Intellectual Intercourse Quotes

What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturabtion … whereas creative art is more like intercourse, in which the artist must seduce -- render emotional -- his audience, each time.

Why are poets so apt to choose their mates, not for any similarity of poetic endowment, but for qualities which might make the happiness of the rudest handicraftsman as well as that of the ideal craftsman of the spirit? Because, probably, at his highest elevation, the poet needs no human intercourse; but he finds it dreary to descend, and be a stranger.

Don't run around looking for someone who can sexually satisfy you, run around and look for the book which will intellectually satisfy you.

What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce—render emotional-his audience, each time.

A whole intellectual intercourse is established: clerks are appointed to maintain it like the ancient guardians of the sacred flame and issue permits to think and speak.

Language is deeply entwined in the intellectual development of humanity itself, it accompanies the latter upon every step of its localized progression or regression; moreover, the pertinent cultural level in each case is recognizable in it. ... Language is, as it were, the external manifestation of the minds of peoples. Their language is their soul, and their soul is their language. It is impossible to conceive them ever sufficiently identical... . The creation of language is an innate necessity of humanity. It is not a mere external vehicle, designed to sustain social intercourse, but an indispensable factor for the development of human intellectual powers, culminating in the formulation of philosophical doctrine.

Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such." "You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness." "Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?” “Huh? Well, I’ve never thought about it. You write a pretty good stick.” “Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.

But she made one serious mistake which very clever people in their intercourse with their intellectual inferiors are almost universally apt to commit—she trusted implicitly to the folly of a fool. She

Abstract design is all right—for wallpaper or linoleum. But art is the process of evoking pity and terror. What modern artists do is pseudo-intellectual masturbation. Creative art is intercourse, in which the artist renders emotional his audience.

Abstract design is all right—for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce—render emotional-his audience, each time. These laddies who won’t deign to do that—and perhaps can’t—of course lost the public. If they hadn’t lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for ‘art’ that leaves him unmoved—if he does pay for it, the money has to be conned out of him, by taxes or such.” “You

Communication between people of different nationalities enriches human society and makes it more colourful.. Imagine our Russian intellectuals, the kind, merry, perceptive old women in our villages, our elderly workers, our young lads, our little girls being free to enter the melting pot of ordinary human intercourse with the people of North and South America, of China, France, India, Britain and the Congo. What a rich variety of customs, fashion, cuisine and labour would then be revealed! what a wonderful human community would then come into being, emerging out of so many peculiarities of national characters and ways of life. And the beggarliness, blindness and inhumanity of narrow nationalism and hostility between states would be clearly demonstrated.

The people, unfortunately, are still very ignorant, and are kept in ignorance by the systematic efforts of all the governments, who consider this ignorance, not without good reason as one of the essential condition of their own power. Weighted down by their daily labor, deprived of leisure, of intellectual intercourse, of reading, in short of all the means and a good portion of the stimulants that develop thought in men, the people generally accept religious traditions without criticism and in a lump. These traditions surround them from infancy in all the situations of life, and artificially sustained in their minds by a multitude of official poisoners of all sorts, priests and laymen are transformed therein into a sort of mental and moral habit, too often more powerful even than their natural good sense.

Unassuming in manner, genial and kindly in his intercourse with his fellow-men, never showing impatience or irritation, devoid of personal ambition of the baser sort or of the slightest desire to exalt himself... In the minds of those who knew him, the greatness of his intellectual achievements will never overshadow the beauty and dignity of his life. [H.A. Burnstead's comments on the life of esteemed scientist J. Willard Gibbs]

Believe me, there is none fraught with such deep, such vital interest. If you talk, indeed, of the capricious inclination awakened by the mere charm of perishable beauty, I grant it to be idle in the extreme; but that love which springs from the concordant sympathies of virtuous hearts; that love which is awakened by the perception of moral excellence, and fed by meditation on intellectual as well as personal beauty; that is a passion which refines and ennobles the human heart. Oh, where is there a sight more nearly approaching to the intercourse of angels, than that of two young beings, free from the sins and follies of the world, mingling pure thoughts, and looks, and feelings, and becoming as it were soul of one soul and heart of one heart! How exquisite the silent converse that they hold; the soft devotion of the eye, that needs no words to make it eloquent! Yes, my friend, if there be anything in this weary world worthy of heaven, it is the pure bliss of such a mutual affection!

