This tyranny is spreading. And there is no hope for liberty or democracy until we all demand again, with a tongue of thunder, the right to be blamed. We shall never feel like free men until we assert again our sacred claim to be punished. The denunciation of a man for what he chose to do is itself the confession that he chose to do it; and it is beneath his dignity to admit that he could have done nothing else. The only alternative theory is that we can do nothing but what we do, and our rulers can do anything whatever to restrain us. Compared with that, it would be better that roaring mobs should rise all over England, uproariously demanding to be hanged. A Defence of Dramatic Unities Injustice is done to the old classical rules of artistic criticism, because we do not treat them as artistic criticism. We first turn them into police regulations, and then complain of them for being so. But I suspect, with the submission proper to ignorance, that the art canons of Aristotle and others were much more generally artistic, in the sense of atmospheric. We allow a romantic critic to be as dogmatic as Ruskin, and still feel that he is not really being so despotic as Boileau. If a modern, like Maeterlinck, says that all drama is in an open door at the end of an empty passage, we do not take it literally, like a notice requiring an extra exit in case of fire. But if an ancient, like Horace, says that all drama demands a closed door, which shall hide Medea while she murders her children, then we do receive it as something rigid and formal, like the order to close the shutters on Zeppelin nights. Now how far the classical critics took their rules absolutely I do not know. But I am substantially sure that there is a true instinct at the back of them, whatever exceptions be allowed at the edges. The unities of time and place, that is the idea of keeping figures and events within the frame of a few hours or a few yards, is naturally derided as a specially artificial affront to the intellect. But I am sure it is especially true suggestion to the imagination. It is exactly in the artistic atmosphere, where rules and reasons are so hard to define, that this unification would be most easy to defend. This limitation to a few scenes and actors really has something in it that pleases the imagination and not the reason. There are instances in which it may be broken boldly; there are types of art to which it does not apply at all. But wherever it can be satisfied, something not superficial but rather subconscious is satisfied. Something re-visits us that is the strange soul of single places; the shadow of haunting ghosts or of household gods. Like all such things, it is indescribable when it is successful: it is easier to describe the disregard of it as unsuccessful. Thus Stevenson’s masterpiece, “The Master of Ballantrae,” always seems to me to fall into two parts, the finer which revolves round Durisdeer and the