Monday, 24 November 2014

Review: Volodos Plays Liszt - 2006 (SONY)


Volodos Plays Liszt

[1] Vallée d'Obermann, S160/6 (13:21)
[2] Il Penseroso, S161/2 (4:39)
[3] Legende No. 1: St. Francois d'Assise – La prédication aux oiseaux, S175/1 (10:18)
[4] Bagatelle ohne Tonart, S216a (3:01)
[5] Hungarian Rhapsody No. 13, S244/13 [arr. Volodos] (8:29)
[6] Sposalizio, S161/1 (8:01)
[7] Prelude after Bach: "Weinen, Klagen, Sorgen, Zagen", S179 (5:11)
[8] Funérailles, S173/7 (11:13)
[9] La lugubre gondola No. 2, S200ii (9:21)
[10] En reve – Nocturne, S207 (2:38)

Arcadi Volodos, piano

Recorded: May, August & September 2006, Teldex Studio, Berlin.

Sony Classical, 2007. 76:18. Liner notes by Olaf Joksch.

====================================

Stupendous virtuosity of service to the music: a rarity among pianists

There are, basically, three major reasons for every piano lover and Lisztian to acquire this album as soon as possible. In order of their importance, these are:

1. Arcadi Volodos himself.
2. The program itself.
3. The sound quality.

Arcadi Volodos is indeed a rarity: a pianist who can toss off the most demanding pieces without the slightest shortness of breath, but who is by no means devoid of intelligence and musicianship. It is true that his very unusual interpretations may occasionally sound wilful and whimsical, but I will take that rather than some kind of misguided caution. It is also true that his passion and virtuosity does sometimes lead him astray: inebriated by his amazingly agile fingers he forgets the music for a moment. Only twice does it happen on this CD, for a few seconds towards the end of Vallee d'Obermann and the 13th Hungarian Rhapsody. Despite all that, Arcadi Volodos is one of the very few contemporary pianists I can listen to – more than once – with pleasure and profit.

In addition to a very imaginative and passionate musical personality, Arcadi also has one of the most devastating left hands I have ever heard on record. Indeed, at one place in Vallee d'Obermann he obviously emulates Horowitz and his legendary live recording from Carnegie Hall (1968). There is nothing wrong with that if one does it as well as Volodos; it is a tribute to his integrity that he copies – here and virtually everywhere else – only the sound of Horowitz, but not in the least his interpretation. (Given the choice, I’ll go with Volodya anytime, but would be sorry to part with Arcadi.) There are those people – very foolish ones – who love sneering at virtuosity. But they do have a point! More often than not, the great virtuosos have twenty fingers but only half brain and no heart at all. Not so Arcadi. In addition to his thirty fingers (and hands of steel, apparently), he does have both a heart and a brain, though neither is probably very big – which, indeed, is all for the better.

One caveat, however. Occasionally – most notably in the Vallée – Arcadi sounds so overwhelmingly different than anybody else that I wonder if he doesn’t silently modify the text a little. Since I am no musician, I cannot tell this with certainty. But I should like to send Arcadi a piece of friendly warning. Surely Liszt would have been the first man to approve creative changes in his compositions made by a perceptive performer – he did that himself numerous times – but one must make such changes with great caution. It is only too easy to slip into changes for their own sake, or even worse: for virtuosity’s sake. So far Arcadi is devoid of such meretricious nonsense. I hope this will remain so.


The program is wonderfully chosen and it runs for nearly 80 minutes – which is simply beautiful as I am always exasperated by CDs with only 40-50 minutes on them. With the obvious exception of the Hungarian Rhapsody, all other pieces here are Liszt’s original compositions; no operatic paraphrases, no transcriptions of music by other composers. As a matter of fact, the Rhapsody is so Lisztian in its treatment of the thematic material, whatever its origin, that it may well pass for an original composition by Liszt too, if slightly marred by Volodos’ flashy ending (editing?).

What’s more, the program illustrates one the most endearing qualities of Liszt: his simply unbelievable versatility and how it changed through the years of his long life (nearly 75 years). Most of the pieces – Vallée d'Obermann, Il penseroso, Sposalizio, Funérailles, the Prelude after Bach’s theme and the 13th Rhapsody – were composed by the middle-aged Liszt during his so called “Weimar years” (1848–61), though some of them were sketched, or even first composed, quite a bit earlier. All these pieces are perhaps a bit too much on the gloomy side, but they do also illustrate Liszt’s more extrovert (the Rhapsody), lyrical (Vallée) or serene (Sposalizio) side.

Surveying the program further, one can literally see how Liszt’s style changed out of all recognition. La prédication aux oiseaux (Legende No. 1) was composed during the 1860s and a certain additional restraint is already apparent, perhaps augmented by the religious nature of the piece and Liszt’s taking the four minor orders and becoming an “Abbé”. All of the rest – En Reve, La lugubre gondola No. 2 and Bagatelle sans tonalité – are from Liszt’s last years when his music became extremely experimental, looking forward to many innovations that were long thought, wrongly, to belong to the next century. As John Ogdon himself has argued, such transformation in the late years of a composer is without precedent in the musical history – Beethoven included.

Though at first glance such a program may look like a tough one to listen through, actually the pieces hang together marvellously. It is funny how quickly these almost 80 minutes pass once you press the PLAY button and the haunting Vallée fills the room. It’s only fair to Volodos to add that he plays all pieces as differently as they were composed, imposing no false common denominators. Above all – except the two minor occasions mentioned above – he never tries to impress with virtuosity for the sake of virtuosity. This highly commendable attitude is not often associated with pianists (or conductors, for that matter) who play Liszt; to say nothing of the appalling consequences which it sometimes leads to, namely dead slow tempi and total absence of virtuosity in the vain hope that it might make up for the lack of artistry. I wish, however, Volodos would consider complete recordings of the first two books of Années de Pèlerinage; there are altogether three pieces in the present collection but, finely chosen as the program is, they do fit better in their original context.


Last and least, but still important, is the sound. For my part, I have seldom heard piano sonority recorded so vividly, with such depth and simply staggering dynamic range. The above-mentioned left-hand thunder – this is no metaphor! – in Vallée d'Obermann is something that has to be heard to be believed. So is Volodos’ tremendous dynamic range in the First Legende – just note what he does right after the “bird song” is over. I have never heard such astonishingly powerful rendition of that passage before; Ciccolini, Howard, Demidenko or Kempff, even taken together, are no match. Yes, Volodos’ left hand is truly devastating! So is the right one, and it is simply great that both are fantastically recorded. I would never agree that a recording may possibly give you anything even remotely like the experience of a live concert. But this particular CD certainly does come close.

