The part of _Peter Grimm_ has been described as one of great difficulty. It is, on the contrary, very easy. Its requirement is sincerity. _Grimm_, as a spirit, clothed as in mortal life, must move among persons who were his friends, unseen by them, unheard when he speaks, eagerly desirous to influence their conduct, but practically helpless to do so, except at moments when accession of extreme sensibility on the part of one or another of them provides occasion, until, at last, force of circumstances and the impelling guidance of the dead man achieve his purpose. Acted in the spirit precisely as in the flesh, as a good old man, the part makes no draft upon the resources of mind or feeling or upon the faculty of expression that any good actor might not easily satisfy. The situations wherein _Grimm_, ostensibly, is ignored by the other persons on the stage in fact revolve around him and are dependent on his presence; he engages the sympathy of the audience practically to the exclusion of all the other characters, and the almost universal interest--whether assenting or dissenting--in anything relating directly to the theme of spiritual survival after death, together with the novelty of a ghost displayed in the environment of every-day, centres observation on _Grimm_ and his personator. Warfield’s performance, notwithstanding the prosaic atmosphere of it, was interesting, and his excursion into the realm of the occult was, at least, calculated to stimulate thought on a serious subject. In this, as in many other matters, the degree of approval gained by the play and its performance will ever be variably accordant to taste. To some persons, no doubt, the ideal of a newly dead child being borne away on his spirit-uncle’s shoulders, singing about “Uncle Rat has gone to town to buy his niece a wedding gown,” and musically inquiring, “What shall the wedding breakfast be? Hard-boiled eggs and a cup of tea?” will be delightful. Others, equally without doubt, will fail to find it impressive. “The Return of Peter Grimm” was acted for the first time, January 2, 1911, at the Hollis Street Theatre, Boston; and for the first time in New York, October 18, the same year, at the present Belasco Theatre. This was the original cast of that play: _Peter Grimm_ David Warfield. _Frederik Grimm_ John Sainpolis. _James Hartman_ Thomas Meighan. _Andrew MacPherson_ Joseph Brennan. _Rev. Henry Batholommey_ William Boag. _Colonel Tom Lawton_ John F. Webber. _Willem_ Percy Helton. _Kathrien_ Janet Dunbar. _Mrs. Batholommey_ Marie Bates. _Marta_ Marie Reichardt. _The Clown_ Tony Bevan. CONCERNING THE EUNUCHS OF CRITICASTERISM. The gentle Goldsmith, commenting on a meanness in human nature which causes little minds to envy and disparage the achievements of large ones, remarked that “There are a set of men called [Illustration: Photograph by White. Belasco’s Collection.