In that totality which consists of an essay or of a printed address, and of which we are, most of us, ready to discuss the style, there are at least three separable elements, each contributing after its kind to the effect on our minds. When the general effect is to throw us into a state of pleasure, it is our habit to qualify the style with an adjective of praise, selecting the adjective according to the degree of restraint or of enthusiasm with which we are accustomed to express our emotions; when the general effect is to throw us into a condition of boredom or of distaste, we make a corresponding choice of appropriate adjectives. When we wish to be specially critical we pass a little way beyond an empirical judgment by pleasure or annoyance and take into account the degree of harmony between matter and manner. In such a frame of mind we discount the pleasure obtained from verbal quips, if these occur in a grave exposition, or that received from solemn and stately harmonies of language if these be employed on insignificant trifles. In a condition of unusual critical exaltation we may even admit an excellence of language and phrasing though these have as their contents ideas which we dislike, or press towards conclusions from which we dissent. But if we desire to make an exact appreciation of literary style, it is requisite to examine separately the three elements which contribute to the effect produced on us by any written work. These three elements are the words or raw materials employed, the building of words into sentences and of sentences into paragraphs, which may be designated as the architectural work, and, finally, the ideas conveyed, that is to say, the actual object of the writing.