their noble exploits, the unworldly ambitions, the romantic hopes, the make-believe world in which they live, if properly utilized, what might they not do to make our sordid cities more beautiful, more companionable? And yet at the present moment every city is full of young people who are utterly bewildered and uninstructed in regard to the basic experience which must inevitably come to them, and which has varied, remote, and indirect expressions. Even those who may not agree with the authorities who claim that it is this fundamental sex susceptibility which suffuses the world with its deepest meaning and beauty, and furnishes the momentum towards all art, will perhaps permit me to quote the classical expression of this view as set forth in that ancient and wonderful conversation between Socrates and the wise woman Diotima. Socrates asks: "What are they doing who show all this eagerness and heat which is called love? And what is the object they have in view? Answer me." Diotima replies: "I will teach you. The object which they have in view is birth in beauty, whether of body or soul.... For love, Socrates, is not as you imagine the love of the beautiful only ... but the love of birth in beauty, because to the mortal creature generation is a sort of eternity and immortality." To emphasize the eternal aspects of love is not of course an easy undertaking, even if we follow the clue afforded by the heart of every generous lover. His experience at least in certain moments tends to pull him on and out from the passion for one to an enthusiasm for that highest beauty and excellence of which the most perfect form is but an inadequate expression. Even the most loutish tenement-house youth vaguely feels this, and at least at rare intervals reveals it in his talk to his "girl." His memory unexpectedly brings hidden treasures to the surface of consciousness and he recalls the more delicate and tender experiences of his childhood and earlier youth. "I remember the time when my little sister died, that I rode out to the cemetery feeling that everybody in Chicago had moved away from the town to make room for that kid's funeral, everything was so darned lonesome and yet it was kind of peaceful too." Or, "I never had a chance to go into the country when I was a kid, but I remember one day when I had to deliver a package way out on the West Side, that I saw a flock of sheep in Douglas Park. I had never thought that a sheep could be anywhere but in a picture, and when I saw those big white spots on the green grass beginning to move and to turn into sheep, I felt exactly as if Saint Cecilia had come out of her frame over the organ and was walking in the park." Such moments come into the life of the most prosaic youth living in the most crowded quarters of the cities. What do we do to encourage and to solidify those moments, to make them come true in our dingy towns, to give them expression in forms of art?