All 26 Uses of

censor

in

Mrs. Warren's Profession

Mrs Warren's Profession is the one play of mine which I could submit to a censorship without doubt of the result; only, it must not be the censorship of the minor theatre critic, nor of an innocent court official like the Lord Chamberlain's Examiner, much less of people who consciously profit by Mrs Warren's profession, or who personally make use of it, or who hold the widely whispered view that it is an indispensable safety-valve for the protection of domestic virtue, or, above all,…†
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Mrs Warren's Profession is the one play of mine which I could submit to a censorship without doubt of the result; only, it must not be the censorship of the minor theatre critic, nor of an innocent court official like the Lord Chamberlain's Examiner, much less of people who consciously profit by Mrs Warren's profession, or who personally make use of it, or who hold the widely whispered view that it is an indispensable safety-valve for the protection of domestic virtue, or, above all,…†
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Naturally, the poorer girls in the gallery will believe in the beauty, in the exquisite dresses, and the luxurious living, and will see that there is no real necessity for the consumption, the suicide, or the ejectment: mere pious forms, all of them, to save the Censor's face.†
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At all events, as long as the tempting side of it is kept towards the public, and softened by plenty of sentiment and sympathy, it is welcomed by our Censor, whereas the slightest attempt to place it in the light of the policeman's lantern or the Salvation Army shelter is checkmated at once as not merely disgusting, but, if you please, unnecessary.†
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Further, it is not true that the Censorship, though it certainly suppresses Ibsen and Tolstoy, and would suppress Shakespear but for the absurd rule that a play once licensed is always licensed (so that Wycherly is permitted and Shelley prohibited), also suppresses unscrupulous playwrights.†
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In short, by depending wholly on the coarse humors and the physical fascination of sex, they comply with all the formulable requirements of the Censorship, whereas plays in which these humors and fascinations are discarded, and the social problems created by sex seriously faced and dealt with, inevitably ignore the official formula and are suppressed.†
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What is more, the repulsiveness of the worst of the certified plays would protect the Censorship against effective exposure and criticism.†
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Not long ago an American Review of high standing asked me for an article on the Censorship of the English stage.†
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The editor, confronted with the two stories given above, threw his pledge to the winds, and, instead of returning the article, printed it with the illustrative examples omitted, and nothing left but the argument from political principles against the Censorship.†
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In doing this he fired my broadside after withdrawing the cannon balls; for neither the Censor nor any other Englishman, except perhaps Mr Leslie Stephen and a few other veterans of the dwindling old guard of Benthamism, cares a dump about political principle.†
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As far as its principle is concerned, the Censorship is the most popular institution in England; and the playwright who criticizes it is slighted as a blackguard agitating for impunity.†
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But since these narrations cannot be made public without great difficulty, owing to the obligation an editor is under not to deal unexpectedly with matters that are not virginibus puerisque, the chances are heavily in favor of the Censor escaping all remonstrance.†
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I hasten to add that I believe these evils to be inherent in the nature of all censorship, and not merely a consequence of the form the institution takes in London.†
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Let nobody dream for a moment that what is wrong with the Censorship is the shortcoming of the gentleman who happens at any moment to be acting as Censor.†
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Let nobody dream for a moment that what is wrong with the Censorship is the shortcoming of the gentleman who happens at any moment to be acting as Censor.†
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The conclave which compiles the index of the Roman Catholic Church is the most august, ancient, learned, famous, and authoritative censorship in Europe.†
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All censorships exist to prevent anyone from challenging current conceptions and existing institutions.†
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Consequently the first condition of progress is the removal of censorships.†
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The managers of our London music-halls are not subject to any censorship.†
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This question of the Censorship reminds me that I have to apologize to those who went to the recent performance of Mrs Warren's Profession expecting to find it what I have just called an aphrodisiac.†
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Some of them even sum the matter up by denying me any dramatic power: a melancholy betrayal of what dramatic power has come to mean on our stage under the Censorship!†
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The terror of the Censor's power gave us trouble enough to break up any ordinary commercial enterprise.†
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First, the veto of the Censor, which put the supporters of the play on their mettle.†
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Second, the chivalry of the Stage Society, which, in spite of my urgent advice to the contrary, and my demonstration of the difficulties, dangers, and expenses the enterprise would cost, put my discouragements to shame and resolved to give battle at all costs to the attempt of the Censorship to suppress the play.†
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The veto of the Censor introduced quite a novel element of moral responsibility into the undertaking.†
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