morality in the higher sense, but is certainly of considerable advantage as a safeguard to public decency and decorum. The censorship of the stage in England to-day does not pretend to be a guardian of public morality. In all that relates to the higher moral law the public must take care of itself. Let us give one or two illustrations. Many sincere and not unintelligent persons firmly believe that the cause of public morality is injured by the representation of any play in which vice of a certain kind is brought under public notice, even though the object of the play may be to condemn the vice it exposes; but no censor of plays now would think of refusing to permit the performance of "Othello" on that account. To take a lower illustration: many people believe, and on better ground, that such a piece as "The Lady of Lyons" is injurious to public morals, because in that play the man who makes himself a leading actor in an infamous fraud becomes glorified into a hero and wins fame, fortune, and wife in the end. But no censor would think of refusing to allow the performance of "The Lady of Lyons." The {99} censor regards it as his duty to take care that indecent words are not spoken, and that what society considers indecent dressing is not exhibited. That is not much, it may be said, but it is better than nothing, and it is all we can get or would have. The censor cannot go ahead of the prevailing habits and the common opinion of the society of his day. If we had a censor who started a lofty code of morality and propriety all his own, public opinion would not stand him and his code. Suppose we had a censor who considered "Othello" shocking, and an ordinary _decolletee_ dress or an ordinary ballet costume indecent, an outcry would soon be raised against him which would compel him to resign his purposes or his office. All he can do is to endeavor to order things so that nothing is said or exhibited which might shock society's sense of propriety, and this he can as a rule fairly accomplish. He must also take his society as he finds it. A West End audience in London will stand allusions and jests and scantiness of costume which an East End audience, made up almost exclusively of the working-people and the poor, would not endure for a moment. The censor of plays can be much more rigid in his discipline when he is protecting the proprieties of poverty than when he is protecting the proprieties of fashion. The censorship works well in England on the whole, because it has almost always been worked by capable men of the world who understand that they are not dealing with children, who do not magnify their office, and do not strain after an austere authority which it would be quite impossible for them to exert. [Sidenote: 1737--The Playhouse Bill]