Various - Harper's New Monthly Magazine, Volume 1, No. 2, July, 1850.

The best style of writing, in point of effect, is that which combines both forms of sentence in proper proportions. Just as a well-armed warrior of old, while he held the broadsword in his right hand, had the dagger of mercy suspended by his side, the effective writer, who can at one time wave the flaming brand of eloquence, can at another use the pointed poignard of direct statement, of close logic, or of keen and caustic wit. Thus did Burke, Hall, Horsley, and Chalmers.

Akin to De Quincey's length of sentence, is his ungovernable habit of digression. You can as soon calculate on the motions of a stream of the aurora, as on those of his mind. From the title of any one of his papers, you can never infer whether he is to treat the subject announced, or a hundred others – whether the subjects he is to treat are to be cognate, or contradictory, to the projected theme – whether, should he begin the subject, he shall ever finish it – or into how many foot-notes he is to draw away, as if into subterranean pipes, its pith and substance. At every possible angle of his road he contrives to break off, and hence he has never yet reached the end of a day's journey. Unlike Christian in the "Pilgrim," he welcomes every temptation to go astray – and, not content with shaking hands with old Worldly Wiseman, he must, before climbing Mount Difficulty, explore both the way of Danger and that of Destruction. It may be inquired, if this arise from the fertility or from the frailty of his genius – from his knowledge of, and dominion over every province of thought, or from his natural or acquired inability to resist "right-hand or left-hand defections," provided they promise to interest himself and to amuse his readers. Judging from Coleridge's similar practice, we are forced to conclude that it is in De Quincey too – a weakness fostered, if not produced, by long habits of self-indulgence.

And yet, notwithstanding such defects (and we might have added to them his use of logical formulæ 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.

De Quincey's works, if collected, would certainly possess sufficient bulk; they lie scattered, in prodigal profusion, through the thousand and one volumes of our periodical literature; and we are certain, that a selection of their better portions would fill ten admirable octavos. Mr. De Quincey himself was lately urged to collect them. His reply was, "Sir, the thing is absolutely, insuperably, and forever impossible. Not the archangel Gabriel, nor his multipotent adversary, durst attempt any such thing!" We suspect, at least, that death must seal the lips of the "old man eloquent," ere such a selection shall be made. And yet, in those unsounded abysses, what treasures might be found – of criticism, of logic, of wit, of metaphysical acumen, of research, of burning eloquence, and essential poetry! We should meet there with admirable specimens of translation from Jean Paul Richter and Lessing; with a criticism on the former, quite equal to that more famous one of Carlyle's; with historical chapters, such as those in "Blackwood" on the Cæsars, worthy of Gibbon; with searching criticisms, such as one on the knocking in Macbeth, and two series on Landor and Schlosser; with the elephantine humor of his lectures on "Murder, considered as one of the fine arts;" and with the deep theological insight of his papers on Christianity, considered as a means of social progress, and on the Essenes. In fact, De Quincey's knowledge of theology is equal to that of two bishops – in metaphysics, he could puzzle any German professor – in astronomy, he has outshone Professor Nichol – in chemistry, he can outdive Samuel Brown – and in Greek, excite to jealousy the shades of Porson and Parr. There is another department in which he stands first, second, and third – we mean, the serious hoax. Do our readers remember the German romance of Walladmor, passed off at the Leipsic fair as one of Sir Walter Scott's, and afterward translated into English? The translation, which was, in fact, a new work, was executed by De Quincey, who, finding the original dull, thought proper to re-write it; and thus, to charge trick upon trick. Or have they ever read his chapter in "Blackwood" for July, 1837, on the "Retreat of a Tartar tribe?" a chapter certainly containing the most powerful historical painting we ever read, and recording a section of adventurous and romantic story not equaled, he says, "since the retreat of the fallen angels." This chapter, we have good reason for knowing, originated principally in his own inventive brain. Add to all this, the fiery eloquence of his "Confessions" – the labored speculation of his "Political Economy" – the curiously-perverted ingenuity of his "Klosterheim" – and the solemn, sustained, linked, and lyrical raptures of his "Suspiria," and we have answered the question, What has he done? But another question is less easy to answer, What can he, or should he, or shall he yet do? And here we venture to express a long-cherished opinion. Pure history, or that species of biography which merges into history, is his forte, and ought to have been his selected province. He never could have written a first-rate fiction or poem, or elaborated a complete or original system of philosophy, although both his imagination and his intellect are of a very high order. But he has every quality of the great historian, except compression; he has learning, insight, the power of reproducing the past, fancy to color, and wit to enliven his writing, and a style which, while it is unwieldy upon small subjects, rises to meet all great occasions, like a senator to salute a king. The only danger is, that if he were writing the history of the Crusades or Cæsars, for instance, his work would expand to the dimensions of the "Universal History."