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 of the play itself, and give your impressions concerning it. Never mind their being silly. They will be all the better for that. Silly remarks are generally more interesting than sensible ones."

"But what is the use of saying anything about it at all?" I urge. "The merest schoolboy must know all about the Ober-Ammergau Passion Play by this time."

"What has that to do with you?" answers B. "You are not writing for cultured schoolboys. You are writing for mere simple men and women. They will be glad of a little information on the subject, and then when the schoolboy comes home for his holiday they will be able, so far as this topic, at all events, is concerned, to converse with him on his own level and not appear stupid.

"Come," he says, kindly, trying to lead me on, "what did you think about it?"

"Well," I reply, after musing for a while, "I think that a play of eighteen acts and some forty scenes, which commences at eight o'clock in the morning, and continues, with an interval of an hour and a half for dinner, until six o'clock in the evening, is too long. I think the piece wants cutting. About a third of it is impressive and moving, and what the earnest student of the drama at home is for ever demanding that a play should be—namely, elevating; but I consider that the other two-thirds are tiresome."

"Quite so," answers B. "But then we must remember that the performance is not intended as an entertainment, but as a religious service. To criticise any part of it as uninteresting, is like saying that half the Bible might very well have been omitted, and that the whole story could have been told in a third of the space."