e into account the number of small societies which have
been formed of late by enthusiasts for the exclusive promotion of one
or other specific branch of the literary drama--the Elizabethan drama,
the Norwegian drama, the German drama. Conspicuous success has been
denied these societies because their leaders tend to assert narrow
sectional views of the bases of dramatic art, or they lack the
preliminary training and the influence which are essential to the
efficient conduct of any public enterprise. Many of their experiences
offer useful object-lessons as to the defects inherent in all narrow
sectional effort, however enthusiastically inspired. But at the same
time they testify to a desire to introduce into the current theatrical
system more literary and artistic principles than are at present
habitual to it. They point to the presence of a zeal--often, it may
be, misdirected--for change or reform.

The experiment of Mr Benson points more effectively in the same
direction. A public-spirited champion of Shakespeare and the classical
drama, he has maintained his hold in the chief cities of Ireland,
Scotland, and the English provinces for a generation. Although for
reasons that are not hard to seek, he has failed to establish his
position in London, Mr Benson's methods of work have enabled him to
render conspicuous service to the London stage in a manner which is
likely to facilitate reform. For many years he has supplied the
leading London theatres with a succession of trained actors and
actresses. Graduates in Mr Benson's school can hardly fail to
co-operate willingly in any reform of theatrical enterprise, which is
calculated to develop the artistic capacities of the stage.

Other circumstances are no less promising. The justice of the cry for
the due safeguarding of the country's dramatic art by means of
publicly-organised effort has been repeatedly acknowledged of late by
men of experience alike in dramatic and public affairs. In 1898 a
petition was presented to the London County Council requesting that
body to found and endow a permanent opera-house "in order to promote
the musical interest and refinement of the public and the advancement
of the art of music." The petition bore the signatures of two hundred
leaders of public opinion, including the chief members of the dramatic
profession. In this important document, particulars were given of the
manner in which the State or the municipality aided theatres in
France