In Mr. Hazlitt’s “Notes of a Journey through France and Italy,” he mentions the place from whence he sailed for the continent:—
“Brighton stands facing the sea, on the bare cliffs, with glazed windows to reflect the glaring sun, and black pitchy bricks shining like the scales of fishes. The town is however gay with the influx of London visiters—happy as the conscious abode of its sovereign! Every thing here appears in motion—coming or going. People at a watering-place may be compared to the flies of a summer; or to fashionable dresses, or suits of clothes, walking about the streets. The only idea you gain is, of finery and motion. The road between London and Brighton, presents some very charming scenery; Reigate is a prettier English country-town than is to be found anywhere—out of England! As we entered Brighton in the evening, a Frenchman was playing and singing to a guitar.—The genius of the south had come out to meet us.”
When Mr. Hazlitt arrived at Brighton, it was in the full season. He says, “A lad offered to conduct us to an inn. ‘Did he think there was room?’ He was sure of it. ‘Did he belong to the inn?’ ‘No,’ he was from London. In fact, he was a young gentleman from town, who had been stopping some time at the White-horse hotel, and who wished to employ his spare time (when he was not riding out on a blood-horse) in serving the house, and relieving the perplexities of his fellow-travellers. No one but a Londoner would volunteer his assistance in this way. Amiable land of Cockayne, happy in itself, and in making others happy! Blest exuberance of self-satisfaction, that overflows upon others! Delightful impertinence, that is forward to oblige them!”
It is here both in place and season, to quote a passage of remarkably fine thought:—
“There is something in being near the sea, like the confines of eternity. It is a new element, a pure abstraction. The mind loves to hover on that which is endless, and for ever the same. People wonder at a steam-boat, the invention of man, managed by man, that makes its liquid path like an iron railway through the sea—I wonder at the sea itself, that vast Leviathan, rolled round the earth, smiling in its sleep, waked into fury, fathomless, boundless, a huge world of water-drops.—Whence is it, whither goes it, is it of eternity or of nothing? Strange ponderous riddle, that we can neither penetrate nor grasp in our comprehension, ebbing and flowing like human life, and swallowing it up in thy remorseless womb,—what art thou? What is there in common between thy life and ours, who gaze at thee? Blind, deaf and old, thou seest not, hearest not, understandest not; neither do we understand, who behold and listen to thee! Great as thou art, unconscious of thy greatness, unwieldy, enormous, preposterous twin-birth of matter, rest in thy dark, unfathomed cave of mystery, mocking human pride and weakness. Still is it given to the mind of man to wonder at thee, to confess its ignorance, and to stand in awe of thy stupendous might and majesty, and of its own being, that can question thine!”[350]
In Mr. Hazlitt’s “Journey through France and Italy,” there are “thoughts that breathe and words that burn.” His conceptions of beauty and grandeur, are at all times simple and vast. His works are pervaded by the results of profound thinking. His sentences have the power of elevating things that are deemed little remarkable, and of lowering those which successive submissions to over praise, have preposterously magnified. Many of the remarks on works of art, in his “Notes of a Journey through France and Italy,” will be wholly new to persons who never reflected on the subjects of his criticism, and will not be openly assented to by others thinking as he does, who, for the first time, has ventured to publicly dissent from received notions. If any of his opinions be deemed incorrect, the difference can easily be arbitrated. Taking the originals, whether corporeal or imaginary existences, as the standard, our pure sight and feeling may be relied on as unerring judges of the imitations.