All in all, an outstanding disc in every aspect: artistic or technical, compositional or performing. Piano buffs and Lisztians alike should not miss it. In so personal a matter, there is always a danger to be disappointed, no matter how many positive reviews there are, but I venture to suggest that the chances for disappointment here are smaller than usual. I only hope Volodos will record more Liszt in the future, with the same recording engineer, but also with the same – and so rare – combination of breathtaking virtuosity and melting poetry.

Review: Liszt - Années de pèlerinage - Lazar Berman - 1977, DG, 3CDs


Very uneven performance in very poor sound!

Oh, boy, what a majestic letdown this box-set was! I am truly stupefied by the lavish praise accorded to this recording, for both artistically and sonically it is a nearly complete failure.

I will admit right away that I have long since been prejudiced against Lazar Berman, especially against his Liszt, and especially against his celebrated 1963 recording of the Transcendental Studies which, though I have come to see some merit in it, I still think too fast and too insensitive. Be that as it may, I was quite ready to give Mr Berman as open and unbiased a mind as I could. Being a passionate Lisztian, I think I can safely claim that I did in fact do that. Strangely enough, Mr Berman’s complete recording of Années de pèlerinage greatly surpassed even the greatest prejudice I could have had.

To say that his performance is very uneven is indeed a gross understatement. Lazar Berman seems to have little idea of decent tempi, to begin with. Occasionally, he slows down so greatly that the result is all but pure travesty. The most abominable example is Angelus which is more than 10 minutes long (!), nearly twice longer than Leslie Howard’s version. It goes without saying that a meditative piece like this would benefit from slow tempo – but within reason. Similarly, Berman’s Sposalizio goes way beyond what is reasonable in terms of slowness; he is even slower than the notoriously slow Jorge Bolet; then again, when Bolet slows down he creates miracles Berman is generally, obviously and painfully incapable of. The man may well be sincere, but in his hands slow tempi drag on interminably. They sound contrived and artificial to me, as if he deliberately tries to redeem the shameful rushing of the Transcendental Studies in his youth. Last and least, Berman is fond of the other extremity too: the outer parts of his Tarantella are rather rushed.

What is even worse, however, is that Berman often forgets that the piano does have pedals. His playing regularly degenerates into percussive and wooden banging, as if he is sight-reading music to which he can respond in neither an intellectual nor an emotional way. It’s aurally offensive to hear some of the most poetic piano pieces ever written treated in this way. Au bord d’une source and the Tarantella are two especially painful examples. Even Berman’s legendary technical prowess seems to have taken a day off during the recording sessions. He is decently capable of pulling off Orage and the Tarantella, but he cannot hold a candle to the fiery renditions of Aldo Ciccolini. On the whole, the man lacks either passion or poetry in his playing; or, most often, he lacks both.

To be fair to Lazar Berman, he does have several fine moments, particularly in La chapelle de Guillaume Tell where, for once, he gets the slow tempo quite right and creates a fine interpretation or remarkable power. Likewise, his pretty fast tempo in Pastorale sounds charming. At his best in any of the other 24 pieces, Lazar Berman is dependable but hardly recommendable. Certainly, his performances are not in the least ''definitive'' or any kind of ''reference'' as gushing reviewers might tell you. At his worst, which is unfortunately much more often the case, he is to my mind totally unlistenable.

To be absolutely fair to Lazar Berman, he is greatly letdown by a simply horrible sound. It beggars belief that this recording was made as late as 1977, for DG and in the Herkulessaal in Munich. The sound is flat, shallow and brittle, with harsh high register and completely depthless bass. The quiet passages usually sound way too distant or muffled, the loud ones take you straight under the lid and all but knock you down. If DG had been capable of shame at all, they really should have been ashamed to have produced such crap of recording. Ever. Very poor sound is an understatement indeed!

In short, Lazar Berman’s complete recording of Années de pèlerinage is not worth having even at a great bargain price. It does have an interesting touch here and there, only too seldom alas, but it’s difficult to imagine why Lisztians should waste their time with it. Taken as a whole or piece by piece, Berman’s mindless blend of banging and sleeping is hopelessly inferior to Aldo Ciccolini’s passionate yet refined artistry as displayed in his splendid complete recording on EMI (in fabulous early stereo from 1961). Even the consistently dull Leslie Howard on Hyperion (vols. 12, 39, 43) puts Berman to shame in terms of musicianship and technique. I don’t even want to mention Jorge Bolet’s complete recordings of the first two “years” made for DECCA in 1982-83: these are rarefied planes Berman never even dreamed of. In terms of separate pieces, Kempff, Horowitz, Volodos
and Arrau, to name but a few, have left embarrassingly superior interpretations to Berman’s. And far better recorded, too!

Otherwise, the box set is beautifully produced, with a nice photo of Villa d'Este on the cover and a beautiful booklet with fine essays (the one in English is by Humprey Searle himself, apparently written for the original release in 1977) and several gorgeous black-and-white reproductions of relevant paintings. Too bad that such a finely presented box set of a great work so seldom recorded in its entirety should be such a great disappointment artistically as well as sonically. It’s a shame.

PS Tracklist and recording details from the booklet:



Sunday, 23 November 2014

A Bibliography of the Works of William Hazlitt (1778–1830)


This bibliography includes only works entirely written (save editorial contributions) by William Hazlitt (1778–1830). Some collections with his essays and miscellaneous writings are omitted because they are deemed insufficiently representative or editorially lazy. Works only edited or with contributions by Hazlitt are excluded. The same rule applies to the numerous anthologies in which his essays have appeared.

