Belasco’s play “The Return of Peter Grimm” deals with the mysterious and certainly important subject of Spiritualism,--a subject which deserves all the thoughtful, studious inquiry which has, in recent years, been bestowed on it by many persons of exceptional intellectual capacity and power. It is, nevertheless, a subject which is generally treated with pitying contempt or scornful antagonism, especially by those persons,--the vast majority of humanity,--who are most comprehensively ignorant of its history and its apparent phenomena. It was, accordingly, a bold choice which selected that subject for exposition in a drama of prosaic, contemporaneous [Illustration: AUGUSTA BELASCO, MRS. WILLIAM ELLIOTT Original made for, and loaned by, Mrs. David Belasco. ] setting, and it is a significant testimony at once to Belasco’s managerial perspicacity and to his skill as a writer and a stage manager that his play of “Grimm” achieved unusual success.... In the days of my youth, when I was a student at the Dane Law School of Harvard College, it was my good fortune to gain the friendship of the erudite lawyer Theophilus Parsons, who was a preceptor there, and to listen to much interesting and instructive discourse by him on many subjects--among them, the Swedenborgian faith, to which he was an absolute and happy adherent. “Death,” he remarked, in expounding to me the tenets of that faith, “is no more than walking from one room into another.” The same thought (which has, of course, been cherished by many persons) seems to have been predominant in the mind of Belasco when he was writing “The Return of Peter Grimm.”... BELASCO’S “THE RETURN OF PETER GRIMM.”