We must note the particular case of landscape beauty. Shelley’s description of the orange tree laden with fruit excites in us the feeling of pleasure in the beauty of nature, a feeling which is declared by some to be merely the reminiscent revived feelings which our distant progenitors felt in the presence of natural forms and forces. But what was the emotion our remote progenitor felt at sight of a well-fruited orange tree? Did he feel moved as Shelley was and as we through Shelley are? and is our emotion but a faint survival of that which welled up in him at viewing the mass of green and gold, or has it any relation thereto? The civilized traveller in wild regions is often charmed by the beauty of the scenery which the savage natives do not in the least appreciate. But the revival feelings which come over him must be identical with the feelings of his unæsthetic companions who are totally insensible to natural beauty. The reversal tendency can give to the traveller only an animal pleasure in viewing an orange tree as satisfying to the taste and stomach; a fine, bright day can only suggest the pleasure of a sluggish basking. Goethe rejoiced that, though the incidental pains of æsthetic sensitivity were great, yet he could see in a tree shedding its leaves more than the approach of winter. Bare revival then cannot in itself constitute æsthetic pleasure or explain it. A savage race transferred to a civilized land for a few generations and then returned to their native haunts have acute pleasures of revival, but these are not of the æsthetic quality. An outcropping survival tendency may serve as itself an object for emotion and æsthetic emotion to the mind experiencing it, but thereby the survival is like any other object, physical or psychical, which excites æsthetic sensibility, and it no more explains the emotion for beauty than any other object. It is evident thus far that the psychological basis of stylistic effect is very complex, and in this essay we certainly lay no claim to making an exhaustive enumeration of its factors. However, we have still to consider one more element, and perhaps, at least for cultivated minds, the most important psychic element of literary art. Read now the following extract, and analyze the impression it makes:—