Ordinarily this would be the end of a paragraph. We may call the first four sentences a “sub-paragraph.” The capital letters in “Golden River” mark the division to the eye, and the emphasis marks the division to the mind. We do not begin with a new paragraph, simply because the subject that follows is more closely connected with the first four sentences than with the paragraph which follows.
Beginning with “It was strange that none of these streams” etc., we have two rather short, simple, loose sentences, which introduce us in a most natural manner to the subject to be presented, and prepare the way for a very long, somewhat complicated sentence, full of antitheses, ending with the emphatic words “Treasure Valley.” These two words are to this part of the paragraph what the words “Golden River” were to the first part; and besides, we see before us the simple, beautiful picture of the Golden River above the Treasure Valley, presented in words whose power and grace we cannot fail to appreciate.
The second paragraph goes forward in the most matter-of-course and easy way. The first sentence is short, but the second is longer, with a pleasing variation of long and short phrases, and it ends with a contrast marked to the eye by the italic words “them” and “you.” The next two sentences are quite short, and variety is given by the simple transposition in “and very good farmers they were.” This is no more than a graceful little twirl to relieve any possible monotony. The fourth sentence in the paragraph is also very short, purposely made so for emphasis. It gives in a word what the following long sentence presents in detail. And observe the constant variation in the form of this long sentence: in the first clause we have “They shot … because,” in the second, “and killed … lest” (the subject of killed being implied, but its place supplied by and), while in the third, the subject of the verb is again expressed, and then we have the prepositional form “for eating” instead of the conjunction and verb in a subordinate sentence. Moreover we have three different verbs meaning the same thing―shot, killed, poisoned. By the variation Ruskin avoids monotony; yet by the similarity he gains emphasis. The likeness of the successive clauses is as important as their difference. There is also in each an implied contrast, between the severe penalty and the slight offense. By implication each word gives an added touch to the picture of hardness and cruelty of the two brothers. Ruskin finds a dozen different ways of illustrating the important statement he made in the second sentence (the first sentence being merely introductory). And at the end of the paragraph we have the whole summed up in a long sentence full of deliberate rather than implied contrasts, which culminate in the two words “Black Brothers.”