is good poets
re is to it
is a $700

Forth to War's
Hop Heber w
Hority of the le
is set. One Pros
nothing but the
metricized, to ke
ng is the dre

Psalms are rate oldiers" gets is an and not from at "Nearer, M een the favorite IcKinley were it po, which needs excellent waltz, of good waltz

ient and Moi oint of view of No. 5-but

crowd in a tent or a tabernacle—eve
Moody or Fanny Crosby wrote new
it. But if you let a grammar-school
words out of the New Testament and
to the tune of "Massa's in the C
Ground"—well, it would be strang
one were not converted. You may be
that the Roman Catholic Church has
to vulgar and catchy hymns without
pose of winning souls.

At the Cross, at the Cross, where I first s
And the burden of my sin rolled away,
It was there by faith I received my sight
And now I am happy all the day.

The last line might almost have b
bodily from one of Stephen Foste
melodies. It has the very lilt of

My old Kentucky home far away. And it is only one of many in Gospe No. 5. That is why my husband r them, in spite of himself. He may them, but he cannot forgot. There [213]

success of almost any Gospel Hymn de-
s on an emotional appeal very like that of
ng's banjo:

I the tunes that mean so much to you alone—
nmon tunes that make you choke and blow your nose,
gar tunes that bring the laugh that brings the groan-
can rip your very heartstrings out with those.

tever Bach and Palestrina and Scarlatti
good Gregorian do to you-well, it is not
Whereas almost any good Gospel Hymn
you, if it gets you at all, in the banjo way.
e is the revivalistic essence in all of them.
when the Catholics wish to be revival-
they imitate, rather badly, the Protestant

an-tune."

Cost of my friends are so truly high-brow they cannot be "got" in the banjo way. do not like cornet solos; and brass bands ng negro-melodies leave them dry-eyed. honestly prefer the Kniesel Quartet or a ms symphony. Their arid and exquisite eticism rejects these low appeals. Did I ay that my husband loathes "Throw Out

with luck

ther

mer

N

I f

goo tun Are

it f tun

righ

I !
Ho

sus

ing dar

on

I
By

tee

Ev pla

the

so truly high-he in the banjo w 5; and brass bans e them drye esel Quartet or rid and exquis appeals. Di thes "Throw Or

with a good tenor voice. And while luckily, a great many people like my there must be millions more like m members the Gospel Hymns; but I

Not quite to the trail-hitting point I fancy the hymns of the tabernacl good than they used to be. I do not tune of "Brighten the Corner W Are." Though my six-year-old son h it from the cook, I do not believe I tune right. He cannot have it right: right, there would be no sawdust tra I know the music of "The Bre Horses Cannot Roll Over Me." But suspicion that Billy Sunday's hymns ing like so good as Moody and Sa dance music of the day always has on popular airs of every kind, even I venture to say (pace the shade Byron) that the waltz, throughout teenth century, had a strong religious Every one knows that good waltz played slowly enough, is the saddes the world. The emotion aroused by g [215]

ensual ear, I cannot believe that syncopaserves the Lord. People's eyes do not dim as they listen to a fox-trot. It does ng to bring forth that melting sense of rsal love which the old popular music All waltz music was in essence melan; and all sentimental melancholies meet er somewhere in the recesses of the vuleart. Yes: when popular composers were g good waltzes, it was easier for the Sanand Blisses to write good hymns. The S. C. E. must have had easier work with Dung people who were singing "Marguerthan it has now with the young people are singing "At the Garbage Gentlemen's I have a notion that the young people are singing "At the Garbage Gentlemen's do not go to Y. P. S. C. E. meetings at Well, you see, those who sang "Marguerlid.

ose who know say that we are growing vulgar all the time. Perhaps the differbetween D. L. Moody and Billy Sunday good index of that degeneration. Cer