THE next spasm that seized them started in the choir. They would give an entertainment, musical and literary. No such gross and material things as food for the body should intrude. Committee meetings were again the order of the day. It was soon found that even in preparing for "a feast of reason and a flow of soul," differences of opinion would arise. Should it be the cantata of Queen Esther, or the operetta of the Milkmaid, or something lighter than either, say, the Dance of the Fairies? There were those who thought a series of tableaux would be better than any of these, and there were those who thought there was talent enough in the Penn Avenue Church to get up a genuine play, instead of one of these milk-and-water affairs. At last, after some plain speaking, and a few heart-burnings, it was decided that the cantata of Esther should have the right of way, the casting vote in its favor being made because there was a young man visiting at the Judsons' who had just graduated from the theological seminary, and would make a "magnificent Haman." Then began rehearsals. Music was to be interspersed between the various scenes, and certain sopranos were asked to prepare choice selections, such as: "I think only of thee, love," and "My heart's dearest treasure," and "Ever thine own, love," and a few other of those gems which we hear screamed out by seraphic voices to large and appreciative audiences. I have never heard it explained why so much of our popular music should be wedded to words which the performer would blush to repeat in prose to an audience of more than one; but the fact, I suppose, is indisputable. Oh, those rehearsals! Why are they attended with so many trials? Does Satan make special arrangements to be present at all efforts of this kind? And, if so, why? Does his superior genius recognize in these gatherings fruitful soil for the developments dear to his heart, I wonder?