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 whether the Grand Style itself exists there. And I profess myself unable to understand how any one can deny its presence in the passages to which I have referred, and in scores, almost hundreds, of others.

But let us come to somewhat closer quarters. What is it, in these passages themselves, which, in spite of the evident novitiate of their author, claims for them grandeur of style? It is no one thing; the sources of the Sublime in style are many—as many as the qualities and circumstances of Style itself. Whenever one of these qualities is displayed, whenever one of these circumstances is utilized, in the transmuting and transporting fashion and degree—there is the Grand Style. In the speech of Julia, above referred to,

She hath been fairer, Madam, than she is,

the secret lies, to a great extent, in the double meaning, and in the pathetic moderation and modulation of the disguised and deserted mistress. The language is quite plain—it is an instance, one of many, which shows that poetic diction is not a sine qua non, though none of these shows that it can be or ought to be wholly dispensed with. But as I am, I confess, strongly and indeed irreconcilably opposed to the doctrine that the great thought ipso facto makes the Great Style—that the meaning is the thing—I am particularly glad to start with an instance where the secret does lie mainly in the meaning.

It lies there less in the passage of the Errors:

Here the meaning is good, is true, is pathetic—but it is not in it that the transport and the transmutation lie. They lie partly, as Longinus would assert, in the Figure—the vivid