Salmi Morse, in conversation with me and my old comrade Dr. Charles Phelps, at the time of the reading in the vestibule of the Park Theatre, said that he began “The Passion Play” with the intention of writing a poem like Milton’s “Paradise Lost,” but soon discovered that the Byronic style, as evinced in “Cain,” was more consonant than the Miltonic style with his subject and his genius, and accordingly determined to write not like Milton but like Byron; and he added that his drama was really not, at first, intended for the Stage, but for publication in a book. That was a discreet judgment, from which it is a pity that he ever departed. I have not, however, been able at any time to perceive what decisive _moral_ reason there is why “The Passion Play” should not be presented on the stage. Reasons other than moral can readily be assigned: it is a matter of _Taste_, in which it is a gross injustice to employ the police power as a corrective, and a matter of _Public Policy_, in which, with due consideration, the police power can properly be invoked. Familiar treatment of things widely considered sacred is, perhaps, likely to lower them, except with very ignorant persons, in sanctity and dignity, and certainly it does lower them with many persons of fine intelligence and taste. In the end of a church in Heidelberg there is, or was, visible, through a long window, a full-length effigy of Christ on the Cross, which swings to and fro as a pendulum to the clock, and in a church at Mayence there is a life-size figure of the Virgin Mary, seated, with the body of the dead Christ, also life-size, lying across her knees. I remember looking on those objects with aversion. To _see_, in a theatre, a man, impersonating the _Christ_, washing the feet of another man will, generally, give offence. Religious bigotry is a curse to civilization, and nothing should be conceded to it, but certainly the scruples of religious persons should receive reasonable respect. “THE PASSION PLAY” IN NEW YORK.