Sublime

She took the opportunity to rein in what must have seemed syntactic and figural excesses in the work. In a passage about the invalid’s attitude to poetry, the 1930 version state

inures

ou can hear in the delaying rhythms of the opening sentence the influence of Marcel Proust and the digressive, paid-by-the-word style of Thomas De Quincey, whose essays Woolf had lately looked into for the first time