on going on a journey
While travelling through the countryside nature is company enough for the narrator and he wants to vegetate like the country and be part of it. A companion constantly reminds him of himself and place. Hazlitt goes out of his town to forget it and all its associations, his everyday-self and other people. But a companion, while talking, drops a hint or so reminding him of his everyday existence that he wants to leave behind. The soul of a journey is liberty, the liberty to think, to feel, to act and be what one likes without any obligation to conform to logic, expectations and manners. If a companion is present, the writer must act and conform to the demands of fellowship. Thus the friend stands in the way of his liberty. If he has a companion, good manners demand that they should talk to each other. The topics in such cases are often the stale and repeated ones.
The need to talk to the companion will not allow him to do as he pleases. He would probably like to run, laugh, sing and jump. He would like to plunge into his past, long forgotten things and muse over them. He cannot indulge in the musings at ease. He would probably remain silent for long time musing and talk for a while. Such a half-hearted fellowship is one that the writer would better not have. The writer does not find any wisdom in feeling and talking at the same time. He faces the constant necessity to translate his feelings into words and to communicate them. The pleasure of feeling aroused by a beautiful scene or an object turns into a toil. The mind registers an impression deeply if it gets sufficient time to muse over a thing. Interrupted by the constant need to communicate, the things seen cannot leave a deep impression in the mind. Therefore the writer prefers to use the synthetical method in a journey, not the analytical. To see, feel things and store the impressions and ideas in the mind to analyze them later.
Even if one is ready and willing to communicate one’s feelings, the companion may
The need to talk to the companion will not allow him to do as he pleases. He would probably like to run, laugh, sing and jump. He would like to plunge into his past, long forgotten things and muse over them. He cannot indulge in the musings at ease. He would probably remain silent for long time musing and talk for a while. Such a half-hearted fellowship is one that the writer would better not have. The writer does not find any wisdom in feeling and talking at the same time. He faces the constant necessity to translate his feelings into words and to communicate them. The pleasure of feeling aroused by a beautiful scene or an object turns into a toil. The mind registers an impression deeply if it gets sufficient time to muse over a thing. Interrupted by the constant need to communicate, the things seen cannot leave a deep impression in the mind. Therefore the writer prefers to use the synthetical method in a journey, not the analytical. To see, feel things and store the impressions and ideas in the mind to analyze them later.
Even if one is ready and willing to communicate one’s feelings, the companion may