1.      An Essay on the Principles of Human Action (1805)
a.      1805, 1st edn., anonymous. “An Essay on the Principles of Human Action: Being an Argument in favour of the Natural Disinterestedness of the Human Mind. To which are added, Some Remarks on the Systems of Hartley and Helvetius. London: Printed for J. Johnson, No. 72 St. Paul's Church-Yard. 1805.” Printed by E. Hemsted, New-street, Fetter-lane. Errata on the last page.
b.      1836, 2nd edn., ed. WH’s son. “Essays on the Principles of Human Action; on the Systems of Hartley and Helvetius; and on Abstract Ideas. By the late William Hazlitt. Edited by his Son. “A work full of original remarks, and worthy a diligent perusal.” Bulwer’s England and the English. London: John Miller, 404 Oxford Street.” Printed by Walter Spiers, 399 Oxford Street.” The editor states in the Advertisement that this edition is “considerably improved” from marginal corrections in the author’s copy.
c.      1903, The Collected Works, vol. 7, eds. A. R. Waller and Arnold Glover. Reprints verbatim (a), corrects the errata.
2.      Free Thoughts on Public Affairs (1806)
a.      1806, 1st edn., anonymous; self-published pamphlet. “Free Thoughts on Public Affairs, or Advice to a Patriot; in a Letter addressed to a Member of the Old Opposition. London, Printed by Taylor & Co., Shoe Lane, and sold by J. Budd, Crown & Mitre, Pall Mall, 1806.”
b.      1886, Bohn’s Library, ed. William Carew Hazlitt. With 8c and 16e. Reprints the text of WH’s own copy.
c.      1902, The Collected Works, vol. 3, eds. A. R. Waller and Arnold Glover. Reprints (b).
d.      Notes. The pamphlet is considered “exceedingly rare”. Even the editors of (c) had apparently never seen a copy. They report that Alexander Ireland, the editor of one of the most comprehensive one-volume selections of WH’s writings to come out of the nineteenth century (Essayist and Critic, 1889), had seen only one copy, and that belonged to William Carew Hazlitt.
3.      A Reply to the Essay on Population, by the Rev. T. R. Malthus (1807)
a.      1807, 1st edn., anonymous. “A Reply to the Essay on Population, by the Rev. T. R. Malthus. In a Series of Letters. To which are added, Extract, from the Essay; with notes. London: Printed for Longman, Hurst, Rees, and Orme, Paternoster Row. 1807.” Printed by Arliss and Huntsman, 32 Gutter Lane, Cheapside. Original Advertisement: “The first three of the following letters appeared originally in Cobbett’s Weekly Political Register.”
b.      1902, The Collected Works, vol. 4, eds. A. R. Waller and Arnold Glover.
4.      The Round Table (1817), with Leigh Hunt
a.      1817, 1st edn., 2 vols. “The Round Table: A Collection of Essays on Literature, Men, and Manners, By William Hazlitt. Vol. I/II. Edinburgh: Printed for Archibald Constable and Co. And Longman, Hurst, Rees, Orme, and Brown, London. 1817.” Printed by George Ramsay & Co. Contains 52 essays, 12 of them by Leigh Hunt (“L.H.” or “H.T.”). WH’s essays are signed “W.H.”, “Z”, “A” or “T.T.”. Advertisement signed “W. Hazlitt / January 5, 1817”.
b.      1841, 3rd edn., 1 vol., ed. WH’s son. Many omissions, some additions (three essays from The Liberal).
c.      1871, ed. WH’s grandson. Omissions restored, Hunt’s essays for the first time omitted.
d.      1902, The Collected Works, vol. 1, eds. A. R. Waller and Arnold Glover. Reprints (a) but omits Hunt’s essays and corrects obvious printer’s errors.
e.      Notes. WH’s essays were taken mostly, but not entirely, from “The Round Table” series in The Examiner between 1 Jan 1815 and 5 Jan 1817. In the Advertisement WH writes: “All the papers, in the two volumes here offered to the public, were written by myself and Mr. Hunt, except a letter communicated by a friend in the seventeenth number. Out of the fifty-two numbers, twelve are Mr. Hunt's, with the signatures L. H. or H. T. For all the rest I am answerable.” See also 8 where WH addresses the review of The Round Table by William Gifford in the Apr 1817 issue of The Quarterly Review.
f.        Contents of (d): On the Love of Life – On Classical Education – On the Tatler – On Modern Comedy – On Mr. Kean’s lago – On the Love of the Country – On Posthumous Fame. Whether Shakspeare was influenced by a Love of it? – On Hogarth's Marriage a-la-mode – The Subject continued – On Milton’s Lycidas – On Milton’s Versification – On Manner – On the Tendency of Sects – On John Buncle – On the Causes of Methodism – On the Midsummer Night's Dream – On the Beggar's Opera – On Patriotism A Fragment – On Beauty – On Imitation – On Gusto – On Pedantry – The same Subject continued – On the Character of Rousseau – On Different Sorts of Fame – Character of John Bull – On Good-Nature – On the Character of Milton’s Eve – Observations on Mr. Wordsworth’s Poem The Excursion – The same Subject continued – Character of the late Mr. Pitt – On Religious Hypocrisy – On the Literary Character – On Common-place Critics – On the Catalogue Raisonné of the British Institution – The same Subject continued – On Poetical Versatility – On Actors and Acting – On the Same – Why the Arts are not Progressive: A Fragment.
5.      Characters of Shakespear's Plays (1817)
a.      1817, 1st edn.London: Printed by C. H. Reynell, 21, Piccadilly, for R. Hunter, successor to Mr. Johnson, in St. Paul’s Church-yard; and C. and J. Oilier, Welbeck-street, Cavendish-square. 1817.” Original Preface by WH signed “April 15, 1817”.
b.      1818, 2nd edn. “London: Printed for Taylor and Hessey, 93, Fleet Street. 1818.” Original footnote by WH at the end of the Preface: “A few alterations and corrections have been inserted in the present edition.”
c.      1818, pirate American edition (Boston).
d.      1902, The Collected Works, vol. 1, eds. A. R. Waller and Arnold Glover. Reprints (b).
e.      1906, Everyman’s Library No. 65. London & Toronto: J. M .Dent & Sons Ltd. / New York: E. P. Dutton & Co. Reprinted six times until Jul 1921. Editor’s Note by F. J. S. (1906). List of WH’s published works. Reprints (b).
f.        Notes. WH was paid £100 for the copyright by C. H. Reynell. The 1st edn., at half a guinea, sold in six weeks. Adverse criticism by William Gifford in the Quarterly Review (No. 36, January 1818) spoiled the sale of the second edition.
