Chapter 8 - Pausing

Rules For Pausing | Examples | General Exercises | Emphasis | Rules For Emphasis | Examples | Inflection | Uses Of Inflection | Examples

The intelligent use of pausing contributes very materially to artistic and effective speech. It discloses a speaker's method of thinking, and its possibilities are almost as varied as thought itself. Rapid utterance, unless employed specifically to portray hasty action, is usually a sign of shallow-ness. The speaker fails to weigh or measure his thought, and skims over its surface in undue anxiety to express what is in his mind. Friday afternoon furnishes a good illustration of meaningless declamation. He rushes through his lines with breathless haste, oftentimes gabbling the last few words while resuming his seat.

Correcting pausing is the result of clear thinking. As a usual thing long pauses indicate importance and depth of thought. Its basis is that used by a good speaker in conversation. In the discussion or expression of the weighty and important truths of a regular discourse, a trained speaker will generally use a slower movement and appropriately longer pauses. Grammatical punctuation shows the construction, but is not always an accurate guide for the speaker or reader. There are numerous shades of pausing, from the slightest spiritual separation of words to very long intervals of time. These must be determined by the thought, the occasion, and the speaker's intelligence. Nor is a pause merely '' an interval of time.' *A speaker is here occupied as fully as when actually expressing words. His mind is employed in seeking, picturing, and weighing the ensuing thought. His audience will follow his mental process and share with him his search for words, pictures, and lines of reasoning. It is said of Webster that upon one occasion, in a public address, the word he wanted did not readily come. He discarded one after another, until finally he found the word that precisely expressed his meaning, whereupon the audience broke out into spontaneous applause.

Nowhere is the "eloquence of silence" more manifest than in this matter of pausing. Frequently it is during these intervals that speaker and auditor are drawn together into closest relationship, and what is termed "personal magnetism" is most deeply felt.

* J. E. Frobisher, Voice and Action, p. 102.

Pausing is a physiological and psychological manifestation of the principle of action and reaction that underlies all vocal expression. Time must be provided in which to replenish the lungs. The listening ear demands relief from an otherwise incessant flow of sound. Clearness insists upon proper divisions of thought. Pausing gives additional interest by keeping the hearer in a state of expectancy. It is particularly valuable in expressing emphasis, spontaneity, and deep feeling. In short, it gives justness, freshness, clearness, and poise to spoken language.

The following rules should be thoroughly understood before proceeding to the examples for analysis.

RULES FOR PAUSING1

Pause after:

1. The nominative phrase.
2. The objective phrase in an inverted sentence..
3. The emphatic word or clause of force.
4. Each member of a sentence.
5. The noun when followed by an adjective.
6. Words in apposition.

Pause before:

1. The infinitive mood.
2. Prepositions (generally).
3. Relative pronouns.
4. Conjunctions.
5. Adverbs (generally).
6. An ellipsis.

EXAMPLES

1. The passions8 of mankind1 frequently* blind them.
2. With famine10 and death3 the destroying angel came.
3. He exhibits* now and then* remarkable genius.
4. He was a man6 contented.
5. The morn6 was clear," the eve' was clouded.
6. It is prudent8 in every man7 to make early provision8 against the wants of age10 and the chances8 of accident.
7. Nations" like men* fail8 in nothing* which they boldly attempt" when sustained8 by virtuous purpose10 and firm resolution.
8. A people12 once enslaved1 may groan12 ages8 in bondage.
9. Their diadems12 crowns8 of glory.
10. They cried3 "Death8 to the traitors!"

GENERAL EXERCISES IN PAUSING

1. The night has a thousand eyes,
And the day but one; Yet the light of
the bright world dies With the dying sun.

The mind has a thousand eyes,
And the heart but one; Yet the light of a whole life dies
When love is done.
"The Night Has a Thousand Eyes."
BOURDILLON.

2. However full days or weeks or years have been of annoyance, unrest, trouble, even sin, the miracle may be wrought in any life on any morning, by which all the unrest, the trial, the sorrow shall be lifted, the burden removed, and the soul caught up to ineffable joy and life and light.
LILIAN WHITING.

