We must find, therefore, a form of expression which excludes the fable and yet does not restrict the free working of colour in any way. The forms, movement, and colours which we borrow from nature must produce no outward effect nor be associated with external objects. The more obvious is the separation from nature, the more likely is the inner meaning to be pure and unhampered. The tendency of a work of art may be very simple, but provided it is not dictated by any external motive and provided it is not working to any material end, the harmony will be pure. The most ordinary action--for example, preparation for lifting a heavy weight--becomes mysterious and dramatic, when its actual purpose is not revealed. We stand and gaze fascinated, till of a sudden the explanation bursts suddenly upon us. It is the conviction that nothing mysterious can ever happen in our everyday life that has destroyed the joy of abstract thought. Practical considerations have ousted all else. It is with this fact in view that the new dancing is being evolved--as, that is to say, the only means of giving in terms of time and space the real inner meaning of motion. The origin of dancing is probably purely sexual. In folk-dances we still see this element plainly. The later development of dancing as a religious ceremony joins itself to the preceding element and the two together take artistic form and emerge as the ballet. The ballet at the present time is in a state of chaos owing to this double origin. Its external motives--the expression of love and fear, etc.--are too material and naive for the abstract ideas of the future. In the search for more subtle expression, our modern reformers have looked to the past for help. Isadora Duncan has forged a link between the Greek dancing and that of the future. In this she is working on parallel lines to the painters who are looking for inspiration from the primitives.