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In the French course I read some of the works of Corneille, Moliere, Racine, Alfred de Musset and Sainte-Beuve, and in the German those of Goethe and Schiller. I reviewed rapidly the whole period of history from the fall of the Roman Empire to the eighteenth century, and in English literature studied critically Milton's poems and "Areopagitica."
在法语读物方面，我阅读了高乃依、莫里哀、拉辛、阿尔弗莱德·德·缪塞和圣伯夫的著作。我阅读的德语作品主要来自歌德和席勒。此外，我还迅速地重温了从罗马帝国陷落到18世纪这一阶段的全部历史。在英国文学方面，我尝试用批评性的眼光研读了弥尔顿的诗歌和《论出版自由》。
I am frequently asked how I overcome the peculiar conditions under which I work in college. In the classroom I am of course practically alone. The professor is as remote as if he were speaking through a telephone. The lectures are spelled into my hand as rapidly as possible, and much of the individuality of the lecturer is lost to me in the effort to keep in the race. The words rush through my hand like hounds in pursuit of a hare which they often miss. But in this respect I do not think I am much worse off than the girls who take notes. If the mind is occupied with the mechanical process of hearing and putting words on paper at pell-mell speed, I should not think one could pay much attention to the subject under consideration or the manner in which it is presented. I cannot make notes during the lectures, because my hands are busy listening. Usually I jot down what I can remember of them when I get home. I write the exercises, daily themes, criticisms and hour-tests, the mid-year and final examinations, on my typewriter, so that the professors have no difficulty in finding out how little I know.
常有人问及我是如何克服大学学习的不便的。当然，在课堂上我的情况是独一无二的。教授的声音很微弱，他似乎正在通过一个电话来说话。授课内容会（被苏立文小姐）以尽可能快的速度拼写在我的手上，在努力跟上老师讲话速度的同时，老师本人的个性反而在我面前消失了。滔滔不绝的词语流淌过我的手心，恰如猎犬追逐行将消失的野兔。即使是在这种情形下，我也不觉得自己比用笔记录的姑娘们差到哪里。假如整个心思被机械性的听讲和手忙脚乱的记录所占据，那么你就不可能过多地留意到讲义的内涵或风格。我无法在上课时做笔记，因为我的双手正忙于“听讲”。通常我会在到家后把能记得的内容草草写下来。此外，我还要在打字机上做习题，记笔记，写评论，完成课堂测验和期中期末考试，这样教授们就不难发现我掌握的内容是多么有限。
