This restriction of the historical drama is an
unmixed evil. Great religious leaders are more interesting
and more important subjects for the dramatist than great
conquerors. It is a misfortune that public opinion would not
tolerate a dramatization of Mahomet in Constantinople. But to
prohibit it here, where public opinion would tolerate it, is an
absurdity which, if applied in all directions, would make it
impossible for the Queen to receive a Turkish ambassador without
veiling herself, or the Dean and Chapter of St. Paul's to display
a cross on the summit of their Cathedral in a city occupied
largely and influentially by Jews. Court etiquet is no doubt an
excellent thing for court ceremonies; but to attempt to impose it
on the drama is about as sensible as an attempt to make everybody
in London wear court dress.
WHY NOT AN ENLIGHTENED CENSORSHIP?
In the above cases the general question of censorship is
separable from the question of the present form of it. Every one
who condemns the principle of censorship must also condemn the
Lord Chamberlain's control of the drama; but those who approve of
the principle do not necessarily approve of the Lord Chamberlain
being the Censor ex officio. They may, however, be entirely
opposed to popular liberties, and may conclude from what has been
said, not that the stage should be made as free as the church,
press, or platform, but that these institutions should be
censored as strictly as the stage.
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