Marg'et Ann shared her psalm-book with Laban, who sat beside her. He had hurt his thumb shelling seed corn, and his mother had made him a clean thumb-stall for Sabbath. It was with this shrouded member that he held the edge of the psalm-book awkwardly. Laban's voice was in that uncertain stage in which its vagaries astonished no one so much as its owner, but he joined in the singing. "Let all the people praise Thee" was a command not to be lightly set aside for worldly considerations of harmony and fitness, and so Laban sang, his callow and ill-adjusted soul divided between fears that the people would hear him and that the Lord would not. Marg'et Ann listened for Lloyd Archer's deep bass voice in the Amen corner. She wished his feet _were_ standing within the gates of Jerusalem, as he so resonantly announced that they would be. But whatever irreverence there might be in poor Laban refusing to sing what he did not dream of doubting, there was no impiety to these devout souls in Lloyd Archer's joining with them in the vocal proclamation of things concerning which he had very serious doubts. Not that Jerusalem, either new or old, was one of these things; the young man himself was not conscious of any heresy there; he believed in Jerusalem, in the church militant upon earth and triumphant in heaven, and in many deeper and more devious theological doctrines as well. Indeed, his heterodoxy was of so mild a type that, viewed by the incandescent light of to-day, which is not half a century later, it shines with the clear blue radiance of flawless Calvinism. If the tedious "lining out," traditionally sacred, was quite unreasonable and superfluous, commemorating nothing but the days of hunted Covenanters and few psalm-books and fewer still who were able to read them, perhaps the remembrance of these things was as conducive to thankfulness of heart as David's recital of the travails and triumphs of ancient Israel. Certain it is that profound gratitude to God and devotion to duty characterized the lives of most of these men and women who sang the praises of their Maker in this halting and unmusical fashion. Marg'et Ann sang in a high and somewhat nasal treble, compassing the extra feet of Mr. Rouse's doubtful version with skill, and gliding nimbly over the gaps in prosody by the aid of his dextrously elongated syllables. Some of the older men seemed to dwell upon these peculiarities of versification as being distinctively ecclesiastical and therefore spiritually edifying, and brought up the musical rear of such couplets with long-drawn and profoundly impressive "shy-un's" and "i-tee's;" but these irregularities found little favor in the eyes of the younger people, who had attended singing-school and learned to read buckwheat notes under the direction of Jonathan Loomis, the precentor.