representation, the criticism of life. It cannot be denied that the influence of society tended to narrow the outlook of English dramatists and to trivialize their tone of thought. But this was a passing phase of development; and cleverly trivial representations of reality are, after all, to be preferred to brainless concoctions of sheer emptiness. Quite as important, from the economic point of view, as the reconciliation of society to the stage, was the reorganization of the mechanism of theatrical life in the provinces which took place between 1865 and 1875. From the Restoration to the middle of the 19th century the system of "stock companies" had been universal. Every great town in the three kingdoms had its established theatre with a resident company, playing the "legitimate" repertory, and competing, often by illegitimate means, for the possession of new London successes. The smaller towns, and even villages, were grouped into local "circuits," each served by one manager with his troupe of strollers. The "circuits" supplied actors to the resident stock companies, and the stock companies served as nurseries to the patent theatres in London. Metropolitan "stars" travelled from one country theatre to another, generally alone, sometimes with one or two subordinates in their train, and were "supported," as the phrase went, by the stock company of each theatre. Under this system, scenery, costumes and appointments were often grotesquely inadequate, and performances almost always rough and unfinished. On the other hand, the constant practice in a great number and variety of characters afforded valuable training for actors, and developed many remarkable talents. As a source of revenue to authors, the provinces were practically negligible. Stageright was unprotected by law; and even if it had been protected, it is doubtful whether authors could have got any considerable fees out of country managers, whose precarious ventures usually left them a small enough margin of profit.