That therefore modern writers should come earliest, prose writers before poets.

Out of this list two courses for the sophomore year were evolved: a course in the reading and understanding of six modern novels (not a course in the history of fiction: this was the first course in the Novel for undergraduates in America, having been given in the session of 1889-1890); and secondly a course in the Essayists, also confined to a very few names, Macaulay, Carlyle, etc. The idea of these courses was not information, but the presentation to the student of good literature and the explanation of its meaning. In Junior year two courses followed in the history of literature: first, the Eighteenth Century as more familiar; second, the Elizabethan Age as more remote, and each was treated by authors with reading in class and out. Finally, as to senior year, there followed a course on the Nineteenth Century Poets and a course in the drama of Elizabeth's day.

A feature of all this work was the written report of the student, its incessant reading and correction by the teacher. Another was the voluntary "seminary" as it was Teutonically called, in which, in the upper classes, the privilege of meeting at the professor's home of an evening to read and discuss authors over and above those in the course was extended to the twelve best men. There was eager acceptance of this although no credits were given for the work.

The work in the English Language was brought under the charge of the late Morton W. Easton, who in 1892 became Professor of English and Comparative Philology while Professor Schelling became John Welsh Centennial Professor of History and English Literature. While this curriculum has naturally been widened and enriched during the progress of years, it is significant that the individual courses that were first proposed are still offered at Pennsylvania and happily still given by their founder.

It was not only in the establishment of courses however that Professor Schelling laid the foundation of the Department of English. As time went on and the College grew, new instructors came, of his selection. In a day when it was the custom in American college education for the head of a department to demand of his assistants rigid compliance with his own theories and practices of teaching, Professor Schelling pursued a different course. Each new man was given the greatest liberty of action, was spurred on

to develop his own individuality, and was encouraged to make suggestions concerning the conduct of the department. That department now contains fifty members and meets annually several thousand students. That its homogeneity and esprit de corps are still matters of comment is due perhaps largely to the character of its founder.

During his career at Pennsylvania, Professor Schelling has taken an active part in the development of the College. So productive a scholar might have with some reason avoided the demands of committee work, yet so devoted an alumnus could not do so. To recount all the activities with which he has thus been connected would be to write a volume upon the growth of new departments, the enlargement of the University's sphere of usefulness, and in some cases, the explosion of educational bubbles of great apparent circumference but of little actual permanence. In these matters, Professor Schelling has been neither a Tory nor a Radical. He has stood for the preservation of the best that the traditional culture has to give, but he has recognized also that the world moves. He was one of the leaders in the movement that resulted in the New Curriculum of the Course in Arts in 1914, and he was one of the Committee of the College Faculty which in 1920 represented the Faculty's belief that the University of Pennsylvania should continue and develop to the utmost its policy of service to the State whose name it bears. It is not only his long term of service but more especially the general trust in his sincerity, his judgment and his courage, that have made him in a special sense the representative of the Faculty of the College.

Professor Schelling's relation to his students has been a constant refutation of the mistaken idea, so often circulated nowadays, that the professor in a large urban university is necessarily remote from that personal influence which is the life of teaching. I know that to the class that entered the College in the fall of 1890 he was always a personal friend and the tradition then established has been constant. In 1904 when the graduating class dedicated the annual publication, the "Record," to him, the inscription was significant:

If anything in this book is worthy of Pennsylvania, or of those who have contributed to her welfare-it is dedicated with all affection and loyalty to Felix E. Schelling.

The impulse to scholarship with which he inspired his graduate students is reflected so well in this volume that it hardly needs further emphasis. The mingled strains of Dutch and English ancestry probably account for the fact that while his students were ever impressed with the necessity of accuracy, they also never were allowed to lose that sense of proportion in scholarship to which a purely Germanic training is apt to lead.

It has been this keen sense of proportion, too, which, notwithstanding the stern responsibilities of teaching, the conduct of a growing department, and the constant interruptions of local demands upon his time, has enabled Professor Schelling to make his significant contribution to printed scholarship. He started the University series of Monographs in Literature with his Poetic and Verse Criticism of the Reign of Elizabeth in 1891. In 1892 his edition of Ben Jonson's Discoveries drew from Dr. Horace Howard Furness the epigram: "At last rare Ben Jonson has been well done." His monograph on The Life and Writings of George Gascoigne came next in 1893, and his excellent judgment in separating the permanent from the passing was illustrated in his Book of Elizabethan Lyrics (1896) and his Book of Seventeenth Century Lyrics (1899). In 1898 he presented in "Ben Jonson and the Classical School," a brilliant study of the origins and sources of the Age of Pope. For many years all other work was but a by-product to his study of the Elizabethan dramatists, and in 1902 he published his preliminary account of one phase of the subject in The English Chronicle Play. It was a notice to the world of scholarship that the best manner of treating a literary form was through the types into which it ran rather than through the men who had produced its examples. In 1904 came his charming essays, The Queen's Progress and other Elizabethan Sketches, in which he reflected the spirit of the age which he has so thoroughly made his own. The crowning work of his life so far, appeared in 1908, his Elizabethan Drama, 1558-1642, a History of the Drama in England from the Accession of Queen Elizabeth to the Closing of the Theaters, to which is prefixed a Résumé of the Earlier Drama from its Beginnings. These two volumes have taken their place as the definitive work on the subject.