g.      Contents: Preface – Cymbeline – Macbeth – Julius Caesar – Othello – Timon of Athens – Coriolanus – Antony and Cleopatra – Hamlet – The Tempest – The Midsummer Night’s Dream – Romeo and Juliet – Lear – Richard II – Henry IV – Henry V – Henry VI – Troilus and Cressida – Richard III – Henry VIII – Twelfth Night – The Two Gentlemen of Verona – The Merchant of Venice – The Winter’s Tale – All’s Well That Ends Well – Love’s Labour’s Lost – Much Ado About Nothing – As You Like It – The Taming of the Shrew – Measure for Measure – The Merry Wives of Windsor – The Comedy of Errors – Doubtful Plays of Shakespear – Poems and Sonnets
6.      Lectures on the English Poets (1818)
a.      1818, 1st edn. “The Lectures on the English Poets. Delivered at the Surrey Institution. By William Hazlitt. London: Printed for Taylor and Hessey, 93, Fleet Street. 1818.”
b.      1819, 2nd edn. “London: Printed for Taylor and Hessey, 93, Fleet Street. 1819.” Printed by “T. Miller, Printer, Noble Street, Cheapside.”
d.      1902, The Collected Works, vol. 5, eds. A. R. Waller and Arnold Glover. Reprints (b).
e.      Contents: I. Introductory. On Poetry in General – II. On Chaucer and Spenser – III. On Shakspeare and Milton – IV. On Dryden and Pope – V. On Thomson and Cowper – VI. On Swift, Young, Gray, Collins, etc. – VII. On Burns, and the Old English Ballads – VIII. On the Living Poets.
7.      A View of the English Stage (1818)
a.      1818, 1st edn. “A View of the English Stage; or, a Series of Dramatic Criticisms. By William Hazlitt. “For I am nothing if not critical.” London: Printed for Robert Stodart, 81, Strand; Anderson and Chase, 40, West Smithfield; and Bell and Bradfute, Edinburgh. 1818.” Printed by B. M’Millan, Bow Street, Covent Garden. Original Preface by WH.
b.      1821, reissue of (a) with a new half-title (“Dramatic Criticisms”) and new imprint (“London: John Warren, Old Bond-Street, MDCCCXXI.”).
c.      1851, 2nd edn., ed. WH’s son. Under the title “Criticisms and Dramatic Essays, of the English Stage”. Abridged.
d.      1903, The Collected Works, vol. 8, eds. A. R. Waller and Arnold Glover. Reprints (a) with the addition of ToC. The Notes include passages omitted by WH when he reprinted his reviews in book form.
e.      1906, ed. W. Spencer Jackson. London: George Bell and Sons. Introduction by W.S.J. dated “January 1906”. Reprints (a) but incorporates (in square brackets) the passages from the original articles omitted by WH when he collected them in book form. Extensive footnotes.
f.        Notes. Collection of dramatic criticism WH wrote for The Morning Chronicle (13 Oct 1813 – 27 May 1814), The Champion (14 Aug 1814 – 8 Jan 1815), The Examiner (19 Mar 1815 – 8 Jun 1817, plus two notices of Kean’s Iago from 24 Jul & 7 Aug 1814) and The Times (summer 1817 – spring 1818). Selections have been reprinted countless times, but the whole book is a rarity.
g.      Contents: Preface – Mr. Kean’s Shylock – Mr. Kean’s Richard – Mr. Kean’s Hamlet – Mr. Kean’s Othello – Mr. Kean’s Iago – Antony and Cleopatra – Artaxerxes – The Beggar’s Opera – Richard Coeur de Lion – Didone Abandonnata – Miss O’Neill’s Juliet – Mr. Kean’s Richard – Mr. Kean’s Macbeth – Mr. Kean’s Romeo – Mr. Kean’s Iago – Mr. Kean’s Iago (concluded) – Mr. Kean’s Richard II – The Unknown Guest – Mr. Kean’s Zanga – Mr. Bannister’s Farewell – Comus – Mr. Kean’s Leon – The Tempest – My Wife! What Wife? – Mr. Harley’s Fidget – Living in London – The King’s Proxy – The Maid and the Magpie – The Hypocrite – Mr. Edwards’s Richard III – Lovers’ Vows – The School for Scandal – Mrs. Alsop’s Rosalind – John Du Bart – The Beggar’s Opera – Miss O’Neill’s Elwina – Where to find a Friend – Miss O’Neill’s Belvidera – The Merchant of Bruges – Smiles and Tears – George Barnwell – The Busy Body – A New Way to Pay Old Debts – The Midsummer Night’s Dream – Love for Love – The Anglade Family – Measure for Measure – Mr. Kean’s Sir Giles Overreach – The Recruiting Officer – The Fair Penitent – The Duke of Milan – Miss O’Neill’s Lady Teazle – Mr. Kean – Mr. Kean’s Shylock – The Oratorios – Richard III – Romeo and Juliet – Mr. Kemble’s Sir Giles Overreach – Bertram – Adelaide, or the Emigrants – Every Man in His Humour – Mrs. Siddons – New English Opera House – The Jealous Wife – The Man of the World – Miss Merry’s Mandane – Exit by Mistake – The Italian Opera – Old Customs – My Landlady’s Night-Gown – Castle of Andalusia – Two Worlds – The Wonder – The Distressed Mother – Miss Boyle’s Rosalind – Mr. Macready’s Othello – Theatrical Debuts – Mr. Kemble’s Cato – The Iron Chest – Mr. Kemble’s King John – Coriolanus – The Man of the World – Jane Shore – The Humorous Lieutenant – Two New Ballets – Mr. Booth’s Duke of Gloster – Mr. Booth’s Iago – Mr. Booth’s Richard – Double Gallant – Don Juan – The Conquest of Taranto – The Touch-Stone – The Libertine – Barbarossa – Mrs. Siddons’s Lady Macbeth – Mr. Maywood’s Shylock – Mr. Kemble’s Retirement.
8.      A Letter to William Gifford, Esq. (1819)
a.      1819, 1st edn. “A Letter to William Gifford, Esq. / From William Hazlitt, Esq. ‘Fit fugil, et medicum urget’ London: Printed for John Miller, Burlington Arcade, Piccadilly. 1819.”
b.      1820, 2nd edn. Unsold copies of the 1st edn. with a new title page (“London: Printed for Robert Stodart, 81 Strand. 1820.”).
c.      1886, Bohn’s Library, ed. William Carew Hazlitt. With 2b and 16e.
d.      1902, The Collected Works, vol. 1, eds. A. R. Waller and Arnold Glover.
e.      Notes. William Gifford was the editor of the Quarterly Review between 1809 and 1824. He attacked some of WH’s books for political reasons; see 4e and 5f. This Letter is WH’s reply.
9.      Lectures on the English Comic Writers (1819)
a.      1819, 1st edn. “Lectures on the English Comic Writers. Delivered at the Surry Institution. By William Hazlitt. "It is a very good office one man does another, when he tells him the manner of his being pleased." Steele. London: Printed for Taylor and Hessey, 93. Fleet Street. 1819.” Printed by J. Miller, Noble Street, Cheapside.
b.      1841, 3rd edn., ed. WH’s son. Some additions from various sources.
c.      1869, Bohn’s Library, ed. WH’s grandson. Reprint of the 1st edn.
d.      1900, Temple Classics, “under the immediate editorial care of Mr. Austin Dobson”. Reprints (b).
e.      Contents: I. Introductory. On Wit and Humour – II. On Shakspeare and Ben Jonson – III. On Cowley, Butler, Suckling, Etherege, etc. – IV. On Wycherley, Congreve, Vanbrugh, and Farquhar – V. On the Periodical Essayists – VI. On the English Novelists – VII. On the Works of Hogarth. On the Grand and Familiar Style of Painting – VIII. On the Comic Writers of the last Century
