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 [pg 075] potest personam diu ferre fictum," says Seneca in his book de clementia; and so it is generally found out and loses its effect. Reason is needed in the full stress of life, where quick conclusions, bold action, rapid and sure comprehension are required, but it may easily spoil all if it gains the upper hand, and by perplexing hinders the intuitive, direct discovery, and grasp of the right by simple understanding, and thus induces irresolution.