These facts have been neglected by philosophers, because the facts defy formulation. You cannot get them into a statement. They are life. But in the practical, workaday world, they have always been understood. Men of action owe their success to the habit of using their minds and bodies in a direct way. Men in every profession rely upon the accuracy of direct impressions. The great doctor, or the great general, or the great business man uses the whole of his sensibilities in each act of reading a man. There is no other way to read him correctly. People whose brains are preoccupied with formulated knowledge are not apt to be as good judges of character as spontaneous persons. Their thoughts are on logic. They follow what is said. A very small fraction of them is alive. They are like chess-players who are not listening to the opera. The answer to any question in psychology always lies under our hand. We have only to ask what the normal man does. It will be found that he uses his faculties according to their nature, though it may be, he is embryonic and inarticulate. We speak of great men as “simple,” because they retain a sensitiveness to immediate impressions very common in uneducated persons and in children. Their thought subserves the direct currents of suggestion. Their instincts rule them. Their minds serve them. They are great because of this power to read the thoughts of others through the pores of their skin, and answer blindfold to unuttered appeals, whether of weakness or of strength. To do this means intellect, whether in Napoleon or Gladstone. Every pianist and public speaker, every actor and singer knows that his whole art consists in getting his intellectual apparatus into focus, so that the vibrations of his formulated thought shall correspond and fall in with the direct and spontaneous vibrations of his audience. This is truth, this is the discovery of law, this is art. Men are profound and complicated creatures, and when any one of them expresses the laws of his construction and reveals his own natural history, he is called a genius. But he is a genius solely because he is comprehensible, and others say of him, “I am like that.” His suggestions carry. Their extreme subtlety baffles analysis, just as the suggestions of real life baffle analysis. The miracle of reality in art is due to refinement of suggestion. We cannot follow its steps or say how it is done. We see only the idea. Shakespeare gives you all the meaning, and none of the means. This is first-class artificial communication. It almost competes with the every-day, commonplace, familiar transfer of the incommunicable essence of life from man to man.