If some scientists are nowadays growing mystical, it is not therefore logical to deny the facts that their controlled experiments have demonstrated. The dilemma of modern tragedy remains very real. There is no refuge in obscurantism through return to illusions which science has shattered. Reason denies the objective reality of our dreams; and so long as the honest man accepts a monism which identifies man with nature, he can find no justification for tragic exaltation. The humanist, however, denies the necessity for this identification. Without in the slightest degree disparaging the truth or worth of physical knowledge he maintains that the realm of value has significant validity when taken as distinct from the realm of fact. The realm of value belongs to man; that of fact, to outer nature. One depends on the other, but the two are different. Value depends on the operation of physical laws, but it remains value. The fallacy of the naturalist has been the assumption that to explain the cause of a thing is to explain away its value. Human emotions may be caused on the naturalistic plane by the secretion of endocrine glands or what not; on the human plane they remain what they were to Homer or Shakespeare. It is interesting to know about chromosomes and Mendelian laws, about biochemistry and vital machinery; but human values remain the same. Whatever the findings of science, man humanly speaking is still what he always was: comic, pitiful, despicable--now and then sublime. The humanist is concerned with the realm of values, and thus is concerned with ethical laws. The lives of all men progress under these laws; and the endeavours of great men have been to discover and formulate them. To the humanist it seems evident that literary art, dealing as it does with human actions, must deal with ethical laws, which are the foundation of conduct. And it would seem obvious folly to attempt to divorce literature from them. Romantic art as recreation is a blessing to jaded mortals; and naturalistic art at its best is, within its limits, penetrating. But to the humanist it seems that both types of art have failed in dealing with ethical laws. The romantic is always an extremist, demanding perfection, or denying the existence of goodness. The naturalist has become so absorbed in the mechanism of the instrument that he has become deaf to its music. The humanist desires emotional satisfaction; he desires to face the truth. But he also wishes to preserve a normal humanity in which human values are central. Though hearing the revelations of science, he keeps his ear attuned to the music of humanity. Though enjoying the thrills of liberated feeling, he is unwilling to purchase them at the expense of moderation or proportion. He believes not in prohibition but in temperance.