Abstract:William Hazlitt has had the flattering misfortune of being celebrated as one of the greatest essayists in England, his literary heritage limited to the British Isles. Further, the genre of his fame has sometimes led critics to view his writings as Turner did the coastal seas—impressionistic and occasionally glittering with illumination. However, I argue that Hazlitt is an important heir of and contributor to the Swiss-German theory of the characteristic, which he consistently, if not programmatically, pursues throughout the gamut of his works. The characteristic is a concept of aesthetic semblance first articulated by Aloys Hirt, and then by such figures as Goethe and Henry Fuseli, that straddles the classical and romantic movement, and Hazlitt receives it from Fuseli. The characteristic—of which portraiture, because of its relation to sympathetic representation, is for Hazlitt the highest symbol—is in fact a defining feature of Hazlitt's aesthetics and connects him to the major art-theoretical figures of European Romanticism.

中文翻译：

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哈兹利特与特征传统

摘要：威廉·哈兹利特（William Hazlitt）不幸地被誉为英格兰最伟大的散文家之一，他的文学传承仅限于不列颠群岛。此外，他的名气有时使评论家将他的作品视为特纳在沿海海域时的印象派印象，有时还带有照明。但是，我认为哈兹利特是瑞士-德国特征理论的重要继承者和贡献者，他始终（即使不是以编程方式）在其整个作品领域中追求这一特征。特征是首先由阿洛伊斯·希特（Aloys Hirt）提出的审美相似性概念，然后是跨越古典和浪漫主义运动的歌德和亨利·富塞利（Henry Fuseli）这样的人物，哈兹利特从富塞利那里得到了它。特征-哪幅肖像画