ose who believe in
civic freedom subject only to Common Law, and espouse the cause of free
literature, are championing a system which is essentially undemocratic,
essentially inimical to the will of the majority, who have certainly no
desire for any such things as advancing thought and speculation. Such
persons, indeed, merely hold the faith that the People, as a whole,
unprotected by the despotic judgments of single persons, have enough
strength and wisdom to know what is and what is not harmful to
themselves. They put their trust in a Public Press and a Common Law,
which deriving from the Conscience of the Country, is openly administered
and within the reach of all. How absurd, how inadequate this all is we
see from the existence of the Censorship on Drama.

Having observed that there is no reason whatever for the exemption of
Literature, let us now turn to the case of Art. Every picture hung in a
gallery, every statue placed on a pedestal, is exposed to the public
stare of a mixed company. Why, then, have we no Censorship to protect us
from the possibility of encountering works that bring blushes to the
cheek of the young person? The reason cannot be that the proprietors of
Galleries are more worthy of trust than the managers of Theatres; this
would be to make an odious distinction which those very Managers who
uphold the Censorship of Plays would be the first to resent. It is true
that Societies of artists and the proprietors of Galleries are subject to
the prosecution of the Law if they offend against the ordinary standards
of public decency; but precisely the same liability attaches to
theatrical managers and proprietors of Theatres, in whose case it has
been found necessary and beneficial to add the Censorship. And in this
connection let it once more be noted how much more easily the ordinary
standards of public decency can be assessed by a single person
responsible to no one, than by the clumsy (if more open) process of
public protest. What, then, in the light of the proved justice and
efficiency of the Censorship of Drama, is the reason for the absence of
the Censorship of Art? The more closely the matter is regarded, the more
plain it is, that there is none! At any moment we may have to look upon
some painting, or contemplate some statue, as tragic, heart-rending, and
dubiously delicate in theme as that censured play "The Cenci," by one
Shelley; as dangerous to prejudice, and suggestive of new thought