The Old Humanities and the New Science — Story, Setting & Ideas

A Scientist Among Classicists

Osler opens by acknowledging the strangeness of his position: a medical man addressing an association devoted to Latin and Greek. He notes that his predecessor, a Professor of Greek, had set a precedent for alternating between classicists and outsiders. Osler’s own claim to the role rests not on philological expertise but on a broader humanism—'a student of human affairs and human nature.' He positions himself as an advocate for the 'average man,' not the specialized scholar. This rhetorical stance allows him to critique classical education from within, using the language of a sympathetic but critical friend. He praises the ideal of producing scholars like Ingram Bywater but questions the cost: 'a holocaust of undergraduates every year.' The metaphor is deliberately provocative, suggesting that the current system sacrifices many for the sake of a few.

The Grammar Grudge

Osler reserves his sharpest criticism for the teaching of grammar. He declares a 'medullary prejudice' against grammar, blaming Protagoras for its invention. This is not mere whimsy; it reflects a deeper argument about how languages should be taught. He cites Montaigne, Milton, and Locke as advocates of a more practical method: 'Make the language an instrument to play with and to play with thoroughly.' The goal, he insists, should be fluency and appreciation, not dissection. He quotes approvingly a Greek Curriculum Committee that believes 'it is possible in a comparatively short time to acquire a really valuable knowledge of Greek.' Osler’s own medical background informs his language: he speaks of 'dissecting the neuro-muscular mechanism' of language, a metaphor that blends his two worlds. The tone is conversational, even irreverent, as he takes aim at sacred cows of classical pedagogy.

The Unhappy Divorce

Osler’s central thesis is that the humanities and sciences are 'twin berries on one stem,' artificially separated to the detriment of both. He paraphrases Mark Twain on Christian Science to coin a memorable formulation: 'the so-called Humanists have not enough Science, and Science sadly lacks the Humanities.' The address references two official reports edited by Sir Frederic Kenyon that had recently 'stirred the pool' of educational debate. Osler welcomes these reports as signs of 'constructive, anabolic action'—a term from physiology that underscores his scientific perspective. He argues that the exclusion of modern scientific developments from the classical curriculum is a grave omission: 'the moving forces which have made the modern world are simply ignored.' The School of Literae Humaniores, he notes with 'gasping astonishment,' makes no room for these forces, despite their Hellenic origins.

A Plea for the Average Man

Throughout the address, Osler distinguishes between the elite scholar and the ordinary student. The current system, he argues, serves only the few who will go on to 'Mods' and 'Greats.' For the rest, the goal should be to 'infect with the spirit of the Humanities'—a phrase that echoes his medical background. He calls this 'the greatest single gift in education.' Osler’s own reading habits model this ideal: he describes his breviary as 'Plutarch gallicized by Montaigne,' a hybrid text that crosses linguistic and cultural boundaries. He does not propose abolishing classical languages but reforming their teaching to emphasize literature over grammar. The address is thus a practical intervention in a live educational debate, grounded in Osler’s experience as both a scientist and a lifelong reader of the classics.

Osler’s address is best read as a personal manifesto rather than a systematic treatise. His arguments are woven from anecdote, metaphor, and direct address, reflecting the oral occasion. Readers interested in the history of education will find a vivid snapshot of post-World War I debates about curriculum. Those drawn to Osler’s own voice will appreciate his wit and his ability to bridge two cultures. The text rewards attention to its rhetorical strategies—the way Osler positions himself as an amateur among experts, the medical metaphors that color his critique, and the specific authors he invokes as models.