It was a wonderful liturgy, as grotesque as it was beautiful--like an old cathedral in all styles of architecture, stored with shabby antiquities and side-shows and overgrown with moss and lichen--a heterogeneous blend of historical strata of all periods, in which gems of poetry and pathos and spiritual fervor glittered and pitiful records of ancient persecution lay petrified.

And the method of praying these things was equally complex and uncouth, equally the bond-slave of tradition; here a rising and there a bow, now three steps backwards and now a beating of the breast, this bit for the congregation and that for the minister, variants of a page, a word, a syllable, even a vowel, ready for every possible contingency.

Their religious consciousness was largely a musical box--the thrill of the ram's horn, the cadenza of psalmic phrase, the jubilance of a festival "Amen" and the sobriety of a work-a-day "Amen," the Passover melodies and the Pentecost, the minor keys of Atonement and the hilarious rhapsodies of Rejoicing, the plain chant of the Law and the more ornate intonation of the Prophets--all this was known and loved and was far more important than the meaning of it all or its relation to their real lives; for page upon page was gabbled off at rates that could not be excelled by automata.

But if they did not always know what they were saying they always meant it.

If the service had been more intelligible it would have been less emotional and edifying.