When Love becomes a command, Hatred can become a pleasure. *  *  * if you don’t gamble, you’ll never win *  *  * Beautiful thoughts, and beautiful women never last *  *  * you can cage a tiger but you’re never sure he’s broken. Men are easier *  *  * if you want to know where God is, ask a drunk. *  *  * there aren’t any angels in the foxholes *  *  * no pain means the end of feeling; each of our joys is a bargain with the devil. *  *  * the difference between Art and Life is that Art is more bearable *  *  * I’d rather hear about a live American bum than a dead Greek God. *  *  * there is nothing as boring as the truth *  *  * The well balanced individual is insane *  *  * Almost everybody is born a genius and buried an idiot *  *  * a brave man lacks imagination. Cowardice is usually caused by lack of proper diet. *  *  * sexual intercourse is kicking death in the ass while singing *  *  * when men rule governments, men won’t need governments; until then we are screwed *  *  * an intellectual is a man who says a simple thing in a difficult way; an artist is a man who says a difficult thing in a simple way. *  *  * everytime I go to a funeral I feel as if I had eaten puffed wheat germ *  *  * dripping faucets, farts of passion, flat tires — are all sadder than death. *  *  * if you want to know who your friends are, get yourself a jail sentence

In the first place, this is a history of Europe’s reduction. The constituent states of Europe could no longer aspire, after 1945, to international or imperial status. The two exceptions to this rule—the Soviet Union and, in part, Great Britain—were both only half-European in their own eyes and in any case, by the end of the period recounted here, they too were much reduced. Most of the rest of continental Europe had been humiliated by defeat and occupation. It had not been able to liberate itself from Fascism by its own efforts; nor was it able, unassisted, to keep Communism at bay. Post-war Europe was liberated—or immured—by outsiders. Only with considerable effort and across long decades did Europeans recover control of their own destiny. Shorn of their overseas territories Europe’s erstwhile sea-borne empires (Britain, France, the Netherlands, Belgium, Portugal) were all shrunk back in the course of these years to their European nuclei, their attention re-directed to Europe itself. Secondly, the later decades of the twentieth century saw the withering away of the ‘master narratives’ of European history: the great nineteenth-century theories of history, with their models of progress and change, of revolution and transformation, that had fuelled the political projects and social movements that tore Europe apart in the first half of the century. This too is a story that only makes sense on a pan-European canvas: the decline of political fervor in the West (except among a marginalized intellectual minority) was accompanied—for quite different reasons—by the loss of political faith and the discrediting of official Marxism in the East. For a brief moment in the 1980s, to be sure, it seemed as though the intellectual Right might stage a revival around the equally nineteenth-century project of dismantling ‘society’ and abandoning public affairs to the untrammelled market and the minimalist state; but the spasm passed. After 1989 there was no overarching ideological project of Left or Right on offer in Europe—except the prospect of liberty, which for most Europeans was a promise now fulfilled. Thirdly, and as a modest substitute for the defunct ambitions of Europe’s ideological past, there emerged belatedly—and largely by accident—the ‘European model’. Born of an eclectic mix of Social Democratic and Christian Democratic legislation and the crab-like institutional extension of the European Community and its successor Union, this was a distinctively ‘European’ way of regulating social intercourse and inter-state relations. Embracing everything from child-care to inter-state legal norms, this European approach stood for more than just the bureaucratic practices of the European Union and its member states; by the beginning of the twenty-first century it had become a beacon and example for aspirant EU members and a global challenge to the United States and the competing appeal of the ‘American way of life’.

There's something else I wanted to say about Cézanne: that no one else before him demonstrated so clearly the extent to which painting is something that takes place among the colors, and how one has to leave them completely alone, so that they can come to terms among themselves. Their mutual intercourse: this is the whole of painting. Whoever meddles, whoever arranges, whoever injects his human deliberation, his wit, his advocacy, his intellectual agility in any way, is already disturbing and clouding their activity. Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his conscious reflection, his progressive steps, mysterious even to himself, should enter so swiftly into the work that he is unable to recognize them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.