3. Religion, the greatest and most important of the efforts by which the human race has manifested its impulse to perfect it self, religion, that voice of the deepest human experience, does not only enjoin and sanction the aim which is the great aim of culture, the aim of setting ourselves to ascertain what perfection is and to make it prevail; but also, in determining generally in what human perfection consists, religion comes to a conclusion identical with that which culture culture seeking the determination of this question through all the voices of human experience which have been heard upon it, of art, science, poetry, philosophy, history, as well as of religion, in order to give a greater fullness and certainty to its solution likewise reaches. Religion says: The kingdom of God is within you; and culture, in like manner, places human perfection in an internal condition, in the growth and predominance of our humanity proper, as distinguished from our animality. "Sweetness and Light."
MATTHEW ARNOLD.

4. Mr. Burke, who was no friend to popular excitement, who was no ready tool of agitation, no hot-headed enemy of existing establishments, no undervaluer of the wisdom of our ancestors, no scoffer against institutions as they are, has said, and it deserves to be fixed in letters of gold over the hall of every assembly which calls itself a legislative body, "Where there is abuse, there ought to be clamor; because it is better to have our slumber broken by the fire-bell, than to perish amid the flames in our bed!"

5. Seated one day at the Organ, I was weary and ill at ease, And my fingers wandered idly Over the noisy keys;

I know not what I was playing,

Or what I was dreaming then; But I struck one chord of music,
Like the sound of a great Amen.
”A Lost Chord”
ADELAIDE PROCTER.

6. The storm had long given place to a calm the most profound, and the evening was pretty far advanced indeed supper was over, and the process of digestion proceeding as favorably as, under the influence of complete tranquillity, cheerful conversation, and a moderate allowance of brandy and water, most wise men conversant with the anatomy and functions of the human frame will consider that it ought to have proceeded, when the three friends, or as one might say, both in a civil and religious sense, and with proper deference and regard to the holy state of matrimony, the two friends (Mr. and Mrs. Browdie counting as no more than one), were startled by the noise of loud and angry threatenings below stairs, which presently attained so high a pitch, and were conveyed besides in language so towering, sanguinary and ferocious, that it could hardly have been surpassed, if there had actually been a Saracen's head then present in the establishment, supported on the shoulders and surmounting the trunk of a real, live, furious, and most unappeasable Saracen.
DICKENS.

7. Hail to thee, blithe spirit!
Bird thou never wert, That from heaven, or near it,
Pourest thy full heart In profuse strains of unpremeditated art.
Higher still and higher
From the earth thou springest Like a cloud of fire;
The blue deep thou wingest, And singing still dost soar, and soaring ever singest.

In the golden lightning
Of the sunken sun, O'er which clouds are brightening,
Thou dost float and run,
Like an unbodied joy whose race is just begun.
The pale purple even
Melts around thy flight; Like a star of heaven
In the broad daylight
Thou art unseen, but yet I hear thy shrill delight.
What thou art we know not;
What is most like thee? From rainbow clouds there flow not
Drops so bright to see,
As from thy presence showers a rain of melody.
Like a poet hidden
In the light of thought, Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears it heeded not.

Teach us, sprite or bird,
What sweet thoughts are thine:
I have never heard
Praise of love or wine
That panted forth a flood of rapture so divine.
Chorus hymeneal,
Or triumphal chant, Matched with thine would be all
But an empty vaunt,
A thing wherein we feel there is some hidden want.

What object are the fountains
Of thy happy strain? What fields, or waves, or mountains?
What shapes of sky or plain?
What love of thine own kind? what ignorance of pain?
We look before and after,
And pine for what is not: Our sincerest laughter
With some pain is fraught;
Our sweetest songs are those that tell of saddest thought.
Yet if we could scorn
Hate, and pride, and fear; If we were things born
Not to shed a tear,
I know not how thy joy we ever should come near.
Better than all measures
Of delightful sound, Better than all treasures
That in books are found,
Thy skill to poet were, thou scorner of the ground!
"To a Skylark."
SHELLEY

EMPHASIS

Emphasis consists in giving prominence to words or parts of discourse so as best to express their meaning. The principal means of giving emphasis are by change of force, inflection, pitch, movement, pause, and feeling. Two things are essential to correct emphasis: First, a clear understanding of the thought to be expressed; second, a thorough and practical knowledge of the various modes of emphasis. These modes are usually found in combination, but the best results will be secured by practising them at first separately.