Next came his English Literature During the Lifetime of Shakespeare, in 1910; and in 1913 his volume on The English Lyric, the

field in which, next to the drama, his keenest interest lay. In some respects this book pleases his friends the most. The charm of the style reflects the Schelling they know in actual life. If the History of the Elizabethan Drama presents his most solid achievement as an historian of literature, The English Lyric reveals him as the discriminating critic, the master of the illuminating generalization and the distinguished phrase.

In 1914 Professor Schelling was asked by Mr. Ernest Rhys to write in a series under his direction a History of English Drama in which he dealt with the entire field. The war and the many consequent activities which for all men of scholarship were naturally interruptions to their normal routine, turned Professor Schelling towards an earlier form of expression. From the very beginning of the conflict in 1914, he took a firm stand on the side of civilization, and his resentment at the conduct of Germany found vent in literary form in his war verses which were collected and published under the title of Thor and Other War Verses in 1918.

One cannot write in the past tense concerning Professor Schelling's productions in scholarship. At present he is writing from a new point of view an account of the Elizabethan Drama.

Among the many articles, a complete list of which will be found in the Bibliography, may be mentioned the chapter on the Restoration Drama in the Cambridge History of English Literature, the Introduction to Ben Jonson's Plays in the Everyman edition, and the masterly review of the fifth and sixth volumes of the Cambridge History for the Modern Language Review.

Among the many addresses which Professor Schelling has delivered on public occasions on this side of the Atlantic, perhaps those which will be the longest remembered by his audiences were his words at the meeting at the Historical Society of Pennsylvania in 1912 in memory of Horace Howard Furness, the Phi Beta Kappa Oration at the University of Pennsylvania in 1902, and his Commencement Address in 1915. There was a singular appropriateness in the choice of Professor Schelling to describe the life work of the great Shakespearean scholar whose mantle had descended upon his own shoulders. Often when a great scholar dies, it seems as though no successor could be found. It is a rare chance that in his own city and in the University with which he was so long associated as a Trustee, there should be already a man who could

justifiably be assigned the position of leadership in the field Dr. Furness left vacant.

The Phi Beta Kappa address was upon "Humanities Gone and to Come." It was a bugle call to those who believe in preserving the permanent values in education. One sentence of the address, "Depend upon it, the sword is best whetted upon that which it is intended never to cut," remains in the memory of many an auditor. This address has been re-printed in Phi Beta Kappa Addresses.

The international scope of Professor Schelling's reputation has made him an appropriate choice to represent the University or the Nation on many occasions abroad. In 1900 he attended in the first capacity the four hundredth anniversary of the foundation of the University of Glasgow. In 1914 he was chosen, as the one American to be so honored, an Honorary Member of the Deutsche Shakespeare-Gesellschaft, and attended the celebration at Weimar, April 21-24, of the fiftieth anniversary of the founding of that society. Among the six other foreigners who received a similar distinction. were Lord Haldane for England, and M. Jusserand for France, and Professor Schelling became by a curious fate, the bearer of the society's diploma to M. Jusserand, who had been unable to be present. In July, 1921 he represented the University at the re-laying of the cornerstone of the library of the University of Louvain.

Although he has been in continuous service since 1886, Professor Schelling has not confined his teaching entirely to Pennsylvania. In 1906-1907 he was invited to give courses in "Shakespeare" and in "The Drama from Jonson to the closing of the Theaters" at Johns Hopkins University. He has lectured at the Summer Session of the University of Chicago, conducted graduate work at New York University, and was the Clyde Fitch Lecturer in Drama at Amherst College.

There has never been anything of the recluse about Felix Schelling. Movements of the right kind, professional, national, or local, have had his constant interest and support. For many years he has been an active member of the Modern Language Association of America and was its President in 1912. Other organizations of which he has been President are the Society of the Alumni of the University of Pennsylvania and the Contemporary Club of Philadelphia.