Literature is then, like sculpture and painting, largely a visual art, and its pleasure-giving quality is the reflex of visibility. Mere form and colour may in a sense constitute a picture; though in general we demand that it mean something, suggest something. A picture is such as depicting something, and so being more than a study in form or colour. The mere direct pleasure of ocular sensation plays a large part in graphic and glyptic art, yet it is commonly conceived that some measure of imagination, that is, some indirect visible function, is necessary even here. Sculpture and painting depend like literature on both direct and indirect vision as physiological and psychological basis of æsthetic pleasure. But in a secondary way literary style depends for its effect upon auditory sensations both direct and revival. We mentally, and often orally, pronounce as we read, and so appreciate sonorous quality and onomatopoetic force. Alliteration, rhyme, euphony, and rhythm play certainly a considerable part in the charm of style, and literature on this side approaches and passes gradually into music. Euphony answers to melody, and rhyme and rhythm to harmony. Literature may become for us merely a succession of pleasing sounds, as when we hum over some favourite lines of poetry, or when, ignorant of the Italian language, we listen to an opera. Some of Milton’s lists of names in such lines as these,— “Of Cambalu, seat of Cathayan Can, And Samarchand by Oxus, Temer’s throne”— charm merely by the flow and fulness of sound. But the stylist aims, not merely at formal sensuous beauty in tone and cadence of language, he aims to suggest pleasing sounds, and to awaken the auditory imagination, and to harmonize sense with sound as is done so successfully by poets like Tennyson and prosaists like Sir Thomas Browne. All this auditory side of literary style is lost on the deaf, as the visual is lost on the blind. Literature as an art is neither blind like music nor deaf like painting, but it is a compound art, visual-auditory, and thus, by virtue of its range, is the greatest of the arts. It is true that indirectly and in a very limited way painting can suggest sounds, and music sights, but literature, both directly and indirectly, can freely and fully give both. Word-music and word-painting are both methods of literary style. In short, the explanation of the pleasure of style is pleasing sight or sound directly or indirectly given, and the explanation of the pleasing character of the sight or sound is as the reflex of easy economical physiological functioning as basis of easy economical psychic function.