The speaker should thoroughly understand thought "values," the order of their importance and their relation to each other. He should be able to concentrate upon one thought at a time. He must carefully avoid over-emphasis. Too many interpreters of literature try to read into the lines meanings never intended by the writers.

The form of emphasis most frequently used by untrained speakers is that of force. Many people who speak with varied and appropriate emphasis in conversation, change to a loud declamatory style when called upon to address an audience. They endeavor to drive their thought home by force, mere loudness of voice, accompanied by violent physical movements. The difference between conversational style and that of public speaking is illustrated as follows: A cabinet size photograph, if shown to a few individuals, can be seen in all its details. Hold the same picture up before an audience of a hundred or more people, and the result is unsatisfactory. The picture, however, can be enlarged so that everybody in a large audience can see it, and if the process of enlarging it is naturally and symmetrically done the large picture will be as true a likeness as the small one. If it is otherwise enlarged, the result may be a caricature. In like manner, the public speaker who wishes to be natural and effective should enlarge his conversational style to fit the larger occasion, using all the various modulations and modes of emphasis employed in addressing a single individual.

The most intellectual use of emphasis is that of inflection, wherein graceful glides of the voice are used to give added prominence. This is particularly noticeable in the voices of well-bred children.

To pause immediately before a word gives greater emphasis than to pause after it. The hearer is kept waiting, and the mind, being in a state of expectancy, is likely to be more receptive and impressionable. This accounts, in part, for the effectiveness of a deliberate style over a rapid one. The speaker appears to weigh his words, and the hearer is made to appreciate that which is withheld from him even for a moment. It is said that a person who is thoroughly in earnest will emphasize correctly and naturally.

RULES FOR EMPHASIS

Emphasize:

1. The leading idea of a new thought.
2. Important words.
3. Words used to establish a comparison. ,
4. Conjunctions and introductory words making a sudden turn in the thought.
5. In emphatic repetition.
6. In unexpressed antithesis.
7. Usually both words of an antithesis.

Don't emphasize:

1. Expletives.
2. Words that simply carry the thought forward.
3. When false antithesis will be suggested.

1. To do most, we must employ the most we have to do it with, and not set small functions on great tasks. Attempting the great with the great we do the great; so that one should be all at it, and at it all, doing all he can, and at all he has to do. "How to Succeed."
AUSTIN BIERBROWER.

2. Tho I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. And tho I have the gift of prophecy, and understand all mysteries, and all knowledge; and tho I have all faith, so that I could remove mountains, and have not charity, I am nothing. And tho I bestow all my goods to feed the poor, and tho I give my body to be burned, and have not charity, it profiteth me nothing. Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up, doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil, rejoiceth not in iniquity, but rejoiceth in the truth; beareth all things, believeth all things, hopeth all things. Charity never f aileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away. For we know in part, and we prophesy in part. But when that which is perfect is come, then that which is in part shall be done away. When I was a child, I spake as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things. For now we see through a glass darkly, but then face to face: now I know in part, but then shall I know even as also I am known. And now abideth faith, hope, charity, these three; but the greatest of these is charity. "1 Corinthians, 13."
THE BIBLE.

3. Hope springs eternal in the human breast: Man never is, but always to be blest. The soul, uneasy and confined from home, Rests and expatiates in a life to come.

Lo, the poor Indian! whose untutored mind Sees God in clouds, or hears Him in the wind; His soul proud Science never taught to stray Far as the solar walk or milky way.

All are but parts of one stupendous whole,

Whose body Nature is, and God the soul.

All nature is but art, unknown to thee;
All chance, direction, which thou canst not see;
All discord, harmony not understood;
All partial evil, universal good;
And spite of pride, in erring reason's spite,
One truth is clear, Whatever is, is right.

Know then thyself, presume not God to scan;
The proper study of mankind is man.

Behold the child, by Nature's kindly law,
Pleased with a rattle, tickled with a straw;
Some livelier plaything gives his youth delight,
A little louder, but as empty quite;
Scarfs, garters, gold, amuse his riper stage,
And beads and prayer-books are the toys of age.
Pleased with this bauble still, as that before,
Till tired he sleeps, and life's poor play is o'er.
"Essay on Mm."
ALEXANDER POPE.

