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One of the many incomprehensible things about a University is the scarcity of interesting courses given on Mondays, Wednesdays and Fridays. Perhaps it is due to chance, or even to a malicious desire to wreek a student's week end by making the more intriguing lectures fall on Saturdays.

At 10 o'clock this morning, however, for the exertions of a vagabond demand an occasional late sleep. I am going to Harvard into heir Professor Wright on his course on that greatest period of all French literature, the seventeenth century. Professor Wright will continue his discussion of Racine.

A man who is discussed more often in history than in literature courses will be the subject of Dr. Maynadier's lecture at 11 o'clock this morning in English 29b. That Benjamin, Disraeli should merit a lecture in a course on the history of the English novel may seem strange; that any such fancier of academic odds and ends as my wandering self should make it a point to go to Sever 35 to find out why can seem nothing but natural.

The combination of an exceptional lecturer, an exceptional subject and an exceptional tradition is not one that is met every day, and it is enough to take me to two English lectures in succession this morning. Professor Murray at 12 o'clock in Harvard 3 will begin the series of five or six lectures which he annually devotes in his course on the English drama to Ben Jonson.

"What is Russia's Part in Modern Music" is to be the text of a lecture this evening at 8.15 o'clock in the John Knowles Paine Concert Hall. Mr. Alfred Swan has come from New York to give the lecture with his own pianoforte illustrations. Mr. Swan is a recognized authority on the impressionism of the modern French school and the tremendous influence it has had on recent Russian music

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