10.      Political Essays, with Sketches of Public Characters (1819)
a.      1819, 1st edn. “Political Essays, with Sketches of Public Characters. By William Hazlitt. “Come, draw the curtain, shew the picture.” London: Printed for William Hone, 45, Ludgate Hill. 1819.” Original Preface by WH. Dedicated to “John Hunt, Esq.”
b.      1822, 2nd edn. Probably a mere re-issue “published by John Templeman, 39, Tottenham-Court-Road; and Simpkin and Marshall, Stationers’- court”.
c.      1902, The Collected Works, vol. 3, eds. A. R. Waller and Arnold Glover. Reprints (a).
d.      Contents: The Marquis Wellesley – Mr. Southey, Poet Laureat – Mr. Southey's New Year's Ode – Dottrel-catching – The Bourbons and Buonaparte – Vetus – On the Courier and Times Newspapers – Illustrations of Vetus – On the late War – Prince Maurice’s Parrot – Whether the Friends of Freedom can entertain any sanguine hopes of the Favourable Results of the ensuing Congress – The Lay of the Laureate – Mr. Owen’s ‘New View of Society,’ &c. – Seeches of Charles C. Western, Esq. M.P. and Henry Brougham, Esq. M.P. – Mr. Coleridge’s Lay Sermon – Coleridge’s Statesman's Manual – Coleridge’s Lay Sermon – Bonaparte and Muller – Illustrations of the Times Newspaper – Mr. Macirone’s Interesting Facts relating to the Fall and Death of Joachim Murat, King of Naples – Wat Tyler and the Quarterly Review – The Courier and ‘The Wat Tyler’ – Mr. Southey’s Letter to William Smith, Esq. – On the Spy-System – On the Treatment of the State Prisoners – The Opposition and the Courier – England in 1798, by S. T. Coleridge – On the Effects of War and Taxes – Character of Mr. Burke – On Court Influence – On the Clerical Character – What is the People? – On the Regal Character – The Fudge Family in Paris – Character of Lord Chatham – Character of Mr. Burke, 1807 – Character of Mr. Fox, 1807 – Character of Mr. Pitt, 1806 – ‘Pitt and Buonaparte’ – An Examination of Mr. Malthus’s Doctrines – On the Originality of Mr. Malthus’s Essay – On the Principles of Population as affecting the Schemes of Utopian Improvement – On the Application of Mr. Malthus’s Principle to the Poor Laws – Queries relating to the Essay on Population.
11.      Lectures Chiefly on the Dramatic Literature of the Age of Elizabeth (1820)
a.      1820, 1st edn. “The Lectures on the Dramatic Literature of the Age of Elizabeth; Delivered at the Surrey Institution, By William Hazlitt”.
b.      1821, 2nd edn. “London: John Warren, Old Bond-Street. MDCCCXXI.”
c.      1840, 3rd edn. Edited by his Son. Original Advertisement.
d.      1845, New York: Wiley and Putnam. “Advertisement to the last London Edition by the author’s son”. Evidently a reprint of (c).
e.      1902, The Collected Works, vol. 5, eds. A. R. Waller and Arnold Glover. Reprints (b).
f.        Contents: I. Introductory. General view of the Subject – II. On the Dramatic Writers contemporary with Shakespear, Lyly, Marlow, Heywood, Middleton, and Rowley – III. On Marston, Chapman, Deckar, and Webster – IV. On Beaumont and Fletcher, Ben Jonson, Ford, and Massinger – V. On single Plays, Poems, &c., the Four P’s, the Return from Parnassus, Gammer Gurton’s Needle, and other Works – VI. On Miscellaneous Poems, F. Beaumont, P. Fletcher, Drayton, Daniel, &c., Sir P. Sidney’s Arcadia, and Sonnets – VII. Character of Lord Bacon's Works – compared as to style with Sir Thomas Brown and Jeremy Taylor – VIII. On the Spirit of Ancient and Modern Literature – on the German Drama, contrasted with that of the Age of Elizabeth
12.      Table-Talk (1821–22), 2 vols.
a.      1821, vol. 1, 1st edn. “Table-Talk; or, Original Essays. By William Hazlitt. London: John Warren, Old Bond-Street 1821.” Printed by Thomas Davison, Whitefriars. Original Advertisement informs that “On the Pleasure of Painting” and “On the Ignorance of the Learned” had appeared in periodicals.
b.      1822, vol. 2, 1st edn. “Table-Talk; or, Original Essays. By William Hazlitt. Vol. II. London: Printed for Henry Colburn and Co. 1822.” Printed by Thomas Davison, Whitefriars. Contains a list of errata.
c.      1824, 2nd edn., 2 vols. “Table-Talk, or Original Essays on Men and Manners. Second Edition, London: Printed for Henry Colburn, New Burlington Street. 1824.” Printed by J. Nichols and Son, 25 Parliament Street. Apparently a mere reprint of the 1st edn.
d.      1825, Paris edn., A. & W. Galignani, 2 vols. “Table-Talk: or Original Essays, By William Hazlitt.” Some essays omitted, others added. Some of the additions appeared later in England as parts of 17. Vol. 1 contains an original Advertisement.
e.      1845, 3rd edn., 2 vols., ed. WH’s son. “Table-Talk: Original Essays on Men and Manners. By William Hazlitt, Edited by his Son. London : C. Templeman, 6, Great Portland Street”. Some essays omitted, altered order, two essays added (“On Travelling Abroad” and “On the Spirit of Controversy”).
f.        1857-61, 4th edn. Mere reprint or re-issue of the 1st edn.
g.      1869, 5th edn., 1 vol., ed. WH’s grandson. Text and order of the first two edns. restored, but the essays are divided into three series (fixed in the 1891 edn., 1 vol., Bohn’s Library).
h.      1878, “New Edition”, ed. WH’s grandson. Gives some interesting, though minor, variations between the manuscripts and the printed versions of “On Going a Journey”, “On Coffee-house Politicians”, “On familiar Style” and “On Corporate Bodies”.
i.        1901, The World’s Classics V: The Works of William Hazlitt – I. Edinburgh: Henry Frowde. Reprinted, 1902, 1903 & 1905.
j.         1903, The Collected Works, vol. 6, eds. A. R. Waller & Arnold Glover. Reprints (c).
k.      Contents: [vol. 1] I. On the Pleasure of Painting – II. The same Subject continued – III. On the Past and Future – IV. On Genius and Common Sense – V. The same Subject continued – VI. Character of Cobbett – VII. On People with one Idea – VIII. On the Ignorance of the Learned – IX. The Indian Jugglers – X. On Living to one’s-self – XI. On Thought and Action – XII. On Will-making – XIII. On certain Inconsistencies in Sir Joshua Reynolds's Discourses – XIV. The same Subject continued – XV. On Paradox and Common-place – XVI. On Vulgarity and Affectation; [vol. 2] I. On a Landscape of Nicholas Poussin – II. On Milton’s Sonnets – III. On going a Journey – IV. On Coffee-house Politicians – V. On the Aristocracy of Letters – VI. On Criticism – VII. On great and little Things – VIII. On familiar Style – IX. On Effeminacy of Character – X. Why distant Objects please – XI. On Corporate Bodies – XII. Whether Actors ought to sit in the Boxes – XIII. On the Disadvantages of intellectual Superiority – XIV. On Patronage and Puffing – XV. On the Knowledge of Character – XVI. On the Picturesque and Ideal – XVII. On the Fear of Death.
