doing the least external work." The painter is a painter, because he sees what others only feel or catch a glimpse of, but do not see. We think we see a smile, but in reality we have only a vague impression of it, we do not perceive all the characteristic traits of which it is the sum, as the painter discovers them after he has worked upon them and is thus able to fix them on the canvas. We do not intuitively possess more even of our intimate friend, who is with us every day and at all hours, than at most certain traits of physiognomy which enable us to distinguish him from others. The illusion is less easy as regards musical expression; because it would seem strange to every one to say that the composer had added or attached notes to a motive which was already in the mind of him who is not the composer; as if Beethoven's Ninth Symphony were not his own intuition and his intuition the Ninth Symphony. Now, just as one who is deluded as to the amount of his material wealth is confuted by arithmetic, which states its exact amount, so he who nourishes delusions as to the wealth of his own thoughts and images is brought back to reality, when he is obliged to cross the _Pons Asinorum_ of expression. Let us say to the former, count; to the latter, speak; or, here is a pencil, draw, express yourself. Each of us, as a matter of fact, has in him a little of the poet, of the sculptor, of the musician, of the painter, of the prose writer: but how little, as compared with those who bear those names, just because they possess the most universal dispositions and energies of human nature in so lofty a degree! How little too does a painter possess of the intuitions of a poet! And how little does one painter possess those of another painter! Nevertheless, that little is all our actual patrimony of intuitions or representations. Beyond these are only impressions, sensations, feelings, impulses, emotions, or whatever else one may term what still falls short of the spirit and is not assimilated by man; something postulated for the convenience of exposition, while actually non-existent, since to exist also is a fact of the spirit. [Sidenote: _Identity of intuition and expression._] We may thus add this to the various verbal descriptions of intuition, noted at the beginning: intuitive knowledge is expressive knowledge. Independent and autonomous in respect to intellectual function; indifferent to later empirical discriminations, to reality and to unreality, to formations and apperceptions of space and time, which are also later: intuition or representation is distinguished as _form_ from what is felt and suffered, from the flux or wave of sensation, or from psychic matter; and this form, this taking possession, is expression. To intuite is to express; and nothing else (nothing more, but nothing less) than _to express._ II INTUITION AND ART [Sidenote: _Corollaries and explanations._]