Television’s greatest appeal is that it is engaging without being at all demanding. One can rest while undergoing stimulation. Receive without giving. It’s the same in all low art that has as goal continued attention and patronage: it’s appealing precisely because it’s at once fun and easy. And the entrenchment of a culture built on Appeal helps explain a dark and curious thing: at a time when there are more decent and good and very good serious fiction writers at work in America than ever before, an American public enjoying unprecedented literacy and disposable income spends the vast bulk of its reading time and book dollar on fiction that is, by any fair standard, trash. Trash fiction is, by design and appeal, most like televised narrative: engaging without being demanding. But trash, in terms of both quality and popularity, is a much more sinister phenomenon. For while television has from its beginnings been openly motivated by — has been about—considerations of mass appeal and L.C.D. and profit, our own history is chock-full of evidence that readers and societies may properly expect important, lasting contributions from a narrative art that understands itself as being about considerations more important than popularity and balance sheets. Entertainers can divert and engage and maybe even console; only artists can transfigure. Today’s trash writers are entertainers working artists’ turf. This in itself is nothing new. But television aesthetics, and television-like economics, have clearly made their unprecedented popularity and reward possible. And there seems to me to be a real danger that not only the forms but the norms of televised art will begin to supplant the standards of all narrative art. This would be a disaster. [...] Even the snottiest young artiste, of course, probably isn’t going to bear personal ill will toward writers of trash; just as, while everybody agrees that prostitution is a bad thing for everyone involved, few are apt to blame prostitutes themselves, or wish them harm. If this seems like a non sequitur, I’m going to claim the analogy is all too apt. A prostitute is someone who, in exchange for money, affords someone else the form and sensation of sexual intimacy without any of the complex emotions or responsibilities that make intimacy between two people a valuable or meaningful human enterprise. The prostitute “gives,” but — demanding nothing of comparable value in return — perverts the giving, helps render what is supposed to be a revelation a transaction. The writer of trash fiction, often with admirable craft, affords his customer a narrative structure and movement, and content that engages the reader — titillates, repulses, excites, transports him — without demanding of him any of the intellectual or spiritual or artistic responses that render verbal intercourse between writer and reader an important or even real activity." - from "Fictional Futures and the Conspicuously Young

329 Leisure and Idleness. - There is an Indian savagery, a savagery peculiar to the Indian blood, in the manner in which the Americans strive after gold: and the breathless hurry of their work- the characteristic vice of the New World-already begins to infect old Europe, and makes it savage also, spreading over it a strange lack of intellectuality. One is now ashamed of repose: even long reflection almost causes remorse of conscience. Thinking is done with a stop-watch, as dining is done with the eyes fixed on the financial newspaper; we live like men who are continually " afraid of letting opportunities slip." " Better do anything whatever, than nothing "-this principle also is a noose with which all culture and all higher taste may be strangled. And just as all form obviously disappears in this hurry of workers, so the sense for form itself, the ear and the eye for the melody of movement, also disappear. The proof of this is the clumsy perspicuity which is now everywhere demanded in all positions where a person would like to be sincere with his fellows, in intercourse with friends, women, relatives, children, teachers, pupils, leaders and princes,-one has no longer either time or energy for ceremonies, for roundabout courtesies, for any esprit in conversation, or for any otium whatever. For life in the hunt for gain continually compels a person to consume his intellect, even to exhaustion, in constant dissimulation, overreaching, or forestalling: the real virtue nowadays is to do something in a shorter time than another person. And so there are only rare hours of sincere intercourse permitted: in them, however, people are tired, and would not only like " to let themselves go," but to stretch their legs out wide in awkward style. The way people write their letters nowadays is quite in keeping with the age; their style and spirit will always be the true " sign of the times." If there be still enjoyment in society and in art, it is enjoyment such as over-worked slaves provide for themselves. Oh, this moderation in "joy" of our cultured and uncultured classes! Oh, this increasing suspiciousness of all enjoyment! Work is winning over more and more the good conscience to its side: the desire for enjoyment already calls itself " need of recreation," and even begins to be ashamed of itself. " One owes it to one's health," people say, when they are caught at a picnic. Indeed, it might soon go so far that one could not yield to the desire for the vita contemplativa (that is to say, excursions with thoughts and friends), without self-contempt and a bad conscience.-Well! Formerly it was the very reverse: it was "action" that suffered from a bad conscience. A man of good family concealed his work when need compelled him to labour. The slave laboured under the weight of the feeling that he did something contemptible :- the "doing" itself was something contemptible. "Only in otium and bellum is there nobility and honour:" so rang the voice of ancient prejudice !

