THE AUTHOR’S APOLOGY

Mrs Warren’s Profession has been performed at last, after a delay of only eight years; and I have once more shared with Ibsen the triumphant amusement of startling all but the strongest-headed of the London theatre critics clean out of the practice of their profession.  No author who has ever known the exultation of sending the Press into an hysterical tumult of protest, of moral panic, of involuntary and frantic confession of sin, of a horror of conscience in which the power of distinguishing between the work of art on the stage and the real life of the spectator is confused and overwhelmed, will ever care for the stereotyped compliments which every successful farce or melodrama elicits from the newspapers.  Give me that critic who rushed from my play to declare furiously that Sir George Crofts ought to be kicked.  What a triumph for the actor, thus to reduce a jaded London journalist to the condition of the simple sailor in the Wapping gallery, who shouts execrations at Iago and warnings to Othello not to believe him!  But dearer still than such simplicity is that sense of the sudden earthquake shock to the foundations of morality which sends a pallid crowd of critics into the street shrieking that the pillars of society are cracking and the ruin of the State is at hand.  Even the Ibsen champions of ten years ago remonstrate with me just as the veterans of those brave days remonstrated with them.  Mr Grein, the hardy iconoclast who first launched my plays on the stage alongside Ghosts and The Wild Duck, exclaimed that I have shattered his ideals.  Actually his ideals!  What would Dr Relling say?  And Mr William Archer himself disowns me because I “cannot touch pitch without wallowing in it”.  Truly my play must be more needed than I knew; and yet I thought I knew how little the others know.

Do not suppose, however, that the consternation of the Press reflects any consternation among the general public.  Anybody can upset the theatre critics, in a turn of the wrist, by substituting for the romantic commonplaces of the stage the moral commonplaces of the pulpit, platform, or the library.  Play Mrs Warren’s Profession to an audience of clerical members of the Christian Social Union and of women well experienced in Rescue, Temperance, and Girls’ Club work, and no moral panic will arise; every man and woman present will know that as long as poverty makes virtue hideous and the spare pocket-money of rich bachelordom makes vice dazzling, their daily hand-to-hand fight against prostitution with prayer and persuasion, shelters and scanty alms, will be a losing one.  There was a time when they were able to urge that though “the white-lead factory where Anne Jane was poisoned” may be a far more terrible place than Mrs Warren’s house, yet hell is still more dreadful.  Nowadays they no longer believe in hell; and the girls among whom they are working know that they do not believe in it, and would