Laying his hands upon the painting to unhook it, he eagerly began: “Yes, yes indeed, that is all very important. What I’d like to say is⁠—I mean, you said, Herr Hofrat, if I understood rightly, you said: ‘In another relation.’ You said it was good when there was some other relation besides the lyric⁠—I think that was the word you used⁠—the artistic, that is; in short, when one looked at the thing from another point of view⁠—the medical, for example. That’s all so enormously to the point, you know⁠—I do beg your pardon, Herr Hofrat, but what I mean is that it is so exactly and precisely right, because after all it is not a question of any fundamentally different relations or points of view, but at bottom just variations of one and the same, just shadings of it, so to speak, I mean: variations of one and the same universal interest, the artistic impulse itself being a part and a manifestation of it too, if I may say so. Yes, if you will pardon me, I will take down this picture, there’s positively no light here where it hangs, permit me to carry it over to the sofa, we shall see if it won’t look entirely⁠—what I meant to say was: what is the main concern of the study of medicine? I know nothing about it, of course⁠—but after all isn’t its main concern with human beings?