It was now my turn to answer: "I will lessen your two difficulties, and then I will give my innumerable proofs. You are no materialist,[18] you therefore take for granted that bodily and mental activity only accompany and mutually excite each other. Yes, the body represents the keys of the inner Harmonica through all its scales. Hitherto only the corporeal outward signs have been called feelings, as the swelling heart and the slowly-beating pulse--longing; the outpouring of gall, anger, and so on. But the net-like texture, the anastomy between the inner and outer man, is so life-full, so warm, that to every _picture_, every _thought_,--a nerve, a fibre must move. We should also observe, and put into the notes of speech all the bodily after sounds of poetic, algebraic, artistic, numismatic, and anatomic ideas. But the sounding-board of the body is neither the soul's scale nor its harmony. Grief has no resemblance to a tear,--shame, none to the cheek-imprisoned blood,--wit, none to champagne,--the idea of this valley, none to its portrait on the retina. The inner man, this God, hidden in the statue, is not of marble as it is, but in the stony limbs, the living ones grow and ripen in an unknown life. We do not sufficiently mark how the inner man even tames and forms the outer one; how, for example, the passionate body which, according to physiology, should ever increase in heat, is gradually cooled and extinguished by principles,--how terror, anger, holds the dividing texture of the body in a spiritual grasp. When the whole brain is paralyzed, every nerve rusty and exhausted, and the soul carrying leaden weights, man needs but to _will_ (which he can do every moment), he needs only a letter, a striking idea, and the fibre-work of the soul's mechanism proceeds again without help from the body."