Look (3) at the unity of each paragraph, and (4) at the larger
unity of the four paragraphs--that of each paragraph determined by the
relation of each sentence to the sub-topic of the paragraph, and that of
the four paragraphs determined by their relation to the general topic of
the extract. We add that the obvious reference of the repeated _he_ to the
same person, and of _that_ and _secret_ in paragraph 4 demonstrates both
unities. Look (5), and lastly, at the fact that the sub-topic of each
paragraph is found in the first line of each paragraph. Could Webster have
done more to make his thought seen and felt?
+The Style of the Author.+--This selection is largely +Narrative.+ Its
leading facts were doubtless supplied by the testimony given in the case;
but much of the matter must have come from the imagination of Mr. Webster.
Everything is so skillfully and vividly put that the story, touched with
description, has all the effect of an argument. One quality of it is its
clearness, its perspicuity. It is noticeable also that very little imagery
is used, that the language is plain language. But it is impossible to read
these paragraphs without being most profoundly impressed with their energy,
their force.
The style is forcible because (1) the +subject-matter+ is +easily grasped+;
(2) because +simple words+ are +used+, words understood even by children;
because (3) these +words+ are +specific+ and +individual+, not generic;
because (4) of the grateful +variety of sentences+; (5) because of the
+prevalence of short sentences+; because (6) of the +repetition of the
thought+ in successive sentences; because (7), though the murder took place
some time before, Webster speaks as if it were +now taking place+ in our
very sight.
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