The Shewing-up of Blanco Posnet. Bernard Shaw

PREFACE

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THE CENSORSHIP

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      This little play is really a religious tract in dramatic form. If our silly censorship would permit its performance, it might possibly help to set right-side-up the perverted conscience and re-invigorate the starved self-respect of our considerable class of loose-lived playgoers whose point of honor is to deride all official and conventional sermons. As it is, it only gives me an opportunity of telling the story of the Select Committee of both Houses of Parliament which sat last year to enquire into the working of the censorship, against which it was alleged by myself and others that as its imbecility and mischievousness could not be fully illustrated within the limits of decorum imposed on the press, it could only be dealt with by a parliamentary body subject to no such limits.

A READABLE BLUEBOOK

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      Few books of the year 1909 can have been cheaper and more entertaining than the report of this Committee. Its full title is REPORT FROM THE JOINT SELECT COMMITTEE OF THE HOUSE OF LORDS AND THE HOUSE OF COMMONS ON THE STAGE PLAYS (CENSORSHIP) TOGETHER WITH THE PROCEEDINGS OF THE COMMITTEE, MINUTES OF EVIDENCE, AND APPENDICES. What the phrase "the Stage Plays" means in this title I do not know; nor does anyone else. The number of the Bluebook is 214.

      How interesting it is may be judged from the fact that it contains verbatim reports of long and animated interviews between the Committee and such witnesses as W. William Archer, Mr. Granville Barker, Mr. J. M. Barrie, Mr. Forbes Robertson, Mr. Cecil Raleigh, Mr. John Galsworthy, Mr. Laurence Housman, Sir Herbert Beerbohm Tree, Mr. W. L. Courtney, Sir William Gilbert, Mr. A. B. Walkley, Miss Lena Ashwell, Professor Gilbert Murray, Mr. George Alexander, Mr. George Edwardes, Mr. Comyns Carr, the Speaker of the House of Commons, the Bishop of Southwark, Mr. Hall Caine, Mr. Israel Zangwill, Sir Squire Bancroft, Sir Arthur Pinero, and Mr. Gilbert Chesterton, not to mention myself and a number of gentlemen less well known to the general public, but important in the world of the theatre. The publication of a book by so many famous contributors would be beyond the means of any commercial publishing firm. His Majesty's Stationery Office sells it to all comers by weight at the very reasonable price of three-and-threepence a copy.

HOW NOT TO DO IT

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      It was pointed out by Charles Dickens in Little Dorrit, which remains the most accurate and penetrating study of the genteel littleness of our class governments in the English language, that whenever an abuse becomes oppressive enough to persuade our party parliamentarians that something must be done, they immediately set to work to face the situation and discover How Not To Do It. Since Dickens's day the exposures effected by the Socialists have so shattered the self-satisfaction of modern commercial civilization that it is no longer difficult to convince our governments that something must be done, even to the extent of attempts at a reconstruction of civilization on a thoroughly uncommercial basis. Consequently, the first part of the process described by Dickens: that in which the reformers were snubbed by front bench demonstrations that the administrative departments were consuming miles of red tape in the correctest forms of activity, and that everything was for the best in the best of all possible worlds, is out of fashion; and we are in that other phase, familiarized by the history of the French Revolution, in which the primary assumption is that the country is in danger, and that the first duty of all parties, politicians, and governments is to save it. But as the effect of this is to give governments a great many more things to do, it also gives a powerful stimulus to the art of How Not To Do Them: that is to say, the art of contriving methods of reform which will leave matters exactly as they are.

      The report of the Joint Select Committee is a capital illustration of this tendency. The case against the censorship was overwhelming; and the defence was more damaging to it than no defence at all could have been. Even had this not been so, the mere caprice of opinion had turned against the institution; and a reform was expected, evidence or no evidence. Therefore the Committee was unanimous as to the necessity of reforming the censorship; only, unfortunately, the majority attached to this unanimity the usual condition that nothing should be done to disturb the existing state of things. How this was effected may be gathered from the recommendations finally agreed on, which are as follows.

      1. The drama is to be set entirely free by the abolition of the existing obligation to procure a licence from the Censor before performing a play; but every theatre lease is in future to be construed as if it contained a clause giving the landlord power to break it and evict the lessee if he produces a play without first obtaining the usual licence from the Lord Chamberlain.

      2. Some of the plays licensed by the Lord Chamberlain are so vicious that their present practical immunity from prosecution must be put an end to; but no manager who procures the Lord Chamberlain's licence for a play can be punished in any way for producing it, though a special tribunal may order him to discontinue the performance; and even this order must not be recorded to his disadvantage on the licence of his theatre, nor may it be given as a judicial reason for cancelling that licence.

      3. Authors and managers producing plays without first obtaining the usual licence from the Lord Chamberlain shall be perfectly free to do so, and shall be at no disadvantage compared to those who follow the existing practice, except that they may be punished, have the licences of their theatres endorsed and cancelled, and have the performance stopped pending the proceedings without compensation in the event of the proceedings ending in their acquittal.

      4. Authors are to be rescued from their present subjection to an irresponsible secret tribunal which can condemn their plays without giving reasons, by the substitution for that tribunal of a Committee of the Privy Council, which is to be the final authority on the fitness of a play for representation; and this Committee is to sit in camera if and when it pleases.

      5. The power to impose a veto on the production of plays is to be abolished because it may hinder the growth of a great national drama; but the Office of Examiner of Plays shall be continued; and the Lord Chamberlain shall retain his present powers to license plays, but shall be made responsible to Parliament to the extent of making it possible to ask questions there concerning his proceedings, especially now that members have discovered a method of doing this indirectly.

      And so on, and so forth. The thing is to be done; and it is not to be done. Everything is to be changed and nothing is to be changed. The problem is to be faced and the solution to be shirked. And the word of Dickens is to be justified.