Homer he has looked upon the plain of Troy, and there has remained in his brain some of the light of the Grecian sky; he has taken a little of the pensive lustre of Virgil, as he wanders by his side on the slopes of the Aventine; he sees the world as Milton saw it, through the grey mists of England, as Dante saw it, through the clear and glowing light of Italy.  Of all these colours he composes for himself a colour that is unique and his own; from all these glasses by which his life passes on its journey to the real world, there is formed a special tint, and that is what makes the imagination of men of letters.”

At a single hearing you may not take all that in; but if you should have any opportunity of recurring to it, you will find this a satisfactory, full, and instructive account of what is a classic, and will find in it a full and satisfactory account of what those who have thought most on literature hope to get from it, and most would desire to confer upon others by it.  Literature consists of till the books—­and they are not so many—­where moral truth and human passion are touched with a certain largeness, sanity, and attraction of form.  My notion of the literary student is one who through books explores the strange voyages of man’s moral reason, the impulses of the human heart, the chances and changes that have overtaken human ideals of virtue and happiness, of conduct and manners, and the shifting fortunes of great conceptions of truth and virtue.  Poets, dramatists, humorists, satirists, masters of fiction, the great preachers, the character-writers, the maxim-writers, the great political orators—­they are all literature in so far as they teach us to know man and to know human nature.  This is what makes literature, rightly sifted and selected and rightly studied, not the mere elegant trifling that it is so often and so erroneously supposed to be, but a proper instrument for a systematic training of the imagination and sympathies, and of a genial and varied moral sensibility.

From this point of view let me remind you that books are not the products of accident and caprice.  As Goethe said, if you would understand an author, you must understand his age.  The same thing is just as true of a book.  If you would fully comprehend it, you must know the age.  There is an order; there are causes and relations between great compositions and the societies in which they have emerged.  Just as the naturalist strives to understand and to explain the distribution of plants and animals over the surface of the globe, to connect their presence or their absence with the great geological, climatic, and oceanic changes, so the student of literature, if he be wise, undertakes an ordered and connected survey of ideas, of tastes, of sentiments, of imagination, of humour, of invention, as they affect and as they are affected by the ever changing experiences of human nature, and the manifold variations that time and circumstances are incessantly working in human society.