192. Whoever has followed the history of a single science, finds in its development a clue to the understanding of the oldest and commonest processes of all "knowledge and cognizance": there, as here, the premature hypotheses, the fictions, the good stupid will to "belief," and the lack of distrust and patience are first developed--our senses learn late, and never learn completely, to be subtle, reliable, and cautious organs of knowledge. Our eyes find it easier on a given occasion to produce a picture already often produced, than to seize upon the divergence and novelty of an impression: the latter requires more force, more "morality." It is difficult and painful for the ear to listen to anything new; we hear strange music badly. When we hear another language spoken, we involuntarily attempt to form the sounds into words with which we are more familiar and conversant--it was thus, for example, that the Germans modified the spoken word ARCUBALISTA into ARMBRUST (cross-bow). Our senses are also hostile and averse to the new; and generally, even in the "simplest" processes of sensation, the emotions DOMINATE--such as fear, love, hatred, and the passive emotion of indolence.--As little as a reader nowadays reads all the single words (not to speak of syllables) of a page--he rather takes about five out of every twenty words at random, and "guesses" the probably appropriate sense to them--just as little do we see a tree correctly and completely in respect to its leaves, branches, colour, and shape; we find it so much easier to fancy the chance of a tree. Even in the midst of the most remarkable experiences, we still do just the same; we fabricate the greater part of the experience, and can hardly be made to contemplate any event, EXCEPT as "inventors" thereof. All this goes to prove that from our fundamental nature and from remote ages we have been--ACCUSTOMED TO LYING. Or, to express it more politely and hypocritically, in short, more pleasantly--one is much more of an artist than one is aware of.--In an animated conversation, I often see the face of the person with whom I am speaking so clearly and sharply defined before me, according to the thought he expresses, or which I believe to be evoked in his mind, that the degree of distinctness far exceeds the STRENGTH of my visual faculty--the delicacy of the play of the muscles and of the expression of the eyes MUST therefore be imagined by me. Probably the person put on quite a different expression, or none at all.
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