This is true of the educated classes of society; but the peasants do not talk of these things so much—the peasants’ talk nearly always turns to God and religion. The Russians are always _en route_ for some place where they may find out something about God, and if there is a particularly animated conversation in the hostelry of a monastery, a third-class carriage, or a tea-shop or Russian public-house (_traktir_), it is almost always sure to be about religion. The modern evangelical movement may almost be said to have had its birth in the famous but filthy public house, “Yama,” where originally over vodka and beer, and later more commonly over tea, the question of salvation was continually mooted. In the third-class carriage you will occasionally come across an old man who reads an antique Bible through iron-rimmed spectacles. He has heard that a new sect has been formed by some peasants in some remote village, and is off to discover “whether they have found anything.” Then what of those who march in chains from prison to prison on the road? Often I have stopped my writing on a bright summer morning to listen to an appalling sound—the clank, clank, clank of fifty or sixty men in fetters—and I have looked out at a procession of unfortunate Russians, dust from head to foot, the sun flashing on the bright steel links on their legs and their bodies. They also belonged to the road. They move us to the depths of sorrow or to hoarse anarchy; but they are of the road. Their vague shuffled footmarks are the writing of the finger in the dust. They are symbolical. We also walk as they. Listen with “the third ear,” and you will hear the clangour of our chains as we tramp— having unearthly souls, Yet fettered and forged to the earth! The world is like a theatre, is it not? The theatre should reflect the world and touch man to a remembrance of his mystery. He comes into it to be stirred by pity and fear, not simply to be amused between dinner and sleep. He comes into it as to a Communion Service, not merely to receive, but to partake. Such a theatre is the world, with its marches and processions, its lively and its heavy measures, its sacrifices, its words of ancient wisdom from the lips of priests, words of prophecy from oracles, the joyful choruses and jubilations, its sympathies and choruses of sadness, its ramified manifold movements and counter-movements. Most moving of all is the procession to the altar and the songs we sing carrying our emblems.