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?
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.