Plays Unpleasant (29 page)

Everybody will, I hope, admit that this state of things is intolerable; that the subject of Mrs Warren's profession must be either tapu altogether, or else exhibited with the warning side as freely displayed as the tempting side. But many persons will vote for a complete tapu, and an impartial clean sweep from the boards of Mrs Warren and Gretchen and the rest: in short, for banishing the sexual instincts from the stage altogether. Those who think this impossible can hardly have considered the number and importance of the subjects which are actually banished from the stage. Many plays, among them Lear, Hamlet, Macbeth, Coriolanus, Julius Ceasar, have no sex complications: the thread of their action can be followed by children who could not understand a single scene of Mrs Warren's Profession or Iris. None of our plays rouse the sympathy of the audience by an exhibition of the pains of maternity, as Chinese plays constantly do. Each nation has its particular set of tapus in addition to the common human stock; and though each of these tapus limits the scope of the dramatist, it does not make drama impossible. If the Examiner were to refuse to license plays with female characters in them, he would only be doing to the stage what our tribal customs already do to the pulpit and the bar. I have myself written a rather entertaining play with only one woman in it, and she quite heartwhole; and I could just as easily write a play without a woman in it at all. I will even go as far as to promise the Examiner my support
if he will introduce this limitation for part of the year, say during Lent, so as to make a close season for that dullest of stock dramatic subjects, adultery, and force our managers and authors to find out what all great dramatists find out spontaneously: to wit, that people who sacrifice every other consideration to love are as hopelessly unheroic on the stage as lunatics or dipsomaniacs. Hector and Hamlet are the world's heroes; not Paris and Antony.

But though I do not question the possibility of a drama in which love should be as effectively ignored as cholera is at present, there is not the slightest chance of that way out of the difficulty being taken by the Examiner. If he attempted it there would be a revolt in which he would be swept away, in spite of my singlehanded efforts to defend him. A complete tapu is politically impossible. A complete toleration is equally impossible to the Examiner, because his occupation would be gone if there were no tapu to enforce. He is therefor compelled to maintain the present compromise of a partial tapu, applied, to the best of his judgment, with a careful respect to persons and to public opinion. And a very sensible English solution of the difficulty, too, most readers will say. I should not dispute it if dramatic poets really were what English public opinion generally assumes them to be during their lifetime: that is, a licentiously irregular group to be kept in order in a rough and ready way by a magistrate who will stand no nonsense from them. But I cannot admit that the class represented by Eschylus, Sophocles, Aristophanes, Euripides, Shakespear, Goethe, Ibsen, and Tolstoy, not to mention our own contemporary playwrights, is as much in place in the Examiner's office as a pickpocket is in Bow Street. 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. I challenge the Examiner to mention any extremity
of sexual misconduct which any manager in his senses would risk presenting on the London stage that has not been presented under his license and that of his predecessor. The compromise, in fact, works out in practice in favor of loose plays as against earnest ones.

To carry conviction on this point, I will take the extreme course of narrating the plots of two plays witnessed within the last ten years by myself at London West End theatres, one licensed under Queen Victoria, the other under her successor. Both plots conform to the strictest rules of the period when La Dame aux Camellias was still a forbidden play, and when The Second Mrs Tanqueray would have been tolerated only on condition that she carefully explained to the audience that when she met Captain Ardale she sinned ‘but in intention.'

Play number one. A prince is compelled by his parents to marry the daughter of a neighboring king, but loves another maiden. The scene represents a hall in the king's palace at night. The wedding has taken place that day; and the closed door of the nuptial chamber is in view of the audience. Inside, the princess awaits her bridegroom. A duenna is in attendance. The bridegroom enters. His sole desire is to escape from a marriage which is hateful to him. A means occurs to him. He will assault the duenna, and be ignominously expelled from the palace by his indignant father-in-law. To his horror, when he proceeds to carry out this stratagem, the duenna, far from raising an alarm is flattered, delighted, and compliant. The assaulter becomes the assaulted. He flings her angrily to the ground, where she remains placidly. He flies. The father enters; dismisses the duenna; and listens at the keyhole of his daughter's nuptial chamber, uttering various pleasantries, and declaring, with a shiver, that a sound of kissing, which he supposes to proceed from within, makes him feel young again.

Story number two. A German officer finds himself in an inn with a French lady who has wounded his national vanity.
He resolves to humble her by committing a rape upon her. He announces his purpose. She remonstrates, implores, flies to the doors and finds them locked, calls for help and finds none at hand, runs screaming from side to side, and, after a harrowing scene, is overpowered and faints. Nothing further being possible on the stage without actual felony, the officer then relents and leaves her. When she recovers, she believes that he has carried out his threat; and during the rest of the play she is represented as vainly vowing vengeance upon him, whilst she is really falling in love with him under the influence of his imaginary crime against her. Finally she consents to marry him; and the curtain falls on their happiness.

