It is in vain to deny that those literatures have lost something of the relative value they once possessed, and which made it a literary necessity to study Greek and Latin for their sakes. The literary necessity is in a measure superseded by translations, which, though they may fail to communicate the aroma and the verbal felicities of the original, reproduce its form and substance. It is furthermore superseded by the rise of new literatures, and by introduction to those of other and elder lands. The Greeks were masters of literary form, but other nations have surpassed them in some particulars. There is but one Iliad, and but one Odyssee; but also there is but one Job, but one Sakoontala, but one Hafiz-Nameh, but one Gulistan, but one Divina Commedia, but one Don Quixote, but one Faust. If the argument for the study of Greek and Latin is grounded on the value of the literary treasures contained in those tongues, the same argument applies to the Hebrew, to the Sanscrit, to the Persian, to say nothing of the modern languages, to which the College assigns a subordinate place. But, above all, the literary importance of Greek and Latin for the British and American scholar is greatly qualified by the richness and superiority of the English literature which has come into being since the Graecomania of the time of the Tudors, when court ladies of a morning, by way of amusement, read Plato's Dialogues in the original. If literary edification is the object intended in the study of those languages, that end is more easily and more effectually accomplished by a thorough acquaintance with English literature, than by the very imperfect knowledge which college exercises give of the classics. Tugging at the Chained Prometheus, with the aid of grammar and lexicon, may be good intellectual discipline, but how many of the subjects of that discipline ever divine the secret of AEschylus's wonderful creation, or receive any other impression from it than the feeling perhaps that the worthy Titan's sense of constraint could hardly have been more galling than their own. Give them Shakespeare's Tempest to read, and with no other pony than their own good will, though they may not penetrate the deeper meaning of that composition, they will gain more ideas, more nourishment from it, than they will from compulsory study of the whole trio of Greek tragedians. And if this be their first introduction to the great magician, they will say, with Miranda, "O, wonder! How many goodly creatures are there here! ... O brave new world, That has such people in it!"