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?
For pain is perhaps but a violent pleasure? Who could determine the point where pleasure becomes pain, where pain is still a pleasure? Is not the utmost brightness of the ideal world soothing to us, while the lightest shadows of the physical world annoy?
Beneath the sun's rays our shadow is our comrade;
When clouds obscure the sun our shadow flees.
So Fortune's smiles the fickle crowd pursues,
But swift is gone whenever she veils her face.
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.]