The third paragraph describes their minds, and we perceive that Macaulay
has all along been leading into this by his series of contrasts.
In the fourth paragraph he brings the two sides into the closest
possible relations, so that the contrast reaches its height.
The last short paragraph sums up the facts.
This style, though highly artificial, is highly useful when used in
moderation. It is unfortunate that Macaulay uses it so constantly.
When he cannot find contrasts he sometimes makes them, and to make them
he distorts the truth. Besides, he wearies us by keeping us too
monotonously on a high dead level. In time we come to feel that he is
making contrasts merely because he has a passion for making them,
not because they serve any purpose. But for one who wishes to learn
this style, no better model can be found in the English language.
DREAM-FUGUE
On the Theme of Sudden Death.*
By Thomas De Quincey.
*"The English Mail-Coach" consists of three sections, "The Glory of
Motion," "vision of Sudden Death," and "Dream-Fugue." De Quincey
describes riding on the top of a heavy mail-coach.
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