This story was certified by the Examiner, acting for the Lord Chamberlain, as void in its general tendency of ‘anything immoral or otherwise improper for the stage.' But let nobody conclude therefore that the Examiner is a monster, whose policy it is to deprave the theatre. As a matter of fact, both the above stories are strictly in order from the official point of view. The incidents of sex which they contain, though carried in both to the extreme point at which another step would be dealt with, not by the Examiner, but by the police, do not involve adultery, nor any allusion to Mrs Warren's profession, nor to the fact that the children of any polyandrous group will, when they grow up, inevitably be confronted, as those of Mrs Warren's group are in my play, with the insoluble problem of their own possible consanguinity. 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. If the old rule against the exhibition of illicit sex relations on the stage were revived, and the subject absolutely barred, the only result would be that Antony and
Cleopatra, Othello (because of the Bianca episode), Troilus and Cressida, Henry IV, Measure for Measure, Timon of Athens, La Dame aux Camellias, The Profligate, The Second Mrs Tanqueray, The Notorious Mrs Ebbsmith, The Gay Lord Quex, Mrs Dane's Defence, and Iris would be swept from the stage, and placed under the same ban as Tolstoy's Dominion of Darkness and Mrs Warren's Profession, whilst such plays as the two described above would have a monopoly of the theatre as far as sexual interest is concerned.

What is more, the repulsiveness of the worst of the certified plays would protect Censorship against effective exposure and criticism. Not long ago an American Review of high standing asked me for an article on the Censorship of the English Stage. I replied that such an article would involve passages too disagreeable for publication in a magazine for general family reading. The editor persisted nevertheless; but not until he had declared his readiness to face this, and had pledged himself to insert the article unaltered (the particularity of the pledge extending even to a specification of the exact number of words in the article) did I consent to the proposal. What was the result? 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 principle against the Censorship. In doing this he fired my broadside after withdrawing the cannon balls; for neither the Censor nor any other Englishman, except perhaps a few veterans of the dwindling old guard of Benthamism, cares a dump about political principle. The ordinary Briton thinks that if every other Briton is not under some form of tutelage, the more childish the better, he will abuse his freedom viciously. 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. Consequently nothing can really shake the confidence of the public in the Lord
Chamberlain's department except a remorseless and unbowdlerized narration of the licentious fictions which slip through its net, and are hallmarked by it with the approval of the royal household. But as such stories 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. With the exception of such comments as I was able to make in my own critical articles in The World and The Saturday Review when the pieces I have described were first produced, and a few ignorant protests by churchmen against much better plays which they confessed they had not seen nor read, nothing has been said in the press that could seriously disturb the easygoing notion that the stage would be much worse than it admittedly is but for the vigilance of the Examiner. The truth is, that no manager would dare produce on his own responsibility the pieces he can now get royal certificates for at two guineas per piece.

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. No doubt there is a staggering absurdity in appointing an ordinary clerk to see that the leaders of European literature do not corrupt the morals of the nation, and to restrain Sir Henry Irving from presuming to impersonate Samson or David on the stage, though any other sort of artist may daub these scriptural figures on a signboard or carve them on a tombstone without hindrance. If the General Medical Council, the Royal College of Physicians, the Royal Academy of Arts, the Incorporated Law Society, and Convocation were abolished, and their functions handed over to the Examiner, the Concert of Europe would presumably certify England as mad. Yet, though neither medicine nor painting nor law nor the Church moulds the character of the nation as potently as the theatre does, nothing can come on the stage unless its dimensions
admit of its first passing through the Examiner's mind! Pray do not think that I question his honesty. I am quite sure that he sincerely thinks me a blackguard, and my play a grossly improper one, because, like Tolstoy's Dominion of Darkness, it produces, as they are both meant to produce, a very strong and very painful impression of evil. I do not doubt for a moment that the rapine play which I have described, and which he licensed, was quite incapable in manuscript of producing any particular effect on his mind at all, and that when he was once satisfied that the ill-conducted hero was a German and not an English officer, he passed the play without studying its moral tendencies. Even if he had undertaken that study, there is no more reason to suppose that he is a competent moralist than there is to suppose that I am a competent mathematician. But truly it does not matter whether he is a moralist or not. 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. Replace him tomorrow by an Academy of Letters and an Academy of Dramatic Poetry, and the new filter will still exclude original and epoch-making work, whilst passing conventional, old-fashioned, and vulgar work. The conclave which compiles the expurgatory index of the Roman Catholic Church is the most august, ancient, learned, famous, and authoritative censorship in Europe. Is it more enlightened, more liberal, more tolerant than the comparatively unqualified office of the Lord Chamberlain? On the contrary, it has reduced itself to a degree of absurdity which makes a Catholic university a contradiction in terms. All censorships exist to prevent anyone from challenging current conceptions and existing institutions. All progress is initiated by challenging current conceptions, and executed by supplanting existing institutions. Consequently the first condition of progress is the removal of censorships. There is the whole case against censorships in a nutshell.

It will be asked whether theatrical managers are to be allowed to produce what they like, without regard to the public interest. But that is not the alternative. The managers of our London music-halls are not subject to any censorship. They produce their entertainments on their own responsibility, and have no two-guinea certificates to plead if their houses are conducted viciously. They know that if they lose their character, the County Council will simply refuse to renew their license at the end of the year; and nothing in the history of popular art is more amazing than the improvement in music-halls that this simple arrangement has produced within a few years. Place the theatres on the same footing, and we shall promptly have a similar revolution: a whole class of frankly blackguardly plays, in which unscrupulous low comedians attract crowds to gaze at bevies of girls who have nothing to exhibit but their prettiness, will vanish like the obscene songs which were supposed to enliven the squalid dulness, incredible to the younger generation, of the music-halls fifteen years ago. On the other hand, plays which treat sex questions as problems for thought instead of as aphrodisiacs will be freely performed. Gentlemen of the Examiner's way of thinking will have plenty of opportunity of protesting against them in Council; but the result will be that the Examiner will find his natural level; Ibsen and Tolstoy theirs; so no harm will be done.