13.      Characteristics: In the Manner of Rochefoucault's Maxims (1823)
a.      1823, 1st edn., anonymous. “Characteristics: In the Manner of Rochefoucault’s Maxims. London: Printed for W. Simpkin and R. Marshall, Stationers’-Hall Court, Ludgate Street, 1823.” Original Preface. Some of the unsold copies were later issued with a new, undated title page.
b.      1837, 2nd edn. “Characteristics: In the Manner of Rochefoucault's Maxims. By William Hazlitt. Second Edition. With Introductory Remarks by the Editor of the “Monthly Repository.” London: J. Templeman, 248 Regent Street and sold also by J. Miller, 404 Oxford Street, 1837.” Another batch of unsold copies of the 1st edn. Edited with an Introduction by R. H. Horne.
c.      1871, Bohn’s Library, ed. William Carew Hazlitt. With 4 and 5.
d.      1902, The Collected Works, vol. 2, eds. A. R. Waller and Arnold Glover. Reprints (a).
14.      Liber Amoris: or, The New Pygmalion (1823)
a.      1823, 1st edn., anonymous. “Liber Amoris; or, The New Pygmalion. London: Printed for John Hunt, 22. Old Bond Street, by C. H. Reynell, 45. Broad St., Golden Sqre 1823”. Original Advertisement.
b.      Verbatim reprints: c1884, Bibliotheca Curiosa; 1893, Elkin Matthews and John Lane, with Introduction by Richard Le Gallienne; George Routledge & Son, undated.
c.      1894, privately printed edition “with additional matter now printed for the first time from the original manuscripts”, again with introduction by Richard Le Gallienne.
d.      1898, Portland, Maine: Thomas B. Mosher. Old World Series. Limited edition of 925 copies. Introduction by William Marion Reedy. Bibliographical Note.
e.      1902, The Collected Works, vol. 2, eds. A. R. Waller and Arnold Glover. Reprints (a).
f.        Notes. WH’s thinly veiled account of his disastrous affair with Sarah Walker in the early 1820s. At another place (“On the Knowledge of Character”, see Notes in 27, p. 285) he calls her “the greatest hypocrite I ever knew” and describes her as “a little, demure, pretty, modest-looking girl, with eyes timidly cast upon the ground, and an air soft as enchantment”.
15.      Sketches of the Principal Picture-Galleries in England (1824)
a.      1824, 1st edn. London: Printed for Taylor and Hessey. Printed by T. Green.
b.      1903, The Collected Works, vol. 9, eds. A. R. Waller and Arnold Glover.
c.      Contents: Mr. Angerstein’s Collection – Dulwich Gallery – The Marquis of Stafford’s Gallery – Pictures at Windsor Castle – Pictures at Hampton Court – Lord Grosvenor’s Collection – Pictures at Wilton and Stourhead – Pictures at Burleigh House – Pictures at Oxford and Blenheim – Appendix: Criticism on Marriage a-la-Mode
a.      1825, 1st edn., anonymous. “The Spirit of the Age: or Contemporary Portraits. “To know another well were to know one’s self.” London: Printed for Henry Colburn, New Burlington Street. 1825.” Imprint: “London: Printed by S. and R. Bentley, Dorset Street.” Five of the essays (Bentham, Irving, Horne Tooke, Scott, Eldon) had appeared in Colburn’s New Monthly Magazine and Literary Journal (1824, vols. X & XI).
b.      1825, 2nd edn. Different order, an addition to “Coleridge”, essay on Cobbett added (from Table Talk, vol. 1, see 12j). Different quotation on the title page (“To know a man well, were to know himself.”, sourced from “Hamlet”) and smaller print.
c.      1825, Paris edn. (A. and W. Galignani). The essay on Canning added.
d.      1858, 3rd edn., ed. WH’s son. Includes “Cobbett and “Canning”, different order.
e.      1886, 4th edn., Bohn’s Standard Library, ed. WH’s grandson. With 2b and 8c. Restores the order of the 2nd edn., contains “Canning”. In a Preface signed “W. Carew Hazlitt. Barnes Common, Surrey, November 1st, 1885.”, the editor says: “I have in my possession portions of the original autograph of this interesting work, and I have collated them, so far as they go; but the MS., while it rectifies a few mistakes here and there, exhibits (I suspect), on the whole, readings deliberately rejected by the author himself in proof. On the other hand, from a copy of the second issue of 1825, belonging to Mr. C. W. Reynell, a few verbal changes in Hazlitt’s own hand have been introduced.”
f.        1902, The Collected Works, vol. 4, eds. A. R. Waller and Arnold Glover. Reprints (b).
g.      2004, Grasmere: The Wordsworth Trust. Introductory essay by Robert Woof. Illustrated with portraits of the people described. Apparently the only paperback edition of any of WH’s original works (excluding trashy reprints on demand, of course).
h.      Notes. According to the Hazlitt Society, this is WH’s “greatest work”.
i.        Contents: Jeremy Bentham – William Godwin – Mr. Coleridge – Rev. Mr. Irving – The late Mr. Home Tooke – Sir Walter Scott – Lord Byron – Mr. Southey – Mr. Wordsworth – Sir James Mackintosh – Mr. Malthus – Mr. Gifford – Mr. Jeffrey – Mr. Brougham–Sir F. Burdett – Lord Eldon– Mr. Wilberforce – Mr. Cobbett – Mr. Campbell–Mr. Crabbe – Mr. T. Moore–Mr. Leigh Hunt – Elia–Geoffrey Crayon.
17.      The Plain Speaker (1826), 2 vols.
a.      1826, 1st edn., 2 vols., anonymous. Published by Henry Colburn, New Burlington Street. Subtitled “Opinions on Books, Men, and Things”. Imprint: “London: Printed by Thomas Davison, Whitefriars” (vol. 1) and “London: Printed by J. Nichols and Son, Parliament Street” (vol. 2).
b.      1851, ed. WH’s son. “On a Portrait of a Lady, by Vandyke” is omitted.
c.      1903, The Collected Works, vol. 7, eds. A. R. Waller and Arnold Glover.
d.      Contents: [vol. 1] I. On the Prose-Style of Poets – II. On Dreams – III. On the Conversation of Authors – IV. The same Subject continued – V. On Reason and Imagination – VI. On Application to Study – VII. On Londoners and Country People – VIII. On the Spirit of Obligations – IX. On the Old Age of Artists – X. On Envy (A Dialogue) – XI. On Sitting for one’s Picture – XII. Whether Genius is conscious of its Powers? – XIII. On the Pleasure of Hating – XIV. On Dr. Spurzheim's Theory – XV. On Egotism – XVI. Hot and Cold – XVII. The New School of Reform; [vol. 2] I. On the Qualifications necessary to Success in Life – II. On the Look of a Gentleman – III. On Reading Old Books – IV. On Personal Character – V. On People of Sense – VI. On Antiquity – VII. On the Difference between Writing and Speaking – VIII. On a Portrait of an English Lady, by Vandyke – IX. On Novelty and Familiarity – X. On Old English Writers and Speakers – XI. Madame Pasta and Mademoiselle Mars – XII. Sir Walter Scott, Racine, and Shakespear – XIII. On Depth and Superficiality – XIV. On Respectable People – XV. On Jealousy and Spleen of Party.
