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CRITICAL NOTES.

CRITICAL NOTES.

These notes have two purposes. The first is to illustrate Rhetorical Principles, by calling attention to Figures of Speech, to the laws of the Order of Words, of Sentence and Paragraph Structure, as well as to Expository Method generally. The second is to point out and emphasise Macaulay's characteristics in style and in thought. Throughout there is of course considerable repetition, but to the average pupil that, so far from being a drawback, is an advantage, if not a necessity.

PAGE I.

Line 1. We are inclined. This, the opening paragraph, is purely introductory, its purpose being to explain Macaulay's attitude towards the subject of his essay. As ruling the whole, it comes appropriately at the beginning; like a finger-post, it puts us on the right track at starting.

The first sentence is a well-rounded period, and in accordance with paragraph law intimates the subject of the paragraph. The important point is "our own view," which might come by a rearrangement with more force at the end of the sentence"if, instead of examining the character of Hastings as portrayed in this book, we attempt to give a view of our own". Line 5. Our feeling. A favourite device of Macaulay. He selects

two extreme situations, places them side by side in contrast, and decides for a middle course. Mark the correspondence

in the placing of the contrasted dates, and also the concrete touch in "uncovered". "House of Commons" is a figure of contiguity, metonymy, container for thing contained.

Line 9. He had. The next two sentences should be thrown together by a semicolon. It is our author's habit after a longish sentence to make the next artificially short, whether the sense will bear it or not.

Line 2. We believe that.

for repeating words.

PAGE 2.

Already Macaulay shows his liking "Sufficient" is repeated; so "House of Commons" in second sentence; also "spots" and "likeness" below.

Line 5. He must. The parallelism with the next sentence could be made more complete thus-"his fame bore many dark spots".

Line 11. Paint me. One of Macaulay's apt illustrations, introduced with his usual abruptness. Its effect is to excite interest and give intelligibility.

Line 15. The great Protector. A variation in language-smooth, blooming cheeks, etc., concrete and pictorial.

Line 22. Time, etc. An accumulation of particulars heaped up to strengthen the close of the paragraph. The arrangement is climactic. Little attempt is made to apply the illustration to Hastings' case. But the bearing of it is perfectly clear; and its effect is all the more striking that we are left to find it out for ourselves.

We now see Macaulay's position, and it is characteristic. Other biographers have been biased either for or against Warren Hastings; it is left to Macaulay to hold the balance between them, and paint the man as he was. A declaration of this sort has an alluring effect on the reader, perfect fairness and candour being attractive. It is right to say that Macaulay is not so scrupulously impartial as he assumes.

PAGE 3.

Line 6. Hastings sprang. A short paragraph clearing up the ancestry of Hastings, which is sufficiently indicated in the first sentence. The most notable feature is the number of figures of speech—sails, terror, coasts, line, branch, coronet, white rose; a peculiarity maintained in the next paragraphheads, stock, shoots, seat, etc. All these cases mark Macaulay at the very outset as a concrete and simple writer.

PAGE 4:

Line 3. The lords. Another paragraph, still on Hastings' family, but this time nearer the subject in hand. It brings us to the selling of the family seat.

Line 19. Before this transfer. A good phrase of explicit reference, marking a clear connexion with the last paragraph. The second son brings us to Hastings' grandfather, and before the paragraph ends we reach Hastings himself, so that little time is spent over preliminaries. Macaulay cannot bear to be tedious, and delays us only by a general introduction and three short paragraphs on our hero's pedigree. These might have been combined into one, but the number of facts that have to be given probably prompted our author to break it up as an aid to simplicity, and the gain is apparent.

Line 24. Deplorable. A strong word in an emphatic place at the close of a sentence.

PAGE 5.

Line 5. Destined to strange, etc. A glimpse of the future, after Macaulay's manner, to excite our interest and curiosity. Line 7. Warren was born, etc. The two first sentences are subordinate as being repetitions of facts given in the previous paragraph. This is a habit of our author. The paragraph really begins at the child. Note the variations in language

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