The Fool's Interruption. It is not a misanthrope who has written this book: the hatred of men costs too dear today. To hate as they formerly hated man, in the fashion of Timon, completely, without qualification, with all the heart, from the pure love of hatred - for that purpose one would have to renounce contempt: - and how much refined pleasure, how much patience, how much benevolence even, do we owe to contempt! Moreover we are thereby the "elect of God": refined contempt is our taste and privilege, our art, our virtue perhaps, we, the most modern amongst the moderns!... Hatred, on the contrary, makes equal, it puts men face to face, in hatred there is honour; finally, in hatred there is fear, quite a large amount of fear. We fearless ones, however, we, the most intellectual men of the period, know our advantage well enough to live without fear as the most intellectual persons of this age. People will not easily behead us, shut us up, or banish us; they will not even ban or burn our books. The age loves intellect, it loves us, and needs us, even when we have to give it to understand that we are artists in despising; that all intercourse with men is something of a horror to us; that with all our gentleness, patience, humanity and courteousness, we cannot persuade our nose to abandon its prejudice against the proximity of man; that we love nature the more, the less humanly things are done by her, and that we love art when it is the flight of the artist from man, or the raillery of the artist at man, or the raillery of the artist at himself...

Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.

Every special human being strives instinctively for his own castle and secrecy, where he is saved from the crowd, the many, the majority—where he can forget the rule-bound "people," for he is an exception to them;—but for the single case where he is pushed by an even stronger instinct straight against these rules, as a person who seeks knowledge in a great and exceptional sense. Anyone who, in his intercourse with human beings, does not, at one time or another, shimmer with all the colours of distress—green and gray with disgust, surfeit, sympathy, gloom, and loneliness—is certainly not a man of higher taste. But provided he does not take all this weight and lack of enthusiasm freely upon himself, always keeps away from it, and stays, as mentioned, hidden, quiet, and proud in his castle, well, one thing is certain: he is not made for, not destined for, knowledge. For if he were, he would one day have to say to himself, "The devil take my good taste! The rule-bound man is more interesting than the exception—than I am, the exception!"— and he would make his way down , above all, "inside." The study of the average man—long, serious, and requiring much disguise, self-control, familiarity, bad company - (all company is bad company except with one’s peers):—that constitutes a necessary part of the life story of every philosopher, perhaps the most unpleasant, foul-smelling part, the richest in disappointments. But if he’s lucky, as is appropriate for a fortunate child of knowledge, he encounters real shortcuts and ways of making his task easier; I’m referring to the so-called cynics, those who, as cynics, simply recognize the animal, the meanness, the "rule-bound man" in themselves and, in the process, still possess that degree of intellectual quality and urge to have to talk about themselves and people like them before witnesses;—now and then they even wallow in books, as if in their very own dung. Cynicism is the single form in which common souls touch upon what honesty is, and the higher man should open his ears to every cruder and more refined cynicism and think himself lucky every time a shameless clown or a scientific satyr announces himself directly in front of him. There are even cases where enchantment gets mixed into the disgust—for example, in those places where, by some vagary of nature, genius is bound up with such an indiscreet billy-goat and ape; as in the Abbé Galiani, the most profound, sharp-sighted, and perhaps also the foulest man of his century—he was much deeper than Voltaire and consequently a good deal quieter. More frequently it happens that, as I’ve intimated, the scientific head is set on an ape’s body, a refined and exceptional understanding in a common soul; among doctors and moral physiologists, for example, that’s not an uncommon occurrence. And where anyone speaks without bitterness and quite harmlessly of men as a belly with two different needs and a head with one, everywhere someone constantly sees, looks for, and wants to see only hunger, sexual desires, and vanity, as if these were the real and only motivating forces in human actions, in short, wherever people speak "badly" of human beings—not even in a nasty way—there the lover of knowledge should pay fine and diligent attention; he should, in general, direct his ears to wherever people talk without indignation. For the indignant man and whoever is always using his own teeth to tear himself apart or lacerate himself (or, as a substitute for that, the world, or God, or society) may indeed, speaking morally, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, the more trivial, the more uninstructive case. And no one lies as much as the indignant man.