18.      Notes of a Journey Through France and Italy (1826)
a.      1826, 1st edn. Original Advertisement. Printed for Hunt and Clarke, Tavistock-Street, Covent-Garden, by William Clowes, Northumberland-court. All chapters originally appeared in Morning Chronicle, 14 Sep 1824 to 16 Nov 1825.
b.      1903, The Collected Works, vol. 9, eds. A. R. Waller and Arnold Glover. The Notes contain some passages from original magazine articles omitted by WH when he collected them in book form.
c.      Notes. For a detailed ToC, see vol. 9 here.
19.      Conversations of James Northcote, Esq., R.A. (1830)
a.      1830, 1st edn.London: Henry Colburn and Richard Bentley, New Burlington Street.” Printed by “C. Whiting, Beaufort House, Strand.” First appeared in New Monthly Magazine, 1826-27 under the collective title “Boswell Redivivus”. Augmented and revised in book form.
b.      1903, The Collected Works, vol. 6, eds. A. R. Waller and Arnold Glover.
20.      The Life of Napoleon Buonaparte, 4 vols. (1828–1830)
a.      1828, vols. 1 & 2. Original Preface by WH (vol. 1).
b.      1830, vols. 3 &4. Published posthumously.
c.      1875, Philadelphia: J. B. Lippincott & Co., 6 vols.
21.      Literary Remains (1836), 2 vols., ed. William Hazlitt [WH’s son]
a.      1836, London: Saunders and Otley. Title page:Literary Remains of the late William Hazlitt. With a Notice of his Life, By his Son, and Thoughts on his Genius and Writings, By E. L. Bulwer, Esq., M.P. and Mr. Sergeant Talfourd, M.P. In Two Volumes. London: Saunders and Otley, Conduit Street. 1836.” Frontispiece: Bewick’s crayon drawing of WH. Editorial matter: A “Biographical Sketch” by WH’s son. “Some Thoughts on the Genius of William Hazlitt” signed “The Author of “Eugene Aram” [Bulwer-Lytton]. “Thoughts upon the Intellectual Character of the late William Hazlitt” by Mr. Sergeant Talfourd, M.P. “Character of Hazlitt” by Charles Lamb, extracted from the well-known “Letter of Elia to Robert Southey, Esq.”. Six “Sonnets to the Memory of Hazlitt” by “A Lady” and one sonnet “written on seeing Bewick's Chalk-Drawing of the Head of Hazlitt” by Sheridan Knowles.
b.      1904, The Collected Works, vols. 11 & 12, eds. A. R. Waller and Arnold Glover. Contain all previously uncollected pieces from (a), when possible reprinted from the original magazines and without the questionable changes introduced by WH’s son.
c.      Contents: [vol. 1] I. Project for a new Theory of Civil and Criminal Legislation – II. Definition of Wit – III. On Means and Ends – IV. Belief, whether Voluntary? – V. Personal Politics – VI. On the Writings of Hobbes – VII. On Liberty and Necessity – VIII. On Locke's Essay on the Human Understanding – IX. On Tooke's Diversions of Purley. [vol. 2] I. On Self-Love – II. On the Conduct of Life – III. On the Fine Arts – IV. The Fight – V. On the Want of Money – VI. On the Feeling of Immortality in Youth – VII. The Main-Chance – VIII. The Opera – IX. Of Persons One Would Wish to Have Seen – X. My First Acquaintance with Poets – XI. The Shyness of Scholars – XII. The VaticanXIII. On the Spirit of Monarchy.
22.      Sketches and Essays (1839), ed. William Hazlitt [WH’s son]
a.      1839, London: John Templeman. “Sketches and Essays. By William Hazlitt. Now first collected by his Son. London: John Templeman, 248, Regent Street. MDCCCXXXIX.” Original Advertisement: “The volume which the Editor has here the gratification of presenting to the public, consists of Essays contributed by their author to various periodicals. None of them have hitherto been published in, a collective form, and it is confidently anticipated that they will be received as an acceptable Companion to the [12] and [17].”
b.      1852, Illustrated London Library. “Men and Manners: Sketches and Essays. By William Hazlitt. London: Published at the office of the Illustrated London Library, 227 Strand. MDCCCLII.” Omits the essay “Self-Love and Benevolence”.
c.      1872, Bohn’s Standard Library. Together with 24. “A New Edition by W. Carew Hazlitt”. Preface by W.C.H., “Kensington, September 1, 1872”, states: “The Papers contained in the following pages were first collected by the Author’s son. in two volumes, in the years 1839 and 1850 respectively. They are now reproduced without any alteration. I have introduced occasional notes, where they seemed to be necessary, and the names of persons, indicated only by initials in the former editions, have been printed in full.”
d.      1904, The Collected Works, vols. 11 & 12, eds. A. R. Waller and Arnold Glover. Contain all previously uncollected pieces from (a), when possible reprinted from the original magazines and without the questionable changes introduced by WH’s son.
e.      Contents: I. On Reading New Books – II. On Cant and Hypocrisy – III. Merry EnglandIV. On a Sun-Dial – V. On Prejudice – VI. Self-Love and Benevolence – VII. On Disagreeable People – VIII. On Knowledge of the World – IX. On Fashion – X. On Nicknames – XI. On Taste – XII. Why the Heroes of Romance are insipid – XIII. On the Conversation of Lords – XIV. The Letter-Bell – XV. Envy – XVI. On the Spirit of Partisanship – XVII. Footmen – XVIII. A Chapter on Editors.
23.      Criticisms on Art (1844), ed. William Hazlitt [WH’s son]
a.      1844, London: C. Templeman. “Criticism on Art. By William Hazlitt. with Catalogue of the Principal / Picture Galleries of England Second Series Edited by his Son. London: C. Templeman, 6 Great Portland Street MDCCCXLIV.” Original Advertisement by “W.H.” claims that “the present volume contains the remainder of such of my Father’s writings on Art as were either scattered about in various periodicals, inedited and well nigh unknown, or could, without undue violence, be transferred from the places which they occupied in the old editions of his works to this more convenient and congruous position.”
b.      1904, The Collected Works, vols. 9 & 10, eds. A. R. Waller and Arnold Glover. Contain all previously uncollected pieces from (a), when possible reprinted from the original magazines and without the questionable changes introduced by WH’s son.
