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 against the prosecution of its author. They protest 'on general principles'—on a considerable variety of general principles, which I shall summarize.

They protest from a general belief in the 'freedom of the press,' and from a feeling that a free press is on the whole more vital to the public than any law curbing it can be. They protest from a general belief in the 'freedom of art.' A few of them argue that art should be free because all true art is moral. More of them argue that art should be free because it is neither moral nor immoral but unmoral, and its influence aesthetic and, therefore, no concern of the legislator or moralist. They contend that the suppressive statutes were framed against pornography, not against art; and they assert that it is easy to distinguish art from pornography. In conclusion, they characterize the prosecution as illiterate, blackmailing, filthy-minded, impertinent and meddlesome.

After such an encounter, Militant Morality retires from the scene like a badly punished game cock, with all the young cockerels of the press bursting forth into derisive crowing. If the legal prosecution also has failed, the book receives an almost official certificate of innocence; and it may be cried up as a pure, decent, beautiful, and significant work of art. If the prosecution has been successful, the book may be suppressed till every schoolboy's curiosity has been whetted to know why; then it may be released and devoured by thousands of readers enlisted mainly by the publicity work of the Society for the