4. From these walls a spirit shall go forth that shall survive, when this edifice shall be like an unsubstantial pageant faded* It shall go forth, exulting in, but not abusing, its strength. It shall go forth, remembering, in the days of its prosperity, the pledges it gave in the time of its depression. It shall go forth, uniting a disposition to correct abuses, to redress grievances. It shall go forth, uniting the disposition to improve, with the resolution to maintain and defend, by that spirit of unbought affection which is the chief defense of nations.

What was it, fellow citizens, which gave to Lafayette his spotless fame? The love of liberty. What has consecrated his memory in the hearts of good men? The love of liberty. What nerved his youthful arm with strength, and inspired him, in the morning of his days, with sagacity and counsel? The living love of liberty. To what did he sacrifice power, and rank, and country, and freedom itself? To the love of liberty protected by law. . . . Listen, Americans, to the lesson which seems borne to us on the very air we breathe while we perform these dutiful rites. Ye winds, that wafted the pilgrims to the land of promise, fan in their children's hearts the love of freedom! Blood which our fathers shed, cry from the ground echoing arches of this renowned hall, whisper back the voices of other days glorious Washington! break the long silence of that votive canvas; speak, speak, marble lips; teach us the love of liberty protected by law!

"Eulogy on Lafayette."
EDWARD EVERETT.

5. A poor old king, with sorrow for my crown,
Throned upon straw, and mantled with the wind.
For pity my own tears have made me blind,
That I might never see my children's frown;
And maybe madness, like a friend, has thrown
A folded fillet over my dark mind,
So that unkindly speech may sound for kind:
Albeit I know not; I am childish grown,
And have not gold to purchase wit withal,
I, that have once maintained most royal state
A very bankrupt now, that may not call
My child, my child! all beggared, save in tears
Wherewith I daily weep an old man's fate;
Foolish, and blind, and overcome with years.
King Lear."
HOOD.

6. The quality of mercy is not strain'd;
It droppeth as the gentle rain from heaven
Upon the place beneath; it is twice blest; It
blesseth him that gives, and him that takes;
Tis mightiest in the mightiest; it becomes The
throned monarch better than his crown;

His scepter shows the force of temperal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this scept'red sway,
It is enthroned in the hearts of kings;
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice.
"The Merchant of Venice."
SHAKESPEARE.

8. Any material object which can give us pleasure in the simple contemplation of its outward qualities without any direct and definite exertion of the intellect, I call in some way, or in some degree, beautiful. Why we receive pleasure from some forms and colors, and not from others, is no more to be asked or answered than why we like sugar and dislike wormwood. The utmost subtilty of investigation will only lead us to ultimate instincts and principles of human nature, for which no farther reason can be given than the simple will of the Deity that we should be so createcd USKIN.

"77Modem Painters?
"Modern Painters."

8. If to do were as easy as to know what were good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions; I can easier teach twenty what were good to be done than to be one of the twenty to follow mine own teaching. "The Merchant of Venice."            SHAKESPEARE.

INFLECTION

Inflection or slide of the voice indicates the tendency or I direction of a speaker's mind. When the tendency is to anticipate, suspend, contrast, or hold the thought open, the voice naturally takes a rising inflection. When the tendency; is to emphasize or complete a thought, the voice takes a falling inflection. The possession of "a musical ear" is of decided advantage in producing correct inflections. The cure for monotone and sing-song delivery lies chiefly in the proper use of this modulation.

Mrs. J. W. Shoemaker says:1 "Inflections show contrast. They tell the facts. Length of slides shows the importance of the facts. Straight slides show directness of purpose. Waves show beauty and sympathy. Broken slides show weakness and uncertainty. Zigzag or continuous wave movements represent sarcasm, irony, scorn and duplicity.7'

The following rules are taken from Professor Mumptre's King's College Lectures:9

USES OF INFLECTION

LOGICAL USES OF THE RISING INFLECTION

So long as the meaning of a clause or sentence is incomplete or kept suspended, the rising inflection is to be used.

