Alcoholism -- Fiction; Christian life -- Fiction; Conduct of life -- Fiction; Evangelistic work -- Fiction; Reformers -- Fiction
No wonder the villagers crowded to the Methodist Church, the most
commodious gathering-place in the town. Long before the bells had
ceased clanging the church was so full that children occupying full
seats were accommodatingly taken on the laps of their parents, larger
children were lifted to the window-sills, deaf people were removed from
the pews to the altar steps, and chairs were brought from the various
residences and placed in the aisles. Outside the church, crowds stood
about near the windows, while more prudent persons made seats of logs
from the woodpile which the country members of the congregation had
already commenced to form against the approaching winter.
A sudden hush of the whispering multitude ushered in the clergy of
Barton, and, for once, the four reverend gentlemen really seemed
desirous of uniting against a common enemy instead of indulging in
their customary quadrangular duel. Then, amid a general clapping of
hands, the members of the Crystal Spring Glee Club filed in and took
reserved seats at the right of the altar; while the Barton Brass Band,
announced by a general shriek of “Oh!” from all the children present,
seated themselves on a raised platform on the left.
Squire Tomple, the richest and fattest citizen of the town, was
elected chairman, and accepted with a benignant smile. Then the
Reverend Timotheus Brown, the oldest pastor in the village, prayed
earnestly that intemperance might cease to reign. Squire Tomple then
called on the band for some instrumental music, which was promptly
given and loudly applauded, after which the Crystal Spring Glee Club
sang a song with a rousing chorus. Then there was a touching dialogue
between a pretended drunkard and his mother, in which the graceless
youth was brought to a knowledge of the error of his ways, and moved
to make a very full and grammatical confession. Then the band played
another air, and the Glee Club sang “Don’t you go, Tommy,” and
there was a tableau entitled “The First Glass,” and another of “The
Drunkard’s Home,” after which the band played still another air. Then a
member of the Executive Committee stepped on tiptoe up to the chairman
and whispered to him, and the chairman assumed an air of dignified
surprise, edged expectantly to one side of his chair, and finally arose
suddenly as another member of the Executive Committee entered the rear
door arm-in-arm with the great Major Ben Bailey himself.
The committee-man introduced the Major to the chairman, who in turn
made the Major acquainted with the reverend clergy; the audience
indulged in a number of critical and approving glances and whispers,
and then the chair announced that the speaker of the evening would now
instruct and entertain those there present. The speaker of the evening
cleared his throat, took a swallow of water, threw his head back,
thrust one hand beneath his coat-tails, and opened his discourse.
Public-domain text, read in full here on John Shaqi.
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