74 THE WORLD AS IDEA.
one colour to another is possible, and this is also the case with regard to concepts, with their rigidity and sharp delineation; however finely we may divide them by exact definition, they are still incapable of reaching the finer modifications of the perceptible, and this is just what happens in the example we have taken, knowledge of physiognomy.[1]
This quality of concepts by which they resemble the stones of a mosaic, and on account of which perception always remains their asymptote, is also the reason why nothing good is produced in art by their means. If the singer or the virtuoso attempts to guide his execution by reflection he remains silent. And this is equally true of the composer, the painter, and the poet. The concept always remains unfruitful in art; it can only direct the technical part of it, its sphere is science. We shall consider more fully in the third book, why all true art proceeds from sensuous knowledge, never from the concept. Indeed, with regard to behaviour also, and personal agreeableness in society, the concept has only a negative value in restraining the grosser manifestations of egotism and brutality; so that a polished manner is its commendable production. But all that is attractive, gracious, charming in behaviour, all affectionateness and friendliness, must not proceed from the concepts, for if it does, "we feel intention, and are put out of tune." All dissimulation is the work of reflection; but it cannot be maintained constantly and without interruption: "nemo
- ↑ I am therefore of opinion that a science of physiognomy cannot, with certainty, go further than to lay down a few quite general rules. For example, the intellectual qualities are to be read in the forehead and the eyes; the moral qualities, the expression of will, in the mouth and lower part of the face. The forehead and the eyes interpret each other; either of them seen alone can only be half understood. Genius is never without a high, broad, finely-arched brow; but such a brow often occurs where there is no genius. A clever-looking person may the more certainly be judged to be so the uglier the face is; and a stupid-looking person may the more certainly be judged to be stupid the more beautiful the face is; for beauty, as the approximation to the type of humanity, carries in and for itself the expression of mental clearness; the opposite is the case with ugliness, and so forth.
