What holy cities are to nomadic tribes — a symbol of race and a bond of union — great books are to the wandering souls of men: they are the Meccas of the mind.

If the aristocracy of the whole white race is so to melt in a world of the colored races of the Earth, I for one should only rejoice in such a divine triumph of the sacrificial idea in history; for it would mean the humanization of mankind.

To realize life in the abstract as noble or beautiful or humane, to set it forth so with radiance upon it, that is civilization in the arts. Shakespeare is the chief modern example of this supreme faculty of mankind.

Shakespeare is, essentially, the emanation of the Renaissance. The overflow of his fame on the Continent in later years was but the sequel of the flood of the Renaissance in Western Europe. He was the child of that great movement, and marks its height as it penetrated the North with civilization.

Our understanding of Shakespeare already depends largely on the vitality of Renaissance elements in our education. Each man must live in his own generation, as the saying is; but the generations are bound together by the golden links of the great tradition of civilization.

Art has a double visage: it looks before and after. Romance is its forward-looking face. The germ of growth is in romanticism. Formalism, on the other hand, consolidates tradition; gleans what has been gained and makes it facile to the hand or the mind; economizes the energy of genius.

The Greeks, those originators of the intellectual life, fixed for us the idea of the poet. He was a divine man; more sacred than the priest, who was at best an intermediary between men and the gods, but in the poet the god was present and spoke.