On the other hand, with the number of available translations of nearly all the prominent Russian authors of the nineteenth and twentieth centuries, there is no reason why courses on Russian literature in translation should not be offered. The material can be easily gathered to give an adequate picture of the development of the literature for the non-specialist. Whether this is done as part of a general course, or as a special course, will depend upon the program of the institution but it will benefit not only the general student but also the person who is endeavoring to learn the language. The problem is more complicated for the other East European languages. Perhaps Polish literature is the only one that has been translated with even near minimal adequacy. Still, there are a number of translations from the Czech, especially from Karel Capek, the popular dramatist who was active before World War II. There are some good Ukrainian translations, especially of poetry done by the late Percival Cundy and the selections already in English give a fair representation of all the major Ukrainian authors. The literatures of the other Slavic groups are still poorly represented in translations. There is a real need therefore for the preparation of a series of anthologies in translation, not only from the Slavic languages, but also from the other literatures of East Europe. There may be difficulties in securing publication of such works, and hesitation in introducing them with success into the various courses, but there is no reason why any college library should not work to build a collection of such works, even if it is not interested in expanding its study in this field. Where there are courses in one or more of the languages of the area, it will be, of course, easy to prepare courses on the literature with readings in the original. Yet, these can never replace the full need for courses in translation or courses in which the originals are supplemented by translations. The same applies to courses in the fine arts, especially music and painting, both of which have flourished in Slavic lands. There are special difficulties here that are not present in the literature, for in the past, and especially the nineteenth century, most of the Slavic artists appeared in the Western World as either Russian, Austrian or Italian. As such, their contributions have been hidden even beyond their own desires, for in 1918 the world discovered that many artists, who had been invited as representatives of the dominating empires, rebelled and proudly declared themselves Poles or Czechs, much to the surprise of their audiences.