rather to observe his manner than to absorb his thought.  Yet when this is said, it is not to imply that the material is unworthy or the ideas unsound; on the contrary, his sentiment is true and his ideas are wholesome; but many of the topics treated lie outside the deeper interests of ordinary life, and fail to appeal to us so practically as do the writings of some lesser men.  Of the “one hundred and fifty magazine articles” which comprise his works, there are many that will not claim the general interest, yet his writings as a whole will always be recognized by students of rhetoric as containing excellences which place their author among the English classics.  Nor can De Quincey be accused of subordinating matter to manner; in spite of his taste for the theatrical and a tendency to extravagance, his expression is in keeping with his thought, and the material of those passages which contain his most splendid flights is appropriate to the treatment it receives.  One effective reason, certainly, why we take pleasure in the mere style of De Quincey’s work is because that work is so thoroughly inspired with the Opium-Eater’s own genial personality, because it so unmistakably suggests that inevitable “smack of individuality” which gives to the productions of all great authors their truest distinction if not their greatest worth.

Thomas De Quincey was born in Manchester, August 15, 1785.  His father was a well-to-do merchant of literary taste, but of him the children of the household scarcely knew; he was an invalid, a prey to consumption, and during their childhood made his residence mostly in the milder climate of Lisbon or the West Indies.  Thomas was seven years old when his father was brought home to die, and the lad, though sensitively impressed by the event, felt little of the significance of relationship between them.  Mrs. De Quincey was a somewhat stately lady, rather strict in discipline and rigid in her views.  There does not seem to have been the most complete sympathy between mother and son, yet De Quincey was always reverent in his attitude, and certainly entertained a genuine respect for her intelligence and character.  There were eight children in the home, four sons and four daughters; Thomas was the fifth in age, and his relations to the other members of this little community are set forth most interestingly in the opening chapters of his Autobiographic Sketches.

De Quincey’s child life was spent in the country; first at a pretty rustic dwelling known as “The Farm,” and after 1792 at a larger country house near Manchester, built by his father, and given by his mother the pleasantly suggestive name of “Greenhay,” hay meaning hedge, or hedgerow.  The early boyhood of Thomas De Quincey is of more than ordinary interest, because of the clear light it throws upon the peculiar temperament and endowments of the man.  Moreover, we have the best of authority in our study of this period, namely, the author himself, who in