"Everything is in motion. Everything flows. Everything is vibrating"
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A restless metaphysics dressed as common sense: Hazlitt’s line turns the world into a perpetual draft, never a finished manuscript. “Everything is in motion” has the blunt force of a fact; by the time he gets to “Everything is vibrating,” the claim has sharpened into a sensibility. This is less physics than temperament. Hazlitt, the great Romantic-era critic of appetite and argument, distrusted static categories because his real subject was always human volatility: desire, mood, crowds, revolutions, reputations. The sentence moves the way his mind moves, sweeping from the observable to the almost tactile, insisting that change isn’t an event but the baseline.
The specific intent is polemical. He’s not merely describing flux; he’s using it to sabotage complacency and tidy moral bookkeeping. If everything is flowing, then the smug certainty of fixed identities, fixed taste, fixed politics starts to look like a comforting lie. The subtext is anti-dogma: any system that pretends to freeze life into rules is already missing the point. The repetition of “Everything” is also a kind of dare. Try to exempt your favorite exception - your tradition, your principle, your self-image - and the phrase comes back like a drumbeat.
Context matters: Hazlitt writes in the wake of the French Revolution’s whiplash, when “permanent order” sounded like either a fantasy or a threat. As a critic, he’s also defending a dynamic idea of art and judgment: taste isn’t a museum label; it’s a living response. “Vibrating” smuggles in feeling, not just motion - the notion that the world isn’t simply changing, it’s humming with pressure, conflict, and possibility.
The specific intent is polemical. He’s not merely describing flux; he’s using it to sabotage complacency and tidy moral bookkeeping. If everything is flowing, then the smug certainty of fixed identities, fixed taste, fixed politics starts to look like a comforting lie. The subtext is anti-dogma: any system that pretends to freeze life into rules is already missing the point. The repetition of “Everything” is also a kind of dare. Try to exempt your favorite exception - your tradition, your principle, your self-image - and the phrase comes back like a drumbeat.
Context matters: Hazlitt writes in the wake of the French Revolution’s whiplash, when “permanent order” sounded like either a fantasy or a threat. As a critic, he’s also defending a dynamic idea of art and judgment: taste isn’t a museum label; it’s a living response. “Vibrating” smuggles in feeling, not just motion - the notion that the world isn’t simply changing, it’s humming with pressure, conflict, and possibility.
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