the first night, at the first public performance, some one stood up in the middle of a scene and shouted in a bass voice:
"Spustee zanavess!" "Lower the curtain!" and the curtain was lowered; and Salome has not been repeated there from that day to this.
Who it was said this is rather a mystery, but it was doubtless some one who had the voice or the ear of Orthodoxy. Russia probably gained by this prohibition. A pity, however, that many other plays quite as injurious are allowed their way to the perversion of private morals and the corruption of public taste. Indeed it would be a gain to Russia if the Church would cease looking at the Stage from a merely ecclesiastical point of view. The fault of the clergy is their pride in their own order and their institutions. The clergy, ministers of the living Church of Christ, should in nature be the humblest of people, so humble in fact, so meek and unresentful, that it would be necessary occasionally to protect them from the enmity of the secular world. As it is, in their pomp, they are proud. They despise the Stage and often prohibit plays on quite wrong grounds, incidentally depriving not only the theatre and the public, but the Church also, of something helpful to the cause of Eastern Christianity and of all real Russian values. The prohibition of Andreef's Anathema, performed at the Theatre of Art in Moscow, is an example. Though this prohibition was at the
