The secret of the illusoriness is in the necessity of a succession of moods or objects. Gladly we would anchor, but the anchorage is quicksand. This outward trick of nature is too strong for us: Pero si muove. When at night I look at the moon and stars, I seem stationary, and they to hurry. Our love of the real draws us to permanence, but health of body consists in circulation, and sanity of mind in variety or facility of association. We need change of objects. Dedication to one thought is quickly odious. We house with the insane, and must humor them; then conversation dies out. Once I took such delight in Montaigne that I thought I should not need any other book; before that, in Shakspeare; then in Plutarch; then in Plotinus; at one time in Bacon; afterwards in Goethe; even in Bettine; but now I turn the pages of either of them languidly, whilst I still cherish their genius. So with pictures; each will bear an emphasis of attention once, which it cannot retain, though we fain would continue to be pleased in that manner. How strongly I have felt of pictures that when you have seen one well, you must take your leave of it; you shall never see it again. I have had good lessons from pictures which I have since seen without emotion or remark. A deduction must be made from the opinion which even the wise express on a new book or occurrence. Their opinion gives me tidings of their mood, and some vague guess at the new fact, but is nowise to be trusted as the lasting relation between that intellect and that thing. The child asks, ‘Mamma, why don’t I like the story as well as when you told it to me yesterday?’ Alas! child it is even so with the oldest cherubim of knowledge. But will it answer thy question to say, Because thou wert born to a whole and this story is a particular? The reason of the pain this discovery causes us (and we make it late in respect to works of art and intellect), is the plaint of tragedy which murmurs from it in regard to persons, to friendship and love.

That immobility and absence of elasticity which we find in the arts, we find with more pain in the artist. There is no power of expansion in men. Our friends early appear to us as representatives of certain ideas which they never pass or exceed. They stand on the brink of the ocean of thought and power, but they never take the single step that would bring them there. A man is like a bit of Labrador spar, which has no lustre as you turn it in your hand until you come to a particular angle; then it shows deep and beautiful colors. There is no adaptation or universal applicability in men, but each has his special talent, and the mastery of successful men consists in adroitly keeping themselves where and when that turn shall be oftenest to be practised. We do what we must, and call it by the best names we can, and would fain have the praise of having intended the result which ensues. I cannot recall any form of man who is not superfluous sometimes. But is not this pitiful? Life is not worth the taking, to do tricks in.