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 and end remain remote; they do not permeate one another. The person is no more really interested in his work than he was before; in itself, it is a hardship to be escaped from. Hence he cannot give full attention to it; he cannot put himself unreservedly into it. But to the other man every stroke of work may literally mean his wife and baby. Externally, physically, they are remote; mentally, with respect to his plan of living, they are one; they have the same value. In drudgery on the contrary means and end remain as separate in consciousness as they are in space and time. What is true of this is true of every attempt in teaching to "create interest" by appeal to external motives.

At the opposite scale, take a case of artistic construction. The sculptor has his end, his ideal, in view. To realize that end he must go through a series of intervening steps which are not, on their face, equivalent to the end. He must model and mold and chisel; perform a series of particular acts, no one of which exhibits or is the beautiful form he has in mind, and every one of which represents the putting forth of personal energy.