And yet, notwithstanding such defects (and we might have added to them his use of logical formulae at times when they appear simply ridiculous, his unnecessary scholasticism, and display of learning, the undue self-complacence with which he parades his peculiar views, and explodes his adversary's, however reputed and venerable, and a certain air of exaggeration which swathes all his written speech), what splendid powers this strange being, at all times and on all subjects, exerts! With what razor-like sharpness does he cut the most difficult distinctions! What learning is his--here compelling wonder, from its variety and minute accuracy; and there, from the philosophical grasp with which he holds it, in compressed masses! And, above all, what grand, sombre, Miltonic gleams his imagination casts around him on his way; and in what deep swells of organ-like music do his thoughts often, harmoniously and irrepressibly, move! The three prose-writers of this century, who, as it appears to us, approach most nearly to the giants of the era of Charles I., in spirit of genius and munificence of language, are, Edward Irving, in his preface to "Ben Ezra," Thomas Aird, in parts of his "Religious Characteristics," and Thomas De Quincey, in his "Confessions," and his "Suspiria de Profundis." In coming down from an author to his works we have often a feeling of humiliation and disappointment. It is like comparing the great Ben Nevis with the streamlets which flow from his base, and asking, "Is this all the mighty mountain can give the world?" So, "What has De Quincey done?" is a question we are now sure to hear, and feel rather afraid to answer. In a late number of that very excellent periodical, "Hogg's Instructor," Mr. De Quincey, as if anticipating some such objection, argues (referring to Professor Wilson), that it is ridiculous to expect a writer now to write a large separate work, as some had demanded from the professor. He is here, however, guilty of a fallacy, which we wonder he allowed to escape from his pen: there is a difference between a large and a great work. No one wishes either De Quincey or John Wilson to write a folio; what we wish from each of them is, an _artistic_ whole, large or comparatively small, fully reflecting the image of his mind, and bearing the relation to his other works which the "Paradise Lost" does to Milton's "Lycidas," "Arcades," and "Hymn on the Nativity." And this, precisely, is what neither of those illustrious men has as yet effected.