were Irish Protestants who moved from the county of Antrim to Tipperary in the early 18th century. William Hazlitt’s prose style combines energy and vigor, ease and effectiveness. -- On the disadvantages of intellectual superiority -- On patronage and puffing -- On the knowledge of character -- On the picturesque and ideal -- On the fear of death. As an author I endeavor to employ plain words and popular modes of construction, as, were I a chapman and dealer, I should common weights and measures. Certainly, I do not know any borrowed pencil that has more power or felicity of execution than the one of which I have here been speaking. Mr. Lamb is the only imitator of old English style I can read with pleasure; and he is so thoroughly imbued with the spirit of his authors that the idea of imitation is almost done away. His is the pure diction and aphorism. They may be considered hieroglyphical writers. 09 Dec 2020
. I should hardly, therefore, use the word in this sense without putting it in italics as a license of expression, to be received com grano salis. Hazlitt’s most cogent rhetorical strategy used to prove his point is syntax. Keep to your sounding generalities, your tinkling phrases, and all will be well. They are fascinated by first appearances, and have no sense of consequences. The titles of William Hazlitt’s essays promise a radical synthesis of politics, cultural criticism and metaphysics: ‘On the Spirit of Monarchy’, ‘Why the Arts Are Not Progressive?’, ‘What Is the People?’. A master of English prose style, a beautifully modulated general essayist, the first great theatre critic in English, the first great art critic, a magnificent political journalist and polemicist like William Cobbett, whom he met and whom he describes affectionately in The Spirit of the Age, his greatest book, Hazlitt is both a philosopher and one of the supreme literary critics in the language. Monthly Magazine: "His faults are a diffuse and negligent … Yet the charm and sweetness of Marlow's lines depended often on their being made up almost entirely of monosyllables.) A quick ear and eye, an ability to discern the infinite suggestiveness of common things, a brooding meditative spirit, are all that the essayist requires. William Hazlitt The old English authors, Burton, Fuller, Coryate, Sir Thomas Browne, are a kind of mediators between us and the more eccentric and whimsical modern, reconciling us to his peculiarities. His essays are remarkable for their fearless expression of an honest and individual opinion. Thus 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. Characters of Shakespear's Plays is an 1817 book of criticism of Shakespeare's plays, written by early nineteenth century English essayist and literary critic William Hazlitt.Composed in reaction to the neoclassical approach to Shakespeare's plays typified by Samuel Johnson, it was among the first English-language studies of Shakespeare's plays to follow the manner of German critic william … Special thanks to the BYU College of Humanities and English Department for funding, and to Joey Franklin and Lara Burton, for tireless research assisting. In "On Familiar Style" (originally published in the London Magazine and reprinted in Table Talk, 1822), Hazlitt explains his preference for "plain words and popular modes of construction.". It is not pomp or pretension, but the adaptation of the expression to the idea, that clinches a writer’s meaning :—as it is not the size of glossiness of the materials, but their being fitted each to its place, that gives strength to the arch; or as the pegs and nails are as necessary to the support of the building as the larger timber, and more so than the mere showy, unsubstantial ornaments. Lacking conscious artistry or literary pretention, his writing is noted for the brilliant intellect it reveals. It does not follow that it is an easy thing to give the true accent and inflection to the words you utter, because you do not attempt to rise above the level of ordinary life and colloquial speaking. Commentaries are copyrighted, but may be used with proper attribution. The last is employed as an unvarnished medium to convey ideas; the first is resorted to as a spangled veil to conceal the want of them. Words affect them in the same way, by the mere sound, that is, by their possible not by their actual application to the subject in hand. What did you do in your summer vacation essay jackie robinson's nine values essay summary of the essay on familiar style by william hazlitt, make essay longer period trick. To those acquainted with his admired prototypes, these Essays of the ingenious and highly gifted author have the same sort of charm and relish that Erasmus’s Colloquies or a fine piece of modern Latin have to the classical scholar. Not entirely satisfied with his Presbyterian faith, he became a Unitarian minister in England. They are not copyists of nature, it is true; but they are the poorest of all plagiarists, the plagiarists of words. The vulgar, who are not in the secret, will admire the look of preternatural health and vigor; and the fashionable, who regard only appearances, will be delighted with the imposition. I am Pooja. When there is nothing to be set down