Surely there had been no figure leaning on the back of his chair; no face looking over it. It is certain that no gliding footstep touched the floor, as he lifted up his head, with a start, and spoke. And yet there was no mirror in the room on whose surface his own form could have cast its shadow for a moment; and, Something had passed darkly and gone!
Those who restrain desire, do so because theirs is weak enough to be restrained; and the restrainer or reason usurps its place & governs the unwilling. And being restrain'd it by degrees becomes passive till it is only the shadow of desire.
The wounded limb shrinks from the slightest touch; and a slight shadow alarms the nervous.
[Lat., Membra reformidant mollem quoque saucia tactum:
Vanaque sollicitis incutit umbra metum.]
Many critics are like woodpeckers, who, instead of enjoying the fruit and shadow of a tree, hop incessantly around the trunk, pecking holes in the bark to discover some little worm or other.
Indeed, what forces us at all to suppose that there is an essential opposition of 'true' and 'false'? Is it not sufficient to assume degrees of apparentness and, as it were, lighter and darker shadows and shades of appearance- different 'values', to use the language of painters?