to look to such concepts as the hero, the ideal or representative man, who stands for his culture and who represents an aspect of human culture viewed as a panorama. Gilgamesh, Odysseus, Aeneas, Abalard, Hamlet, Faust. Here we approach what John Dixon has called the "heritage model" of teaching literature, the teaching of the "cultural heritage" of great works to which we are heir. But the heritage model has a number of possible weaknesses. One is that it tends to survey, and thereby lose the individuality of works of literature by making them steps in the development of literature or culture, or forerunners of something-or-other. Tom Jones may become an example of a particular stage of the novel, an example of a particular kind of eighteenth-century prose literature, rather than the lively reading experience it is. Another possible weakness is noted by Dixon: "In the heritage model the stress was on culture as a given. There was a constant temptation to ignore culture as the student knows it, a network of attitudes to experience and personal evaluations that he develops in a living response to his family and neighborhood. But this personal culture is what he brings to literature .... What is vital is the interplay between his personal world and the world of the writer: the teacher