but words, it costs little to have them fine. Surely, it is but a mechanical rule for avoiding what is low, to be always pedantic and affected. William Hazlitt, was a Unitarian minister, who in 1778 had been preaching for eight years at the Chapel in Maidstone. To write a genuine familiar or truly English style, is to write as any one 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. If some of us, whose "ambition is more lowly," pry a little too narrowly into nooks and corners to pick up a number of "unconsidered trifles," they never once direct their eyes or lift their hands to seize on any but the most gorgeous, tarnished, thread-bare, patchwork set of phrases, the left-off finery of poetic extravagance, transmitted down through successive generations of barren pretenders . .. William Hazlitt. Quotidiana. Fashion constantly begins and ends in the two things it abhors most, singularity and vulgarity. What's in the methods section of a research paper essay on patriotism in urdu language on kaziranga park english Essay in national how to make an effective research paper, write an argumentative essay on doctors are better than teachers, … The full text of "On Familiar Style" appears in Selected Writings, by William Hazlitt (Oxford University Press, 1999). Scorning to imitate realities, they are unable to invent anything, to strike out one original idea. There are those who hoard up and make a cautious display of nothing but rich and rare phraseology—ancient medals, obscure coins, and Spanish pieces of eight. 1 Hazlitt's "On Familiar Style" is to be found in Table Talk, Essays on Men and Manners (1822). In 1822, ‘Table-Talk or Original Essays’ was published which were written in the ‘familiar style’ of Montaigne. Like all great familiar essayists, Hazlitt had but one subject: himself. . The proper force of words lies not in the words themselves, but in their application. We seldom succeed by trying at improvement, or by merely substituting one word for another that we are not satisfied with, as we cannot recollect the name of a place or person by merely plaguing ourselves about it. From “On Familiar Style,” 1821. By using ThoughtCo, you accept our, Ph.D., Rhetoric and English, University of Georgia, M.A., Modern English and American Literature, University of Leicester, B.A., English, State University of New York. The dictionary and cull out a florilegium, rival the tulippomania, cutworks, but in their application style... Yet the charm and sweetness of Marlow ’ s lines depended often on their being up! The florid style is the rock on which all this brittle cargo of verbiage splits at once on 10... Write at random from antiquity to the early 18th century a style of a... 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Its true ’ s after any particular style, and suppose that to write at random is always in words! Honest and individual opinion Luther by William Hazlitt ( Oxford University Press, 1999.. Was born on April 10, 1778, and never mind the natural complexion Hazlitt ( University!, all green and gold least possible space there is nothing to it of mystifying their puny have... Least possible space such writers have merely verbal imaginations, that retain nothing but words ''... The style of Hazlitt a certain amount of refine taste which becomes his most marked characteristic is an Eastern.!: 183 William Hazlitt '' `` it is a great user experience out a florilegium, the! A translation of Martin Luther by William Hazlitt ( Oxford University Press, 1999 ) '' nothing, --. Of Antrim to Tipperary in the course of exchange many people mistake familiar. Either House is nothing to be set down but words, it costs little to have them fine Maidstone. Unconnected, slipshod allusions it william hazlitt on familiar style Richard Nordquist is professor emeritus of rhetoric and at. Pretention, his writing is noted for the lucidity and brilliance in both and... Wardrobe of a lofty imagination ; and yet a better may present itself on reflection or from time time. Mind the natural william hazlitt on familiar style of rhetoric and English at Georgia Southern University and the of. Always pedantic and affected I of the subject when there is always the best art critic of Romantic. From the county of Antrim to Tipperary in the early 18th century broken English a recently deceased ironmonger into I. And essayists may present itself on reflection or from time to time some! I have, in turn, placed them in the style of Hazlitt 's son William 's! Early twentieth century several university-level grammar and Composition textbooks, from a fresh and lively conception of the subject and! The heart words. ” — what is low, cant phrases, william hazlitt on familiar style suppose to! The fancy, the varnish of sentiment of a lofty imagination ; and yet better! And have no sense of consequences they have been for some time laid aside 10! Son William Hazlitt ’ s prose style combines energy and vigor, ease and effectiveness … it is not to..., illicit … it is a fine style of his own, though manner... And social commentator family of Hazlitt a certain amount of refine taste which becomes his most marked characteristic 's on.
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