Ladies and gentlemen! Be as proud of your intellect as you please, but be very suspicious of the OTHER, especially when you are together. I have experimented I know not how oft, upon the union of these two heterogeneous creatures. I have, for instance, clearly ascertained that the soul can make herself obeyed by the animal, and that, by way of retaliation, the animal makes the soul act contrary to its own inclination. The one, as a rule, has the legislative, the other the executive power, but these two are often at variance. The great business of a man of genius is to train his animal well, in order that it may go alone, while the soul, delivered from this troublesome companion, can raise herself to the skies. But this requires illustration. When, sir, you are reading a book, and an agreeable idea suddenly enters your imagination, your soul attaches herself to the new idea at once, and forgets the book, while your eyes follow mechanically the words and lines. You get through the page without understanding it, and without remembering what you have read. Now this is because your soul, having ordered her companion to read to her, gave no warning of the short absence she contemplated, so that the OTHER went on reading what the soul no longer attended to. VII. _The Soul._ Is not this clear to you? Let us illustrate it still farther. One day last summer at an appointed hour, I was wending my way to court. I had been sketching all day, and my soul, choosing to meditate upon painting, left the duty of taking me to the king’s palace to the animal. How sublime, thought my soul, is the painter’s art! Happy is he who is touched by the aspect of nature, and does not depend upon his pictures for a livelihood; who does not paint solely as a pastime, but struck with the majesty of a beautiful form, and the wonderful way in which the light with its thousand tints plays upon the human face, strives to imitate in his works the wonderful effects of nature! Happy, too, is the painter who is led by love of landscape into solitary paths, and who can make his canvas breathe the feeling of sadness with which he is inspired by a gloomy wood or a desert plain. His productions imitate and reproduce nature. He creates new seas and dark caverns into which the sun has never peered. At his command, coppices of evergreens spring into life, and the blue of heaven is reflected on his pictures. He darkens the air, and we hear the roar of the storm. At another time he presents to the eye of the wondering beholder the delightful plains of ancient Sicily: startled nymphs flee the pursuit of a satyr through the bending reeds; temples of stately architecture raise their grand fronts above the sacred forest that surrounds them. Imagination loses itself among the still paths of this ideal country. Bluish backgrounds blend with the sky, and the whole landscape, reproduced in the waters of a tranquil river, forms a scene that no tongue can describe.