The prose writer, in fact, since he is allowed to be so much less harmonious, is condemned to a perpetually fresh variety of movement on a larger scale, and must never disappoint the ear by the trot of an accepted metre. And this obligation is the third orange with which he has to juggle, the third quality which the prose writer must work into his pattern of words. It may be thought perhaps that this is a quality of ease rather than a fresh difficulty; but such is the inherently rhythmical strain of the English language, that the bad writer—and must I take for example that admired friend of my boyhood, Captain Reid?—the inexperienced writer, as Dickens in his earlier attempts to be impressive, and the jaded writer, as any one may see for himself, all tend to fall at once into the production of bad blank verse. And here it may be pertinently asked, Why bad? And I suppose it might be enough to answer that no man ever made good verse by accident, and that no verse can ever sound otherwise than trivial when uttered with the delivery of prose. But we can go beyond such answers. Which example uses syntax that demonstrates a thought that the author wants to put aside?

A) "The prose writer, in fact, since he is allowed to be so much less harmonious, is condemned to a perpetually fresh variety of movement on a larger scale, and must never disappoint the ear by the trot of an accepted metre."
B) "And this obligation is the third orange with which he has to juggle, the third quality which the prose writer must work into his pattern of words. It may be thought perhaps that this is a quality of ease rather than a fresh difficulty"
C) "but such is the inherently rhythmical strain of the English language, that the bad writer—and must I take for example that admired friend of my boyhood, Captain Reid?—the inexperienced writer, as Dickens in his earlier attempts to be impressive, and the jaded writer"
D) "And here it may be pertinently asked, Why bad?"