This sentence suggests that much more might be done than is done, in the way of getting at students' appreciation of the Latin or Greek they may be reciting, by requiring them to voice the original in advance of translating. After having attained, by sufficient practice, an easy fluency of utterance, they could--or some could--bring out, through their voices, much which they could not reveal through translation or any amount of exegesis. All the members of the class might be on a par, so far as translation and exegesis go, in exhibiting their knowledge and appreciation of the original; but there would always be a few who could reveal through vocalization what is beyond translation and exegesis. And the professor would not necessarily need to have the 'curious ear' of a Milton to detect this kind of superiority of the few. This brings me to say that, in literary examinations, whatever other means be employed, a sufficiently qualified teacher could arrive at a nicer and more certain estimate of what a student has appropriated, both intellectually and spiritually, of a literary product, or any portion of a literary product, by requiring him to read it, than he could arrive at through any amount of catechising. The requisite vocal cultivation on the part of the student is, of course, presumed. But even an uncultivated voice would reveal appreciation, or the want of it, to some extent. For, after all, it is not so much the cultivated voice as spiritual appreciation, which tells in reading. I have heard 'poor, but honest' voices read some poems very effectively, and I have heard rich, but dishonest voices read very afflictingly. To adapt the French saying, _le style, c'est l'homme_, it may be said that _la lecture à haute voix c'est l'homme_. Reading reveals the reader's spiritual appreciation or the absence of it. And it is only to the extent that a reader assures his hearers that he has himself experienced the sentiments to which he gives utterance, that he impresses them. To one who has truly appreciated it, there is nothing more dreary than the usual elocutionary rendering of a poem.