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 lament that I desisted before my mind was hardened by the habit of rigid demonstration, so destructive of the finer feelings of moral evidence." Might not something analogous be said about some of those ultra-technical aspects which some special departments of classical study occasionally present, when we consider these in relation to the nature and the ends of humane literature? No one will suspect me of underrating the immense services which have been rendered to classical study, in every department, by deeper and more thorough work, by rational and exact methods of research. I only say that the tendency to make those methods too technical is one of the besetting temptations of the higher and more esoteric classical study,—a fashion in which it sometimes appears even to exult, as though it were a warning to the profane to stay outside; and I say that such a tendency is adverse to the appropriate and sympathetic treatment of any subject-matter derived from literature or art. Aristotle observes in the Rhetoric that a speaker unconsciously but inevitably passes out of the province of that art if he begins to reason in the technical terms of a particular science; and one feels that the modern specialist, in certain branches of classical study, may come perilously near to passing out of the province of humanism.

At any rate, I suppose it would be generally agreed that one of the chief problems which we have to face in classical studies at the present day is this:—How are the characteristic and essential