In the first place, this is a history of Europe’s reduction. The constituent states of Europe could no longer aspire, after 1945, to international or imperial status. The two exceptions to this rule—the Soviet Union and, in part, Great Britain—were both only half-European in their own eyes and in any case, by the end of the period recounted here, they too were much reduced. Most of the rest of continental Europe had been humiliated by defeat and occupation. It had not been able to liberate itself from Fascism by its own efforts; nor was it able, unassisted, to keep Communism at bay. Post-war Europe was liberated—or immured—by outsiders. Only with considerable effort and across long decades did Europeans recover control of their own destiny. Shorn of their overseas territories Europe’s erstwhile sea-borne empires (Britain, France, the Netherlands, Belgium, Portugal) were all shrunk back in the course of these years to their European nuclei, their attention re-directed to Europe itself. Secondly, the later decades of the twentieth century saw the withering away of the ‘master narratives’ of European history: the great nineteenth-century theories of history, with their models of progress and change, of revolution and transformation, that had fuelled the political projects and social movements that tore Europe apart in the first half of the century. This too is a story that only makes sense on a pan-European canvas: the decline of political fervor in the West (except among a marginalized intellectual minority) was accompanied—for quite different reasons—by the loss of political faith and the discrediting of official Marxism in the East. For a brief moment in the 1980s, to be sure, it seemed as though the intellectual Right might stage a revival around the equally nineteenth-century project of dismantling ‘society’ and abandoning public affairs to the untrammelled market and the minimalist state; but the spasm passed. After 1989 there was no overarching ideological project of Left or Right on offer in Europe—except the prospect of liberty, which for most Europeans was a promise now fulfilled. Thirdly, and as a modest substitute for the defunct ambitions of Europe’s ideological past, there emerged belatedly—and largely by accident—the ‘European model’. Born of an eclectic mix of Social Democratic and Christian Democratic legislation and the crab-like institutional extension of the European Community and its successor Union, this was a distinctively ‘European’ way of regulating social intercourse and inter-state relations. Embracing everything from child-care to inter-state legal norms, this European approach stood for more than just the bureaucratic practices of the European Union and its member states; by the beginning of the twenty-first century it had become a beacon and example for aspirant EU members and a global challenge to the United States and the competing appeal of the ‘American way of life’.

Therefore, the Burmese felt no particular urge to understand their colonial rulers. This indifference was also encouraged by British attitudes. While the Englishman tended to see the Hindus as ‘serious’, ‘mysterious’, ‘deep’, ‘introverted’, and so on, he usually saw the Burmese as ‘gay’, ‘open’, ‘careless’, ‘childlike’, not a people who needed deep philosophical interpretation. The Burmese returned the compliment by assuming that there was not much that they needed to know about the Englishman beyond the necessities of unavoidable intercourse between the ruler and the ruled. How different it was from India, with the earnest, almost obsessive desire for comprehension at the intellectual level that was producing a string of scholars and philosophers in the western mould! It was true that such Indians constituted only a tiny section of the population, but their impact was strong on the upper classes; and they set the tone for those who would be leaders in the independence movements that were to gather momentum in the twentieth century. II

And all I need now is intellectual intercourse, a soul to dig the hole much deeper

In place of the old wants, satisfied by the productions of the country, we find new wants, requiring for their satisfaction the products of distant lands and climes. In place of the old local and national seclusion and self-sufficiency, we have intercourse in every direction, universal inter-dependence of nations. And as in material, so also in intellectual production. The intellectual creations of individual nations become common property. National one-sidedness and narrow-mindedness become more and more impossible, and from the numerous national and local literatures, there arises a world literature.