The privilege to indulge in such didos is not, as a matter of fact,
especially dear to them. They do not really prize unduly the right to
use the word "slut" once in every act. They can even bear up whenever a
law forbids disrobing on the stage. They know that most pruriency in the
theatre derives from the old frustrations sealed up and festering in
the mind of the onlooker who detects it. They suspect, from what little
reading they have managed in the psychology of outlets, that the more
mock-raping there is done on the stage of the local opera house, the
less real raping will be done on the greensward of the nearest park. But
they know, too, that the force of modesty is one of the strongest and
most ancient instincts of civilized man, that probably it is a sound
and healthy one, inextricably involved in the race's instinct of
self-preservation and self-perpetuation. Anyway, they feel that the
discussion draws them into matters unarguable.
They dread a Censor most for fear his appetite will grow by what it
feeds on. They know that the Lord Chamberlain began by exorcising
obscenity from the English theatre and ended by banning so fiercely
Puritanical a play as "Mrs. Warren's Profession" because it admitted
the existence of brothel-keeping as a business and by shutting up such
innocent merriment as "The Mikado" because its jocularity might offend
the (at the moment) dear Japanese.
Most American playwrights would derive a certain enjoyment from watching
a posse of citizens in wrathful pursuit of one of those theatrical
managers who are big brothers to the trembling crones that totter up to
you on the _Boulevard des Italiens_ and try to sell you a few obscene
postal-cards. But most American playwrights would feel a genuine
apprehension lest such a posse, confused in its values and its mission,
might then turn and lock up Eugene O'Neill because of the rough talk
that lends veracity to "The Hairy Ape" or because of the steady scrutiny
which has the effect of stripping naked the unhappy creatures of his
play called "Diff'rent."
Public-domain text, read in full here on John Shaqi.
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