Hazlitt On English Literature

DigiCat Publishing presents to you this special edition of "Hazlitt on English Literature: An Introduction to the Appreciation of Literature" by William Hazlitt. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Reproduction of the original: Hazlitt on English Literature by Jacob Zeitlin

Here comes Percy Joyce. From one of Canada’s most acclaimed, beloved storytellers: The Son of a Certain Woman is Wayne Johnston’s funniest, sexiest novel yet, controversial in its issues, wise, generous and then some in its depiction of humanity. Percy Joyce, born in St. John’s, Newfoundland, in the fifties is an outsider from childhood, set apart by a congenital disfigurement. Taunted and bullied, he is also isolated by his intelligence and wit, and his unique circumstances: an unbaptized boy raised by a single mother in a fiercely Catholic society. Soon on the cusp of teenagehood, Percy is filled with yearning, wild with hormones, and longing for what he can’t have—wanting to be let in...and let out. At the top of his wish list is his disturbingly alluring mother, Penelope, whose sex appeal fairly leaps off the page. Everyone in St. John’s lusts after her—including her sister-in-law, Medina; their paying boarder, the local chemistry teacher, Pops MacDougal; and...Percy. Percy, Penelope, and Pops live in the Mount, home of the city’s Catholic schools and most of its clerics, none of whom are overly fond of the scandalous Joyces despite the seemingly benign protection of the Archbishop of Newfoundland himself, whose chief goal is to bring “little Percy Joyce” into the bosom of the Church by whatever means necessary. In pursuit of that goal, Brother McHugh, head of Percy’s school, sets out to uncover the truth behind what he senses to be the complicated relationships of the Joyce household. And indeed there are dark secrets to be kept hidden: Pops is in love with Penelope, but Penelope and Medina are also in love—an illegal relationship: if caught, they will be sent to the Mental, and Percy, already an outcast of society, will be left without a family. The Son of a Certain Woman brilliantly mixes sorrow and laughter as it builds toward an unforgettable ending. Will Pops marry Penelope? Will Penelope and Medina be found out? Will Percy be lured into the Church? It is a reminder of the pain of being an outsider; of the sustaining power of love and the destructive power of hate; and of the human will to triumph.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Hazlitt on English Literature: An Introduction to the Appreciation of Literature The notes, in addition to identifying quotations and explaining allusions, indicate the nature of Hazlitt's obligations to earlier and contemporary critics. They contain a body of detailed information, which may be used, if so desired, for disciplinary purposes. The text here employed is that of the last form published in Hazlitt's own lifetime, namely, that of the second edition in the case of the Characters of Shakespeare's Plays, the lectures on the poets and on the age of Elizabeth, and the Spirit of the Age, and the first edition of the Comic Writers, the Plain Speaker, and the Political Essays. A slight departure from this procedure in the case of the essay on "Elia" is explained in the notes. "My First Acquaintance with Poets," and "Of Persons One Would Wish to Have Seen" are taken from the periodicals in which they first appeared, as they were not republished in book-form till after Hazlitt's death. Hazlitt's own spellings and punctuation are retained. To all who have contributed to the study and appreciation of Hazlitt, the present editor desires to make general acknowledgement - to Alexander Ireland, Mr. W. C. Hazlitt. Mr. Birrell, and Mr. Saintsbury. Mention should also be made of Mr. Nichol Smith's little volume of Hazlitt's Essays on Poetry (Blackwood's), and of the excellent treatment of Hazlitt in Professor Oliver Elton's Survey of English Literature from 1780 to 1830, which came to hand after this edition had been completed. A debt of special gratitude is owing to Mr. Glover and Mr. Waller for their splendid edition of Hazlitt's Collected Works (in twelve volumes with an index, Dent 1902-1906). All of Hazlitt's quotations have been identified with the help of this edition. References to Hazlitt's own writings, when cited by volume and page, apply to the edition of Glover and Waller. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Hazlitt characterized the age he lived in as “critical, didactic, paradoxical, romantic.” It was the age of the Edinburgh Review, of the Utilitarians, of Godwin and Shelley, of Wordsworth and Byron—in a word of the French Revolution and all that it brought in its train. Poetry in this age was impregnated with politics; ideas for social reform sprang from the ground of personal sentiment. Hazlitt was born early enough to partake of the ardent hopes which the last decade of the eighteenth century held out, but his spirit came to ripeness in years of reaction in which the battle for reform seemed a lost hope. While the changing events were bringing about corresponding changes in the ideals of such early votaries to liberty as Coleridge and Wordsworth, Hazlitt continued to cling to his enthusiastic faith, but at the same time the spectacle of a world which turned away from its brightest dreams made of him a sharp critic of human nature, and his sense of personal disappointment turned into a bitterness hardly to be distinguished from cynicism. In a passionate longing for a better order of things, in the merciless denunciation of the cant and bigotry which was enlisted in the cause of the existing order, he resembled Byron. The rare union in his nature of the analytic and the emotional gave to his writings the very qualities which he enumerated as characteristic of the age, and his consistent sincerity made his voice distinct above many others of his generation.