Germany and Austria I had no difficulty: the system of publicly aided theatres there, Court and Municipal, kept drama of the kind I dealt in alive; so that I was indebted to the Emperor of Austria for magnificent productions of my works at a time when the sole official attention paid me by the British Courts was the announcement to the English-speaking world that certain plays of mine were unfit for public performance, a substantial set-off against this being that the British Court, in the course of its private playgoing, paid no regard to the bad character given me by the chief officer of its household.
Howbeit, the fact that my plays effected a lodgment on the London stage, and were presently followed by the plays of Granville Barker, Gilbert Murray, John Masefield, St. John Hankin, Lawrence Housman, Arnold Bennett, John Galsworthy, John Drinkwater, and others which would in the nineteenth century have stood rather less chance of production at a London theatre than the Dialogues of Plato, not to mention revivals of the ancient Athenian drama and a restoration to the stage of Shakespeare's plays as he wrote them, was made economically possible solely by a supply of theatres which could hold nearly twice as much money as it cost to rent and maintain them. In such theatres work appealing to a relatively small class of cultivated persons, and therefore attracting only from half to three-quarters as many spectators as the more popular pastimes, could nevertheless keep going in the hands of young adventurers who were doing it for its own sake, and had not yet been forced by advancing age and responsibilities to consider the commercial value of their time and energy too closely. The war struck this foundation away in the manner I have just described. The expenses of running the cheapest west-end theatres rose to a sum which exceeded by
