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Canning" (brought in from the 11 July 1824 issue of The Examiner, where it bore the title "Character of Mr. Bentham's eye, because he was forced to work when under it? It is rather like an inventory, than a valuation of different arguments." This is not so, "for all pleasure does not equally bear reflecting on." Even if we take Bentham's reasoning as presenting "the whole truth", human nature is incapable of acting solely upon such grounds, "needing helps and stages in its progress" to "bring it into a tolerable harmony with the universe." Hazlitt weaves into his criticism of the philosopher's ideas an account of Bentham the man. Bentham, in private life, is an amiable and exemplary character", of regular habits, and with childlike characteristics, despite his advanced age.

"Will the convert to the great principle of Utility work when he was from under Mr. His "method of reasoning" is "comprehensive ..." but it "includes every thing alike.

Hazlitt was also a painter and an art critic, yet no artists number among the subjects of these essays. On the contrary, Hazlitt argues passionately, reason is the glue that binds civilisation together.

His artistic and critical sensibility, however, infused his prose style—Hazlitt was later judged to be one of the greatest of English prose stylists as well His experience as a literary, political, and social critic contributed to Hazlitt's solid understanding of his subjects' achievements, and his judgements of his contemporaries were later often deemed to have held good after nearly two centuries. And if reason can no longer be considered as "the sole and self-sufficient ground of morals", we must thank Godwin for having shown us why, by having "taken this principle, and followed it into its remotest consequences with more keenness of eye and steadiness of hand than any other expounder of ethics." Hazlitt moves on to Godwin's accomplishments as a novelist.

There, the essays were "Jeremy Bentham", "William Godwin", "Mr. By the time Hazlitt wrote this sketch some thirty years after Godwin's glory years, the political climate had changed drastically, owing in large part to the British government's attempts to repress all thinking they deemed dangerous to the public peace.

Leigh Hunt" (as shown in the page header), the second again on Knowles, with the page header reading "Mr. Finally, later in 1825, the second English edition was brought out (again, anonymously). There he espoused (in the words of historian Crane Brinton) "the natural goodness of man, the corruptness of governments and laws, and the consequent right of the individual to obey his inner voice against all external dictates." Hazlitt had known Godwin earlier, their families having been friends since before Hazlitt's birth; as he also often visited the elder man in London in later years, he was able to gather impressions over many decades.

Bentham would observe and attempt to alter the behavior of a criminal by placing him in a "Panopticon, that is, a sort of circular prison, with open cells, like a glass bee-hive." When the offender is freed from its restraints, however, Hazlitt questions whether it is at all likely he will maintain the altered behavior that had seemed so amenable to change. Further, there is a flaw in Bentham's endlessly elaborating on his single idea of utility.

Yet, Hazlitt observes, "it is of the very essence of crime to disregard consequences both to ourselves and others." Hazlitt proceeds to contrast in greater detail the realities of human nature with Bentham's benevolent attempts to manipulate it. consists in liberty, in hardship, in danger, and in the contempt of death, in one word, in extraordinary excitement".

Afterwards at odds over politics, they became estranged, but Hazlitt continued to follow the intellectual development of one who answered more closely to his idea of a man of genius than anyone he had ever met, Unlike the accounts of Bentham and Godwin, Hazlitt's treatment of Coleridge in The Spirit of the Age presents no sketch of the man pursuing his daily life and habits.

This quality also limits Godwin's powers of conversation, so he fails to appear the man of genius he is. Godwin either goes to sleep himself, or sets others to sleep." But Hazlitt closes his essay with personal recollections of the man (and, as with Bentham, a description of his appearance) that set him in a more positive light: "you perceive by your host's talk, as by the taste of seasoned wine, that he has a cellarage in his understanding." The scholar, critic, and intellectual historian Basil Willey, writing a century later, thought that Hazlitt's "essay on Godwin in The Spirit of the Age is still the fairest and most discerning summary I know of".

Samuel Taylor Coleridge (1772–1834) was a poet, philosopher, literary critic, and theologian who was a major force behind the Romantic movement in England.

Four more articles appeared in the series, and then Hazlitt prepared numerous others with the goal of collecting them into a book. In Paris, Hazlitt arranged to have an edition, with a somewhat different selection and ordering of articles, published there by A. Finally, later in the same year, Colburn brought out the second English edition, with contents slightly augmented and revised but otherwise similar to the first edition. Horne Tooke", "Sir Walter Scott", "Lord Byron", "Mr. Here, it is Godwin's method that is seen as superior.

After he had left England for a tour of the continent with his wife, that book, bearing the title The Spirit of the Age: Or Contemporary Portraits, was published in London on 11 January 1825, by Henry Colburn, and printed by S. No further editions would appear in Hazlitt's lifetime. Horne Tooke", "Sir Walter Scott", and "Lord Eldon", in The New Monthly Magazine for 1824 in the January, February, March, April, and July issues, respectively. Rather than, like Scott, creating novels out of "worm-eaten manuscripts ...

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