theatre. She believes in the emotional communion of the theatre—the actors inspired by the people, the people inspired again by the actors, the dance and interplay of human thoughts and emotions. Shut your eyes to the material world and you realise there are no footlights, no separating river of light between the two worlds of stage and auditorium. There is a great and wondrous ballet of thoughts and impulses, hopes and fears, going forward and across and backward and across again between the priests of the drama and the conspirators, the worshippers.
The church service and the drama, the church and the theatre have much in common. The Mass has much in common with the mystery play. And the mystery play was originally the Mystery—at which you did not look, but into which you were initiated. You participated in the action. You were the victim sacrificed, or the priest, or one of the conspirators in the orgy. You were made one in the sacrifice, as in the Mass you are made one in the sacraments of bread and wine, symbols of the victim. Share is taken in the sacrifice, we consent unto the death. We are made one. We get free from the idea of separation, from space and time, realising the everywhere-here, the eternal present.
In such a form is the Russian notion of the world and his conception of life. It is such a church, such a theatre, such a mystery play. It has its liturgies of beauty, its many processions, its
