.
The habit so contracted grew upon him till when the war was over, though
he married and tried to lead a sober life, he fell a victim to his
appetite, and became a physical wreck. One day in the winter of 1876 he
found himself in a half-drunken condition, in the gallery of Moody's
Tabernacle, Chicago. Discovering presently that he had made a mistake,
he rose to go out, but Mr. Sankey's voice chained him. He sat down and
heard the whole of the thrilling hymn from beginning to end. Then he
stumbled out with the words ringing in his ears.

Sowing the seed of a lingering pain,
Sowing the seed of a maddened brain,
Sowing the seed of a tarnished name,
Sowing the seed of Eternal shame.
O, what shall the harvest be?

In the saloon, where he went to drown the awakenings of remorse, those
words stood in blazing letters on every bottle and glass. The voice of
God in that terrible song of conviction forced him back to the
Tabernacle, with his drink untasted. He went into the inquiry meeting
where he found friends, and was led to Christ. His wife and child, from
whom he had long been exiled, were sent for and work was found for him
to do. A natural eloquence made him an attractive and efficient helper
in the meetings, and he was finally persuaded to study for the ministry.
His faithful pastorate of twenty years in Evanston ended with his death
in 1899.

Mrs. Emily Sullivan Oakey was an author and linguist by profession, and
though in her life of nearly fifty-four years she "never enjoyed a day
of good health," she earned a grateful memory. Born in Albany, N.Y.,
Oct. 8, 1829, she was educated at the Albany Female Academy, and fitted
herself for the position of teacher of languages and English literature
in the same school, which she honored by her service while she lived.
Her contributions to the daily press and to magazine literature were
numerous, but she is best known by her remarkable hymn. Her death
occurred on the 11th of May, 1883.

_THE TUNE_,

By P.P. Bliss, is one of that composer's tonal successes. The march of
the verses with their recurrent words is so automatic that it would
inevitably suggest to him the solo and its organ-chords; and the chorus
with its sustained soprano note dominating the running concert adds the
last emphasis to the solemn repetition. The song with its warning cry
owes no little of its power to this choral appendix--

Gathered in time or eternity,
Sure, a