Now, if all this tremendous erudition were left to the university, where it properly belongs, not much harm would be done; but unhappily the study of literature as a science has almost completely excluded its study as an art. The small school of Dissen, Rehdantz and Blass, who represented in Germany the artistic appreciation of Greek literature, was submerged by the immensely greater number of scientific investigators. The classical poets, with the exception of Homer, fared better than the prose authors; but all literature, instead of being a help to the art of composition, was subordinated to establishing a theory or to exemplifying a generalization. France resisted almost entirely this scientific obsession of literature. England held out long. In both of these nations composition in the classical languages was a fixed feature of the schools. Victorian literature is steeped in the classics, especially of Greece; the golden age of England’s eloquence, the age of Chatham, Fox and Burke, preceded the scientific era of classicism and was the product of artistic appreciation and of composition. What of America? The earlier schools followed French and English traditions and taught the classics with literary appreciation and with fruitful results for the literature of America. Then later America sent its professors to Germany; specialism and the departmental system separated literature entirely from the classics; composition ceased except as a means of learning grammar, thus establishing a complete reversal of the original practice, where grammar was a means to composition. It would be untrue to say that all the erudition, discovered and systematized by numerous sciences and centering upon the classics, was useless or unprofitable. Even the immense library which the Wolfian theory of Homeric origins brought into existence has not been entirely in vain. Germany of the nineteenth century was the Alexandria of the modern world, and as Alexandrian criticism was the forerunner of the best in Latin literature, perhaps the immense activity of scientific investigators may have an artistic outcome. A selection of what is good and true, and a clear, concise presentation of well-established facts, such as Père Laurand gives in his excellent series, _Manuels des Etudes Grecques et Latines_ (Picard, Paris), will help the study of the classics. Erudition should take now its proper place of subordination. The classics should resume the functions which history, evolution, origins and other scientific approaches have taken away; the classics should once more be studied primarily as works of art. The medium and materials do not dominate other arts; they should not dominate literature. Self-expression is the goal of all art; it should be the goal of literature.