1856.] Some Passages in the Life of Beacon Goodman. 141 



In regard to the lest form of drains, their cost, how much under- 

 draining increases the yield of land, and how much must be the value 

 of the yearly product of land, before it will pay to under-drain it, I 

 leave to others to say. 



■<•••>■ 



From the New York Observer. 

 SOME PASSAGES IN THE LIFE OP DEACON GOODMAN. 



WHEREIN IS SHOWN THE INCONVENIEXCE OP NOT HAVING THE "MUSICAL EAR.'' 



Deacon Goodman was extensively known, not merely in his own par- 

 ish, but through several miles of the surrounding country, for his amiable 

 disposition, active benevolence, and unquestioned piety. So thoroughly 

 was the Deacon's character established, that when the people of the 

 neighboring towns saw him passing by, they would say, " that man was 

 rightly named, for if there ever was a good man, he is one." And from 

 this there was no dissenting voice. Nay ; I am wrong in saying that ; 

 for there are some who never hear any body praised without an inter- 

 posing and qualifying " but ;" " He may be well enough on the whole," 

 they will say, '' but," etc., etc.; and then they will go on and make him 

 out "anything but a clever fellow." 



The qualifying " but " must be interposed even in the case of Deacon 

 Goodman. He had a fault. He v:ould sing in meeting. " Call you 

 that a fault?" saith the reader. Well then, kind reader, call it a^piis- 

 fortune. " But why a misfortune ? " 



I will tell thee. Nature has so formed us, that some have the 

 musical ear, and others not. Now this " musical ear " has nothing to 

 do with real character, moral or intellectual ; but yet the persons who 

 have not the "musical ear" ought never to sing in meeting. If they 

 do, they will be sure to annoy others, and make themselves ridiculous. 

 Deacon Goodman had not the ''musical ear." Whether it were the 

 "Messiah," or the "Creation," or Jim Crow and Zip Coon, it was all 

 the same to him, so far as music was concerned ; it was just so much 

 singing. Whether the artist were Sivori, or Ole Bull, or poor old -John 

 Casco, it was just so much fiddling. He had not the " musical ear," 

 ' and still less, if possible, the musical voice ; but yet he ^couJd sing in 

 meeting. And the gentle and respectful remonstrances of the choir 

 leader were met with the unvaried reply, "Singing is praying: you 

 might as well ask me not to pray ; I shall sing in meeting.'' 



It is now proper for the biographer to hint at another trait in the 



