troubled, staged with but two or three colors." Old reds, misty blues, imperial purples, greens that have about them the dimness of haunted woods, and dulled golds have been among the colors used in the legendary plays of Mr. Yeats and in the folk-histories of Lady Gregory, the color schemes being generally either those of Mr. Yeats or of Mr. Robert Gregory, Lady Gregory's son. Scenery and costumes alike are simple. No audience at the Abbey has ever marveled at cycloramic landscape, and no audience and no actress has ever been able to take the joy of the dressmaker and the dressed, of the milliner and the millinered, in gown or hat.
The National Theatre Society, Limited, which is the legal name of the organization that controls the Abbey Theatre Company, may not play what plays it will at the Abbey; the two leading theatres of commerce in Dublin, the Gaiety and the Theatre Royal, having, as Mr. Yeats records, "vigorously opposed" the Abbey being given "a patent as little restricted" as their own. "The Solicitor-General," Mr. Yeats continues, "to meet them halfway, has restricted our patent to plays written by Irishmen or on Irish subjects or to foreign masterpieces, provided these masterpieces are not English." This restriction has not interfered with any feature of the work of the Abbey Theatre, Mr. Yeats believes, save in the building-up of an audience, some people remaining away, perhaps, who might have been attracted had "such bodies as the Elizabethan Stage Society, which brought 'Everyman' to Dublin some years ago, been able to hire the theatre."
No phase of the dramatic movement has been more