1. All clauses or sentences that are negative in structure take the rising inflection.
   
   
2. Clauses or sentences that express doubt or contingency; take the rising inflection.
   
   
3. Sentences that are interrogative in character, and to which a simple affirmative or negative can be returned as an answer, end with the rising inflection.

EMOTIONAL USES OF THE RISING INFLECTION

1. When a sentence is in the nature of an appeal, it takes a general rising inflection throughout its delivery, and the key of the voice is usually more or less high in pitch; but in sad and solemn appeals the pitch of the inflection is always low.
   
   
2. Sentences that convey supplication or prayer take a general rising inflection throughout their delivery, the key of the voice varying from a low one, if the prayer is very solemn in character, to one more or less high, if the supplication is simply pathetic in its nature.
   
   
3. All sentences that express joy, love, friendship, hope, and in general all the more pleasurable and amiable emotions, partake of a rising inflection, and the voice is usually pitched in keys more or less high; tho where great ten
   
   
4. derness, pity or pathos mingles with the affection, the voice is often modulated into a low, soft, minor key, as it has been termed in elocution.
   
   
5. Sentences that express wonder, amazement, or surprise take an extreme degree of the rising inflection, and the voice is usually pitched in very high keys, unless awe, dread, or terror mingles with the emotion, when keys more or less low in pitch prevail.

1 Mrs. J. W. Shoemaker, Advanced Elocution, p. 86.
Charles John Plumptre, King's College Lectures, pp. 120,146.

LOGICAL USES OF THE FALLING INFLECTION

As soon as the meaning of a sentence, or clause of a sentence, is logically complete, then the falling inflection must be employed.

Inasmuch as a falling inflection always suggests to the mind a certain degree of completeness of meaning, it may be usefully employed in those sentences which consist of several clauses, conveying imperfect sense, and independent of each other's meaning, for the purpose of keeping the several clauses separate and distinct from each other.

Where a sentence is interrogative in its character, and one to which a simple affirmative or negative cannot be returned as an answer, but something definite in expression must be given instead, such sentence requires at its close the falling inflection.

EMOTIONAL USES OF THE FALLING INFLECTION

1. Where it is desired to convey the impression of solemn affirmation or strong conviction of the truth of what we say, emphatic falling inflections on the principal words, even tho the sentence may be negative in form of construction, produce the desired effect; and the keys in which the inflections are pitched are in general low.
   
   
2. Sentences that express command, reprehension, or authority, take emphatic falling inflections, and the range of the voice in pitch is usually from the middle to lower keys.
   
   
3. It may be said as a general principle that all the sterner, harsher, and more vindictive passions, such as anger, hatred, detestation, etc., take the most extreme degree of the emphatic falling inflection, and the voice, for the most part loud in power, is pitched in the lower keys.
   
   
4. In sentences that express gloom, dejection, melancholy, and similar distressing emotions, falling inflections predominate, and the voice is pitched in keys more or less low, and the time is slow.

LOGICAL USES OF THE CIRCUMFLEX INFLECTION

1. When any word is introduced which suggests an antithesis without openly expressing it, such word should have emphatic force, and be pronounced with a circumflex inflection. An affirmative or positive clause takes a falling, and a negative or contingent clause a rising circumflex on the words suggesting an antithesis.
   
   
2. When words or clauses are antithetic in meaning, and emphatic in character, the falling circumflex inflection should be used on the positive or absolute member, and the rising on the negative or relative.
   

EMOTIONAL USES OF THE CIRCUMFLEX INFLECTION

1. Whenever it is designed to make any passage ironical, an emphatic prolonged circumflex inflection should be given to the words in which the irony is meant to be conveyed.
   
   
2. All passages that express scorn, contempt, or reproach, take emphatic prolonged circumflexes on the principal words, the keys in which the voice is pitched varying according to the dominant emotion.

When a question is followed by words closely connected with it, the end of the passage takes a rising inflection, as, "Am I my brother's keeper?" said the unhappy man.

