In the tale proper--where there is no space for development of character or for great profusion and variety of incident--mere construction is, of course, far more imperatively demanded than in the novel.

The writer who neglects punctuation, or mispunctuates, is liable to be misunderstood for the want of merely a comma, it often occurs that an axiom appears a paradox, or that a sarcasm is converted into a sermonoid.

In the one instance, the dreamerloses sight of this object in a wilderness of deductions and suggestionsuntilhe finds the incitamentum, or first cause of his musings,... forgotten. In my case, the primary object was invariably frivolous, although assuming, through the medium of my distempered vision, a refracted and unreal importance.

Take thy beak from out my heart, and take thy form from off my door!” Quoth the raven, “Nevermore.

Beauty is the sole legitimate province of the poem.

Science has not yet taught us if madness is or is not the sublimity of the intelligence.

And travellers, now, within that valley, Through the red-litten windows see Vast forms, that move fantastically To a discordant melody, While, like a ghastly rapid river, Through the pale door A hideous throng rush out forever And laugh — but smile no more.