At such times I could not help remarking and admiring (although from his rich ideality I had been prepared to expect) a peculiar analytic ability in Dupin. He seemed, too, to take an eager delight in its exercise, if not exactly in its display; and did not hesitate to confess the pleasure thus derived. He boasted to me, with a low chuckling laugh, that most men, in respect to himself, wore windows in their bosoms, and was wont to follow up such assertions by direct and very startling proofs of his intimate knowledge of my own. His manner at these moments was frigid and abstract; his eyes were vacant in expression; while his voice, usually a rich tenor, rose into a treble which would have sounded petulantly but for the deliberateness and entire distinctness of the enunciation. Observing him in these moods I often dwelt meditatively upon the old philosophy of the Bi-Part Soul, and amused myself with the fancy of a double Dupin—the creative and the resolvent. Let it not be supposed, from what I have just said, that I am detailing any mystery, or penning any romance. What I have described in the Frenchman was but the result of an excited, or perhaps of a diseased intelligence. But of the character of his remarks at the periods in question an example will best convey the idea. We were strolling one night down a long dirty street, in the vicinity of the Palais Royal. Being both, apparently, occupied with thought, neither of us had spoken a syllable for fifteen minutes at least. All at once Dupin broke forth with these words— “He is a very little fellow, that’s true, and would do better for the _Théâtre des Variétés_.” “There can be no doubt of that,” I replied unwittingly, and not at first observing (so much had I been absorbed in reflection) the extraordinary manner in which the speaker had chimed in with my meditations. In an instant afterward I recollected myself, and my astonishment was profound. “Dupin,” said I, gravely, “this is beyond my comprehension. I do not hesitate to say that I am amazed, and can scarcely credit my senses. How was it possible you should know I was thinking of ——?” Here I paused, to ascertain beyond a doubt whether he really knew of whom I thought. ——“of Chantilly,” said he, “why do you pause? You were remarking to yourself that his diminutive figure unfitted him for tragedy.” This was precisely what had formed the subject of my reflections. Chantilly was a quondam cobbler of the Rue St. Denis, who, becoming stage-mad, had attempted the role of Xerxes, in Crebillon’s tragedy so called, and been notoriously pasquinaded for his pains. “Tell me, for God’s sake,” I exclaimed, “the method—if method there be—by which you have been enabled to fathom my soul in this matter.” In fact I was even more startled than I would have been willing to express. “It was the fruiterer,” replied my friend, “who brought you to the conclusion that the mender of soles was not of sufficient height for Xerxes _et id genus omne_.”