Preparation[ edit ] Hazlitt was well prepared to write The Spirit of the Age. Hackney Collegewhere he studied for two years, was known for fostering radical ideas,  immersing him in the spirit of the previous age, and a generation later helping him understand changes he had observed in British society.
He seeks to regain his mojo by acquiring mistresses, fast cars, or other totems of youth. What kind of chump has a mid-life crisis? Good job, good church, good health?
Check, check, and mostly check. True, my only sibling died inbut that event turned into an occasion of grace, one that brought me the unexpected blessing of returning to my hometown after a lifetime of wandering. And the book I wrote about that journey Hazlitt essays on the past and the future for the first time given me financial security.
Yet last summer I was mired in despair. The cause was the failure of the expectation I had over my return home—a happily-ever-after hope that grace would forever bridge the fault lines between my family and me that had driven me to leave as a young man.
It had not happened, even though I had done everything in my power to make it so. No matter how far I had strayed from home, I never felt the pain of exile as I did last year—a pain exacerbated by my felt inability to steel my mind and marshal my will to master it.
I was lost, but lost in a familiar way. When I was 17, as a restless, anxious teenager, I wandered unawares into the Gothic cathedral at Chartres. The wonder and beauty of that medieval masterpiece made me realize that life was far more filled with joy, with possibility, with adventure and romance than I had imagined.
I did not walk out of the cathedral that day a Christian, but I did leave as a pilgrim who was onto something. What I meant was that I needed my vision renewed, my spirit revived, my world re-enchanted by what I perceived there in as a world-weary American teenager who thought he had seen it all, but who in truth had no idea how blind he was until he beheld the most beautiful church in the world.
Midway in the journey of our life I came to myself in a dark wood, For the straight way was lost. I read on in that first canto, or chapter, and stood with Dante the pilgrim as wild beasts—allegories of sin—cut off all routes out of the terrifying wood.
I did not know it in that moment, but those were the first steps of a journey that would lead me through this incomparable 14th-century poem—all 14, lines in cantos—through the pits of Hell, up the mountain of Purgatory, beyond space and time to the zenith of Paradise—and out of my own dark wood of depression.
He had been caught up in the political intrigue and violence of his times, which, given the role of the medieval papacy in worldly politics, meant enmeshment in religious controversy and strife as well. He would never return. The trauma of this sentence, and the sins and failings that had brought about such injustice into his world, provoked a personal crisis in the middle-aged poet.
He began writing the Commedia, his epic account of an imaginative journey from darkness to the ultimate light: Steeped in Scholasticism and church-state politics of the High Middle Ages, the Commedia is theologically deep and politically pungent, saturated in historical detail.
It is a portrait of the cosmos that is at once an adventure story, a moral discourse, an allegory, and a means to stimulate the reader to reflection on higher theological and metaphysical realities. Dante the pilgrim—that is, the protagonist of the poem, not its author—starts his journey to enlightenment by walking through the chaos of his own soul.
The Inferno is not an exhaustive taxonomy of sins though it sometimes feels like itbut rather an allegory of the condition of sinfulness. For Dante, the worst sins are not those of the appetite—Lust and Gluttony, for example—but sins against the things that make us most human. Dante uses this categorization as a method of exploring the nature of sin as a perversion of the Good.
To give oneself over wholly to lust, gluttony, or greed is damnable, but not as damnable as the higher—or rather, lower—sins, which involve not only the disordered bodily passions but also disordered passions of the mind.
The purpose of this tour of the infernal regions is to awaken the pilgrim to the reality of sin—how it separates men from God, from their better natures, and from each other—and of his own responsibility for the disorder in the world and in his own soul. This is an examination of conscience that often catches one by surprise.
Early in the Inferno, Dante has one of the most memorable encounters of the entire Commedia. Dante finds the Lustful punished for eternity by being blown around endlessly, like leaves in a gale.
In both Inferno and Purgatorio, the punishments disclose the nature of the sin. The Lustful spent their mortal lives carried uncontrollably on the gusts of passion, so now they must spend eternity in perpetual turmoil.
They are yoked together forever now, but only Francesca speaks. She tells the pilgrim that they read romantic literature together, and allowed themselves to be carried away by the narrative and seduced into playing the parts of the adulterous Lancelot and Guinevere.
While the one spirit said this The other wept, so that for pity I swooned as if in death. And down I fell as a dead body falls. What neither Dante nor the reader yet understands is that even though the damned concede that they belong in Hell, they all refuse blame for their downfall.
As the pilgrim and his guide move through Hell, Dante must learn not to fall for the self-justifying stories of the condemned because to do so is to minimize in his own understanding the seriousness of sin. Yet for me as a writer, this canto had particular bite.
In the previous one, the pilgrim found himself in Limbo, among the company of the Virtuous Pagans, including the great poets of antiquity, who count Dante as one of their own. He leaves feeling good about his status as a writer—until meeting Francesca, whose damnation came about in part through reading the vernacular love poetry of her day.
Small wonder that he faints dead away as she finishes her story.When they go fishing, it is not really fish they are after.
It is a philosophic meditation. ~E.T. Brown (Thanks, Walden Woods Project, attheheels.com) Wars and elections are both too . There’s virtually no Internet access in Cuba, but that isn’t stopping a generation of young entrepreneurs (and U.S.
companies like Airbnb and Google) from creating a digital future for their. Contents On the pleasure of painting -- On the past and future -- On genius and common sense -- Character of Cobbett -- On people with one idea -- On the ignorance of the learned -- The Indian jugglers -- On living to one's-self -- On thought and action -- On will-making -- On certain.
Economics Q & A - 1) The current recession is the longest since the Great Depression in the 's. We are still far from a recovery with unemployment at about % .
Dec 27, · Lamb wrote on chimney-sweepers, the South Sea House, weddings, and whist: Hazlitt wrote ‘On Reason and Imagination, ‘On Egotism,’ ‘On the Past and Future.’ His essays are more serious than Lamb’s or serious in a different sense.
Frequently Asked Questions Who wrote this list? See the heading above and the credit below to find out who wrote this list. If you don't like the selections in this list .