Professional and Commercial Dance

When I speak of the purpose of self-culture, I mean that it should be sincere. In other words, we must make self-culture really and truly our end, or choose it for its own sake, and not merely as a means or instrument of something else. And here I touch a common and very pernicious error. Not a few persons desire to improve themselves only to get property and to rise in the world; but such do not properly choose improvement, but something outward and foreign to themselves; and so low an impulse can produce only a stinted, partial, uncertain growth. A man, as I have said, is to cultivate himself because he is a man. He is to start with the conviction that there is something greater within him than in the whole material creation, than in all the worlds which press on the eye and ear; and that inward improvements have a worth and dignity in themselves quite distinct from the power they give over outward things. Undoubtedly a man is to labor to better his condition, but first to better himself. If he knows no higher use of his mind than to invent and drudge for his body, his case is desperate as far as culture is concerned.

Ghritachi and Menaka and Rambha and Purvachitti and Swayamprabha and Urvashi and Misrakeshi and Dandagauri and Varuthini and Gopali and Sahajanya and Kumbhayoni and Prajagara and Chitrasena and Chitralekha and Saha and Madhuraswana, these and others by thousands, possessed of eyes like lotus leaves, who were employed in enticing the hearts of persons practising rigid austerities, danced there. And possessing slim waists and fair large hips, they began to perform various evolutions, shaking their deep bosoms, and casting their glances around, and exhibiting other attractive attitudes capable of stealing the hearts and resolutions and minds of the spectators.

The professional man lives off ideas, not for them. ... He has acquired a stock of mental skills that are for sale. The skills are highly developed, but we do not think of him as being an intellectual if certain qualities are missing from his work—disinterested intelligence, generalizing power, free speculation, fresh observation, creative novelty, radical criticism. At home he may happen to be an intellectual, but at his job he is a hired mental technician who uses his mind for the pursuit of externally determined ends. It is this element—the fact that ends are set from some interest or vantage point outside the intellectual process itself—which characterizes both the zealot, who lives obsessively for a single idea, and the mental technician, whose mind is used not for free speculation but for a salable end.