stle Emlyn in the course of one of their tours, and held a
rally meeting. Evan Roberts went to the meeting and found his own
mission. He left his studies and consecrated himself, soul and body, to
revival work. In every spiritual and mental quality he was surpassingly
well-equipped. To the quick sensibility of his poetic nature he added
the inspiration of a seer and the zeal of a devotee. Like Moses, Elijah,
and Paul in Arabian solitudes, and John in the Dead Sea wilds, he had
prepared himself in silence and alone with God; and though, on occasion,
he could use effectively his gift of words, he stood distinct in a land
of matchless pulpit orators as "the silent leader." Without preaching he
dominated the mood of his meetings, and without dictating he could
change the trend of a service and shape the next song or prayer on the
intuition of a moment. In fact, judged by its results, it was God
Himself who directed the revival, only He endowed His minister with the
power of divination to watch its progress and take the stumbling-blocks
out of the way. By a kind of hallowed psychomancy, that humble man would
detect a discordant presence, and hush the voices of a congregation till
the stubborn soul felt God in the stillness, and penitently
surrendered.

Many tones of the great awakening of 1859 heard again in 1904-5,--the
harvest season without a precedent, when men, women and children
numbering ten per cent of the whole population of a province were
gathered into the membership of the church of Christ. But there were
tones a century older heard in the devotions of that harvest-home in
Wales. A New England Christian would have felt at home, with the tuneful
assemblies at Laughor, Trencynon, Bangor, Bethesda, Wrexham, Cardiff, or
Liverpool, singing Lowell Mason's "Meribah" or the clarion melody of
Edson's "Lenox" to Wesley's--

Blow ye the trumpet, blow,
The gladly solemn sound;

--or to his other well-known--

Arise my soul, arise,
Shake off thy guilty fears,
The bleeding Sacrifice
In thy behalf appear.

In short, the flood tide of 1904 and 1905 brought in very little new
music and very few new hymns. "Aberystwyth" and "Tanymarian," the minor
harmonies of Joseph Party and Stephens; E.M. Price's "St. Garmon;" R.M.
Pritchard's, "Hyfrydol," and a few others, were choral favorites, but
their composers were all dead, and the congregations loved the still
older singers who had found familiar we