Have the teachers of the classics lost faith? Is artistic appreciation an idle thing or is it a thing of beauty, a joy forever? The experimental sciences are always changing in facts and theories. The chemistry of a century ago is absurd; the chemistry of twenty-five years ago is antiquated; the chemistry of today will be old tomorrow. As Remsen long ago saw and insisted on, what is valuable in the teaching of chemistry are the processes, not the theories, which will likely change tomorrow. Chemistry, as a science, is a bit of classified information always modified by research. Art and artistic appreciation is a thing of beauty and a joy forever. Give a man appreciation of literature; let him taste the beauty of Homer and of Sophocles and of Demosthenes, and you have given him, not a catalog of facts which must always be rectified, not a theory which must change with the facts, but a precious treasure in the mind which will always remain. In teaching chemistry the processes are more important than the temporary information; in the teaching of literature the processes are at least equally valuable, and besides last through life in abiding taste and in perfected self-expression. Formerly reproduction was the aim of the teacher of the classics. “Reproduction is the soul of the explanation or prelection,” is the way early Jesuit pedagogy put it, and every student of philosophy knows what the soul or formal cause contributes to the effect. How many in explaining classical literature today guide themselves throughout by the principle that their students are to reproduce artistically the masterpiece which they explain? No doubt professors insist upon the formation of clear ideas and further demand explicit judgments in the way of propositions. Most too require that the links of reasoning be sharply and definitely stated. Interpretation, in a word, is well done. The intellectual element of the masterpiece is handled satisfactorily. But what of the artistic form? Does the literature take shape in the student’s imagination? Is the picture realized in the teacher’s imagination and then by suggestion, through the sparkling eye and sympathetic voice and interpreting gesture, by vivid, though not histrionic, dramatization, is the author’s message staged in the student’s imagination? Scientific analysis, especially where a text becomes a tag to some learned generalization, often prevents imaginative realization and thus precludes artistic appreciation of literature.