"All hypnotic methods," he read, "have one thing in common, and that is the diversion of attention from the insistency of external surroundings.... The hypnotic state has one broad characteristic, and that is the working of the subliminal consciousness in directions unusual in ordinary life."
Bates had not yet achieved the peculiar aboriginal function which she had outlined to Jane in the course of their first talk the reel, the old settlers, and the young squaws to pour firewater were still in the future; but she had entertained the Marshalls at dinner, en famille, and she had pushed the subject with still greater insistency in her own house than at David Marshall's office.
His last confused vision was of Silas Trimmer on his knees begging for mercy, and the next thing he knew was that some one was reminding him, with annoying insistency, of the early call he had left.
Breakfast was far, oh! far from being a cheerful meal, consisting as it did of water from the lake and the crumbled, ant-ridden fragments of the lemon-jelly layer cake. Once more the thought of a steaming hot cup of tea came to me with compelling insistency, provoking an almost overpowering longing for the comforts of some roofed and walled domicile, howsoever humble.
They made regulations to suit their convenience and seemed to regard all this as a matter of course. How could they be so brazen faced as this! I was greatly dissatisfied relative to this question, but according to the opinion of Porcupine, protests by a single person, with what insistency they may be made, will not be heard.
But deep down in the man's inner consciousness there was a still, small voice declaring, with an insistency not to be denied, that for him there was a something in that picture that was not to be put into the vernacular of his profession.
Having set forth these principles, he proposed to class the phenomena of human life in two series of distinct results, demanding, with the ardent insistency of conviction, a special analysis for each.
It is not wonderful that the painters of the fifteenth century should have been satisfied with repeating the themes left by the Giottesques. For the Giottesques had left them, besides this positive heritage, a negative heritage, a programme to fill up, of which it is difficult to realise the magnitude. The work of the Giottesques is so merely poetic, or at most so merely decorative in the sense of a mosaic or a tapestry, and it is in the case of Giotto and one or two of his greatest contemporaries, particularly the Sienese, so well-balanced and satisfying as a result of its elementary nature that we are apt to overlook the fact that everything in the way of realisation as opposed to indication, everything distinguishing the painting of a story from the mere telling thereof, remained to be done. And such realisation could be attained only through a series of laborious failures. It is by comparing some of the later Giottesques themselves, notably the Gaddi with Giotto, that we bring home to ourselves, for instance, that Giotto did not, at least in his finest work at Florence, attempt to model his frescoes in colour. Now the excessive ugliness of the Gaddi frescoes at St. Croce is largely due to the effort to make form and boss depend, as in nature, upon colour. Giotto, in the neighbouring Peruzzi and Bardi chapels, is quite satisfied with outlining the face and draperies in dark paint, and laying on the colour, in itself beautiful, as a child will lay it on to a print or outline drawing, filling up the lines, but not creating them. I give this as a solitary instance of one of the first and most important steps towards pictorial realisation which the great imaginative theme-inventors left to their successors. As a fact, the items at which the fifteenth century had to work are too many to enumerate; in many cases each man or group of men took up one particular item, as perspective, modelling, anatomy, colour, movement, and their several subdivisions, usually with the result of painful and grotesque insistency and onesidedness, from the dreadful bag of bones anatomies of Castagno and Pollaiolo, down to the humbler, but equally necessary, architectural studies of Francesco di Giorgio. Add to this the necessity of uniting the various attainments of such specialists, of taming down these often grotesque monomaniacs, of making all these studies of drawing, anatomy, colour, modelling, perspective, &c., into a picture. If that picture was lacking in individual poetic conception; if those studies were often intolerably silly and wrong-headed from the intellectual point of view; if the old themes were not only worn threadbare, but actually maltreated, what wonder? The themes were there, thank Heaven! no one need bother about them; and no one did. Moreover, as I have already pointed out, no one could have added anything, save in the personal sentiment of the heads, the hands, the tilt of the figure, or the quality of the form. Everything which depends upon dramatic conception, which is not a question of form or sentiment, tended merely to suffer a steady deterioration. Thus, nearly two hundred years after Giotto, Ghirlandaio could find nothing better for his frescoes in St. Trinit
I must be ready for the Master's coming; and my Father's incessant cross-examination was made in the spirit of a responsible servant who fidgets lest some humble but essential piece of household work has been neglected. My holidays, however, and all my personal relations with my Father were poisoned by this insistency.
I fain would not take his proffered coins, but he urged them upon me with such insistency that I, seeing the good sense of doing as I was bid, placed them in my meager purse, and with a light heart I set out upon my doubtful journey. The fear of which I spoke died away, for since our success with the King, my spirits rose, and I deemed all things possible.