After a definite line of effort has been strongly developed as one of the above described, it is possible thereafter to keep it in mind with slight attention. But if no special drill has ever been devoted to it for a given length of time, it has not been brought so distinctly to mind as to produce a lasting impression and to lay the basis for habit. Besides the two aims, clear articulation and conversational tones, there are others that may be labored at similarly. Appreciation of the thought as expressed by the reading is a rich field for critical study of a piece, and as a basis for observing and judging the children's reading. This idea is well implied by such questions as follow: Is that what the passage means? Have you given expression to the author's meaning by emphasis on this word? Does your rendering of this passage make good sense? Compare it with what precedes. How did the man feel when he said this? What do we know of his character that would lead us to expect such words from him? This line of questions has a wide and varied range. The chief thing is to scrutinize the thought in all the light attainable, and appeal to the child's own judgment as to the suitableness of the tone and emphasis to the thought. Does it sound right? Is that what the passage means? Each characteristic form of prose or verse has a peculiar style and force of expression that calls for a corresponding oral rendering. There is the serious and massive, though simple, diction of Webster's speeches, with its smooth and rounded periods, calling for slow and steady and energetic reading. We should notice this characteristic of an author, and grow into sympathy with his feeling, language, and mental movement. In Macaulay's "Lays of Ancient Rome," the ring of martial music is in the words, and it swells out into rapid and rousing speech which should correspond to the thought. In "Evangeline" the flow of language is placid and gentle and rhythmical, and in consonance with the gentle faith and hope of Evangeline. Every true literary product has its own character, which the genius of the author has impressed upon its language and moulded into its structure, and which calls for a rendering fit and appropriate. Before completing a selection, we should detect this essence and quality and bring our reading to reveal it. The places should be pointed out where it comes into prominence. When completing such a work of art there should be given opportunity to bring all the varied elements and special aims discovered and worked out during its reading to a focus.