the first part of his sentences, to have the slightest notion how they were to end--each clause was a new surprise, and the close often unexpected as a thunderbolt. In this, as in many other respects. De Quincey resembles the "noticeable man with large gray eyes." Each of his periods, begin where it may, accomplishes a cometary sweep ere it closes. To use an expression of his own, applied to Bishop Berkeley, "he passes, with the utmost ease and speed, from tar-water to the Trinity, from a mole-heap to the thrones of the Godhead." His sentences are microcosms--real, though imperfect wholes. It is as if he dreaded that earth would end, and chaos come again, ere each prodigious period were done. This practice, so far from being ashamed of, he often and elaborately defends--contrasting it with the "short-winded and asthmatic" style of writing which abounds in modern times, and particularly among French authors. We humbly think that the truth on this question lies in the middle. If an author is anxious for fullne
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