128 INTERNATIONAL CONGRESS OF EDUCATION. 
This is not the time to discuss the special merits of the different systems, but I cannot 
see why each should not receive its own degree and its own honor. 
Sincerely yours, 
T. D. SEYMOUR, 
Professor of Greek in Yale University. 
It seems to me that the degree of Bachelor of Arts is stripped of its meaning if it is 
given without Greek. Historically it can mean only that. We have taken the term 
‘rom English universities, in which ‘‘ arts” always includes Latin and Greek. 
My second reason for keeping the degree of A.B. to designate the classical course is 
shat other courses of study have their appropriate designation, such as B.S., B.L., 
Ph.B. Or, if putting it in that way is begging the question, it is desirable, it seems to 
ne, to make some discrimination between the degree conferred for studies that are 
scientific, semi-technical, and general, and that conferred for studies that are pursued 
nore for discipline and culture. Reduce the number of degrees to two, if you like, but 
et the degree of A.B. stand, as it. always has, for the education that is pursued for its 
>wn sake—in which Greek is the essential factor. 
My third reason for giving the degree in arts only to those who have taken Greek 
s a prudential one. In this land and this age, Greek has to contend against much 
orejudice. Now, if the A.B. degree has any prestige or value as a degree over other 
Bachelor’s degrees, is it not in the interest of good education to give this premium, so 
to say, to the classical course? With those who would make Greek simply a luxury in 
>ducation, or a professional study, this reason would have no weight, nor would any 
other reason. 
Very truly yours, 
M. L. D’OoGx, 
Professor of Greek in the University of Michigan. 
I have always been of the opinion that Greek is an essential feature of the A.B. 
sourse, for the reason that the A.B. degree, in distinction perhaps from the B.S., 
represents to me culture rather than mere knowledge. And I do not see how culture can 
be acquired without Greek. The Greeks were the first to have a clear perception of what 
s meant by a solid, well-rounded, spiritual development. They knew far less than we 
now know, but it may be doubted if our faculties are as well trained. In my case, I 
freely admit that I can remember nothing that so quickened my mind in college as the 
all-too-imperfect rubbing up against Greek literary method. Tt is a kind of training 
hat T don’t believe any modern literature, not even our own at its best, can give with 
quite the same delicate and firm touch, The ineffaceable stamp of Greek art is upon 
all that the race produced. 
Besides, there is a practical value which is fully as great as any mere theoretical 
training. It is this: All, or nearly all, modern thought and modern form have been 
influenced by Greek, either at first or second hand. The modern literatures that I 
know best are German and English. Now, I do not know how to interpret the great 
Englishmen and Germans without reference to Greek. In German, Goethe and Schiller 
are permeated with Greek methods and principles. ILessing’s ‘“ Laocotn ” and ** Drama- 
burgie”” (his most valuable writings in my eyes) are Greek through and through. In 
English, how many of our best poets and prose writers have been influenced by Greek 
models! Tennyson was a life-long reader of Greek; his  Idylls” are full of remi- 
aiscences of Theocritus and the dramatists ; his isometric song is a direct imitation of 
Theocritus. Browning is also Greek in culture, although, perhaps, in a less degree. 
Shelley is out-and-out Greek in his sympathies. So is Coleridge. So, perhaps, Words- 
worth, Keats tried his best to become a Greek. As to the Elizabethan-Stuart period, 
‘hat whole literature is the avowed offspring of the Greco-Latin renascence. What is 
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