EXAMPLES

1. This was unnatural. The rest is in order. They have found their punishment in their success. Laws overturned; tribunals subverted; industry without vigor; commerce expiring; the revenue unpaid, yet the people impoverished; a church pillaged, and a state not relieved; civil and military anarchy made the constitution of the kingdom; everything human and divine sacrificed to the idol of public credit, and national bankruptcy the consequenee; and to crown all, the paper securities of new, precarious, tottering power, the discredited pap«r securities of impoverished fraud, and beggared rapine, held out as a currency for the support of an empire, in lieu of the two great recognized species that represent the lasting conventional credit of mankind, which disappeared and hid themselves in the earth from whence they came, when the principle of property, whose creatures and represent atives they are, was systematically subverted. BURKE.
   
   
2. If then the power of speech is a gift as great as any that can be named, if the origin of language is by many philosophers even considered to be nothing short of divine, if by means of words the secrets of the heart are brought to light, pain of soul is relieved, hidden grief is carried off, sympathy conveyed, counsel imparted, experience recorded, and wisdom perpetuated, if by great authors the many are drawn up into unity, national character is fixed, a people speaks, the past and the future, the East and the West are brought into communication with each other, if such men are, in a word, the spokesmen and prophets of the human family, it will not answer to make light of Literature or to neglect its study; rather we may be sure that, in proportion as we master it in whatever language, and imbibe its spirit, we shall ourselves become in our own measure the ministers of like benefits to others, be they many or few, be they in the obscurer or the more distinguished walks of life, who are united to us by social ties, and are within the sphere of our personal influence. CARDINAL NEWMAN.
   
   
3. When I look upon the tombs of the great, every emotion of envy dies in me; when I read the epitaphs of the beautiful, every inordinate desire goes out; when I meet with the grief of parents upon a tombstone, my heart melts with compassion; when I see the tomb of the parents themselves, I consider the vanity of grieving for those whom we must quickly follow. When I see kings lying by those who deposed them, when I consider rival wits placed side by side, or the holy men that divided the world with their contests and disputes, I reflect with sorrow and astonishment on the little competitions, factions, and debates of mankind. When I read the several dates of the tombs, of some that died yesterday, and some six hundred years ago, I consider that great day when we shall all of us be contemporaries, and make our appearance together. "The Spectator." ADDISON.
   
   
4. Take heed that ye do not your alms before men, to be seen of them: otherwise ye have no reward of your Father which is in heaven. Therefore when thou doest thine alms, do not sound a trumpet before thee,, as the hypocrites do in the synagogs and in the streets, that they may have glory of men. Verily I say unto you, They have their reward. But when thou doest alms, let not thy left hand know what thy right hand doeth: that thine alms may be in secret: and thy Father which seeth in secret himself shall reward thee openly. And when thou prayest, thou shalt not be as the hypocrites are: for they love to pray standing in the synagogs and in the corners of the streets, that they may be seen of men. Verily I say unto you, They have their reward. But thou, when thou prayest, enter into thy closet, and when thou hast shut thy door, pray to thy Father which is in secret; and thy Father which seeth in secret shall reward thee openly. But when ye pray, use not vain repetitions, as the heathen do: for they think that they shall be heard for their much speaking. Be not ye therefore like unto them: for your Father knoweth what things ye have need of, before ye ask him. "St. Matthew 6,1-8." THE BIBLE.
   
   
5. Observe, however, I do not mean by excluding direct exertion of the intellect from ideas of beauty, to assert that beauty has no effect upon nor connection with the intellect. All our moral feelings are so inwoven with our intellectual powers, that we cannot affect the one without in some degree addressing the other; and in all high ideas of beauty, it is more than probable that much of the pleasure depends on delicate and untraceable perceptions of fitness, propriety, and relation, which are purely intellectual, and through which we arrive at our noblest ideas of what is commonly and rightly called "intellectual beauty." But there is yet no immediate exertion of the intellect; that is to say, if a person receiving even the noblest ideas of simple beauty be asked why he likes the object exciting them, he will not be able to give any distinct reason, nor to trace in his mind any formed thought, to which he can appeal as a source of pleasure. He will say that the thing gratifies, fills, hallows, exalts his mind, but he will not be able to say why, or how. If he can, and if he can show that he perceives in the object any expression of distinct thought, he has received more than an idea of beauty it is an idea of relation. "Modern Painters." RUSKIN

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