t, the
major part of the time in class being devoted to the cultural and
aesthetic interpretation of what has been read at home. It is evident
that in this, the most important part of the German college work, all
depends upon the personality of the instructor: literary and human
understanding cannot be instilled into the student's mind by one who
does not possess them himself, together with a love for teaching and
the power to create enthusiasm.

All other requirements must be subordinate to this--even the
instructor's mastery of the language. No doubt, in theory it would be
most desirable that German be the exclusive language of instruction
throughout; but in literary courses practical considerations will so
often speak against this, that no sweeping answer to this question
seems possible. For the chief aim must not be overshadowed by any
other. If poor preparation on the part of the students or a deficient
command of the language on the part of the instructor makes it
doubtful whether the cultural aim can be attained, if German is the
language of instruction, English should be used unhesitatingly. This
implies that for this part of the work an instructor with a strong
personality and an artistic understanding, although lacking in
speaking knowledge, is far preferable to one who speaks German
fluently but cannot introduce his students to the greatness of German
literature and the spirit of the German people.

On the other hand, written reports in literary courses should always
be required to be in German; it is also a good plan to devote a few
minutes of each period to prepared oral reports, in German, on the
part of the individual students. Where systematic practice in the
colloquial use of the language is desirable for special reasons, a
conversation course may be established in addition to the main work,
but literary courses are not the place for starting conversational
practice with classes that have been neglected in this respect during
their preparatory work.

The second year of the literary group should offer a choice between
two directions of further literary development: about three hours of
each week should be devoted either to a course on the general history
of German literature, or to the intensive study of one of the greatest
factors in German literature--such as Goethe's _Faust_. In large
institutions both courses can probably be given side by side, the
students taking their choice according to their