This page has been proofread, but needs to be validated.

hearts, the audience had to be prepared for emotion, and to accomplish this there was as much labor behind Sharon's eloquence as there is of wardrobes and scene-shifters and box offices behind the frenzy of Lady Macbeth. Of this preparation Elmer had a great part.

He took charge, as soon as she had trained him, of the men personal workers, leaving the girls to the Director of Personal Work, a young woman who liked dancing and glass jewelry but who was admirable at listening to the confessions of spinsters. His workers were bank-tellers, bookkeepers in wholesale groceries, shoe clerks, teachers of manual training. They canvassed shops, wholesale warehouses, and factories, and held noon meetings in offices, where they explained that the most proficient use of shorthand did not save one from the probability of hell. For Elmer explained that prospects were more likely to be converted if they came to the meetings with a fair amount of fear.

When they were permitted, the workers were to go from desk to desk, talking to each victim about the secret sins he was comfortably certain to have. And both men and women workers were to visit the humbler homes and offer to kneel and pray with the floury and embarrassed wife, the pipe-wreathed and shoeless husband.

All the statistics of the personal work—so many souls invited to come to the altar, so many addresses to workmen over their lunch-pails, so many cottage prayers, with the length of each—were rather imaginatively entered by Elmer and the Director of Personal Work on the balance-sheet which Sharon used as a report after the meetings and as a talking-point for the sale of future meetings.

Elmer met daily with Adelbert Shoop, that yearning and innocent tenor who was in charge of music, to select hymns. There were times when the audiences had to be lulled into confidence by "Softly and Tenderly Jesus Is Calling," times when they were made to feel brotherly and rustic with "It's the Old-time Religion"—

It was good for Paul and Silas
And it's good enough for me—

and times when they had to be stirred by "At the Cross" or "Onward, Christian Soldiers." Adelbert had ideas about what