bureau. From the church came all his profounder philosophy, except the teachers' admonitions that little boys who let garter-snakes loose in school were certain to be licked now and hanged later, and his mother's stream of opinions on hanging up his overcoat, wiping his feet, eating fried potatoes with his fingers, and taking the name of the Lord in vain.
If he had sources of literary inspiration outside the church—in McGuffey's Reader he encountered the boy who stood on the burning deck, and he had a very pretty knowledge of the Nick Carter Series and the exploits of Cole Younger and the James Boys—yet here too the church had guided him. In Bible stories, in the words of the great hymns, in the anecdotes which the various preachers quoted, he had his only knowledge of literature—
The story of Little Lame Tom who shamed the wicked rich man that owned the handsome team of grays and the pot hat and led him to Jesus. The ship's captain who in the storm took counsel with the orphaned but righteous child of missionaries in Zomballa. The Faithful Dog who saved his master during a terrific conflagration (only sometimes it was a snowstorm, or an attack by Indians) and roused him to give up horse-racing, rum, and playing the harmonica.
How familiar they were, how thrilling, how explanatory to Elmer of the purposes of life, how preparatory for his future usefulness and charm.
The church, the Sunday School, the evangelistic orgy, choir-practise, raising the mortgage, the delights of funerals, the snickers in back pews or in the other room at weddings—they were as natural, as inescapable a mold of manners to Elmer as Catholic processionals to a street gamin in Naples.
The Baptist Church of Paris, Kansas! A thousand blurred but indestructible pictures.
Hymns! Elmer's voice was made for hymns. He rolled them out like a negro. The organ-thunder of "Nicæa":
The splendid rumble of the Doxology. "Throw Out the Lifeline," with its picture of a wreck pounded in the darkness by surf which the prairie child imagined as a hundred feet