c.      Contents: I. On the Pleasure of Painting – II. On Certain Inconsistencies in Sir Joshua Reynolds’s Discourses – III. On Originality – IV. On the Catalogue Raisonne of the British Institution – V. On a Portrait of a Lady, by Vandyke – VI. The Vatican – VII. On a Landscape by Nicolas Poussin – VIII. English Students at Rome – IX. On Lady Morgan’s Life of Salvator Rosa – X. On Farington’s Life of Sir Joshua Reynolds – XI. On the Ideal – XII. On Judging of Pictures – XIII. Mr West’s Picture of Death on the Pale Horse – XIV. On Williams’s Views in Greece – [Appendix: catalogues of galleries, not by WH].
24.      Winterslow: Essays and Characters (1850), ed. William Hazlitt [WH’s son]
a.      1850, London: David Bogue. “Winterslow: Essays and Characters written there. By William Hazlitt. Collected by his Son. London: David Bogue, Fleet Street. MDCCCL.”
b.      1904, The Collected Works, vols. 11 & 12, eds. A. R. Waller and Arnold Glover. Contain all previously uncollected pieces from (a), when possible reprinted from the original magazines and without the questionable changes introduced by WH’s son.
c.      Contents: I. My First Acquaintance with Poets – II. Of Persons One Would Wish to Have Seen – III. Party Spirit – IV. On the Feeling of Immortality in Youth – V. On Public Opinion – VI. On Personal Identity – VII. Mind and Motive – VIII. On Means and Ends – IX. Matter and Manner – X. On Consistency of Opinion – XI. Project for a new Theory of Civil and Criminal Legislation – XII. On the Character of Burke – XIII. On the Character of Fox – XIV. On the Character of Pitt – XV. On the Character of Lord Chatham – XVI. Belief, whether Voluntary – XVII. A Farewell to Essay-Writing.
25.      William Hazlitt: Essayist and Critic (1889), ed. Alexander Ireland
a.      1889, The Cavendish Library. London/NY: Frederick Warne and Co. “With a Memoir, Biographical and Critical, by Alexander Ireland”. Preface by the editor signed “Southport, June 1889”. Comprehensive but somewhat slipshod selection. No notes.
26.      The Collected Works of William Hazlitt (1902-06), 12 vols., eds. A. R. Waller & Arnold Glover
a.      London: J. M. Dent, 1902–04. Introduction by W. E. Glover (vol. 1). Bibliographical Notes. Explanatory endnotes.   
b.      Notes. Vol. 13, and Index, was published in 1906. Fine scholarly edn. of considerable value.
c.      Contents: 1–19 reprinted (usually) from the last book edition during WH’s lifetime; many pieces from 21-24 or other collections, some of them previously published abridged or altered but now restored to their original form; many previously uncollected pieces. For detailed ToC, see here.
27.      Selected Essays (1917), ed. George Sampson
a.      Cambridge: at the University Press, 1917. Superb “Introduction: A General Sketch of Hazlitt’s Life and Writings” and extensive Notes. Highly recommended!
b.      Contents: My First Acquaintance with Poets – On the Conversation of Authors I – On the Conversation of Authors II – Of Persons One Would Wish To Have Seen – On Reading Old Books – On Actors and Acting I – On Actors and Acting II – On a Landscape of Nicholas Poussin – On the Pleasure of Painting I – On the Pleasure of Painting II – The Fight – The Indian Jugglers – On Going a Journey.
28.      Twenty-Two Essays of William Hazlitt (1918), ed. Arthur Beatty
a.      D. C. Heath and Co., 1918. Preface, Introduction (I. Personality and Theme; II. Style), Notes, Outline of Hazlitt’s Life, and Selected Bibliography.
b.      Contents: I. Autobiography and Reminiscence – My First Acquaintance with Poets – On Reading Old Books – Whether Genius is Conscious of its Powers – A Farewell to Essay-Writing – II. Philosophy and Reflection – On Classical Education – On the Ignorance of the Learned – The Indian Jugglers – On Going a Journey – Why Distant Objects Please – On the Disadvantages of Intellectual Superiority – On the Knowledge of Character – On the Fear of Death – On the Spirit of Obligations – On the Feeling of Immortality in Youth – Merry England – On Disagreeable People – III. The Art of Prose – On Familiar Style – On the Prose-Style of Poets – IV. Criticism – On a Landscape of Nicolas Poussin – Mr. Coleridge – Mr. Wordsworth – Hamlet.
29.      New Writings by William Hazlitt (1925), ed. P. P. Howe
a.      London: Martin Secker, 1925.
30.      New Writings by William Hazlitt: Second Series (1927), ed. P. P. Howe
a.      London: Martin Secker, 1927.
31.      Selected Essays of William Hazlitt, 1778–1830 (1930), ed. Geoffrey Keynes.
a.      London: Nonesuch Press, 1930. Centenary edition. Comprehensive, thematically-organised selection. Nice Introduction. No Notes!
32.      The Complete Works of William Hazlitt (1931-34), 21 vols., ed. P. P. Howe
a.      London: J. M. Dent, 1931–34. Based on 25. Includes The Life of Napoleon and previously uncollected writings.
33.      The Hazlitt Sampler (1961), ed. Herschel Moreland Sikes
a.      Greenwich, Conn.: Fawcett Publications, 1961. Subtitled “Selections from his Familiar, Literary, and Critical Essays”.
34.      Selected Writings (1970), ed. Ronald Blythe
a.      Penguin Books, 1970.
b.      Penguin Classics, 1982.
35.      The Letters of William Hazlitt (1979), ed. Herschel Moreland Sikes
a.      London: Macmillan, 1979. Co-editors: Willard Hallam Bonner and Gerald Lahey.
36.      Selected Writings (1991), ed. Jon Cook.
a.      Oxford: Oxford University Press, 1991. Oxford World’s Classics. Helpful Introduction and Notes, but promiscuous selection and many abridged pieces.
37.      The Selected Writings of William Hazlitt (1998), 9 vols., ed. Duncan Wu.
a.      London: Pickering and Chatto, 1998.
38.      The Fight, and Other Writings (2000), ed. Tom Paulin and David Chandler
a.      London: Penguin Books, 2000. Penguin Classics. Introduction and Notes. More comprehensive selection than 36.
39.      Metropolitan Writings (2005), ed. Gregory Dart
a.      Manchester: Fyfield Books, 2005.
40.      New Writings of William Hazlitt (2007), 2 vols., ed. Duncan Wu
a.      Oxford: Oxford University Press, 2007. 205 “new” pieces by WH!
41.      On the Pleasure of Hating (2004)
a.      Penguin, 2004. Penguin Great Ideas. Only 6 essays, but well chosen.
b.      Contents: The Fight – The Indian Jugglers – On the Spirit of Monarchy – What is the People? – On Reason and Imagination – On the Pleasure of Hating.