A SABBATH DAY'S WORK
sions, the tears began to flow, till Hughie, not understanding, crept over to his mother, and to comfort her, slipped his hand into hers, looking fiercely at Maimie as if she were to blame. Maimie, too, noticed the tears and sat wondering, and as the congregation swung on through the verses of the grand old psalm there crept into her heart a new and deeper emotion than she had ever known.
"Listen to the words, Maimie dear," whispered her aunt. And as Maimie listened, the noble words, borne on the mighty swing of St. Paul's, lifted up by six hundred voices—for men, women, and children were singing with all their hearts—awakened echoes from great deeps within her as yet unsounded. The days for such singing are, alas! long gone. The noble rhythm, the stately movement, the continuous curving stream of melody, that once marked the praise service of the old Scottish church, have given place to the light, staccato tinkle of the revival chorus, or the shorn and mutilated skeleton of the ancient psalm tune.
But while the psalm had been moving on in its solemn and stately way, Ranald had been enduring agony at the hands of Peter Ruagh sitting just behind him. Peter, whose huge, clumsy body was a fitting tabernacle for the soul within, labored under the impression that he was a humorist, and indulged a habit of ponderous joking, trying enough to most people, but to one of Ranald's temperament exasperating to a high degree. His theme was Ranald's rescue of Maimie, and the pauses of the singing he filled in with
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