davidaulloa/AmericanStories huggingface dataset:
Clearwater Republican. [volume] (Orofino, Idaho) 1912-1922, 1921-11-04
Written by Jack Harlan.

Sunday, September %. 1905. We
will return to Capt. Clark who Is
on the Clearwater. He passed e
tothe island with the 1tvisted-halr.
The river at this place is about Ibo
yards wide, but interrupted with
shoals, and the low ground on It's
borders are narrow. The hunters
brought in three deer.
Capt Clark left the five hunters
at this island bar. who were IN
structed to hunt and procure Wnat
game they could until his return
and in company with n Twisted
hair and his son, he started back 70
Weippe.
We will return to Lewis and par
ty, whom we left camped at the Lolo
Creek meadow. Their journal says:
1--WE had intended to set out early
but one of the men having neglected
to hobble his horse he strayed away
and we we're Obliged to walt TIL
nearly twelve o'clock"
1t was a weary and bedraggied
bunch of pilgrims who then pro-
ceeded. These people were longer
on the trail. For at Indian Grave
camp Clark and siv hunters select
ed a mount each and several pack
horses. necessitating most of those
following to make their way on
foot. The goods and utensils requlr-
ed most Of the ponies left tot carry
these. The lack of proper nourish
ment and the stress of the trail mas
its effect as shown by the cadave
rous faces and wasted forms OF
these men. They are leg weary and
foot sore as ragged moccasins are
poor protection against the stony
paths they have been travelling.
After reaching the top OF the
breaks of Collins (now Lolo Creek
the travelling materially improves;
there is less stone and more soil;
he temperature better suits their
ndition. They are schooled in trail
T. enough to know n a THESE
Oh aged conditions presage tn
src iy ending of their battle with
five n ,ce forces of nature besettine
the for the last ten days. or more
il tn mountains. This begins &c
revive tho Tagging spirit ard the
they are hungry and weak, they
cps0'H md handy one another in 9
+ lar manner. a sure sign in mer
G m Il Il that the barometer OF
cFaa"f--i feeling is rising.
As they leaveCrane meadow they
meet tha man and the Indian sel'
back by Capt. Clark with the sup
plies evils writes: "Th'e SUNNY
was most s~easonable. as we. had tast-
ed nothing since last night and the
fish and roots and berries in add
tior to n crow. which We Killed or
"crte completely satisfied oul
hunger"
quite evident that a respec-
taf'e "ovote o. crow had to keen :
safn distance If they did not care
to fill the ravenous maws of these
hungry men, as they are not choic:
IL their kind of diet.
Clearwater Republican. [volume] (Orofino, Idaho) 1912-1922, 1921-11-04
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The New York herald., 1921-12-18
Cites Baseball as Example
Of What Public Can Do

The entertainment that brings the larg-
est attendance in America, from 10000 to
5000 at a single performance, is baseball
Now. public opinion eliminated the spitball
in pitching, and il will kill off the Shiny
in theatrical production. even though a few
roughnecks like it."
e. II. Sothern is probably the last actor
who might under any circumstances have
any apprehension as to the activity of a
censor. He and Miss Marlowe, who for so
many years have acted only in the plays OF
Shakespeare stand on a height of their own.
Speaking for his profession he said
81 opposed to a censorship of plays.
I believe that public opinion will best cor
rect any error of taste in the presentation
of q play. The general desire is for clean
and wholesome entertainment: such has
ever been the most prosperous in America.
The play of unpleasant favor soon expires.
One will be told that much that is exhibited
on our stage is frivolous. Well, very many
people like what is light and trivial In the
way Of entertainment nor should they be
condemned to perpetual solemnity so long
as what is gay is also free from offence.
"a censor might easily do more harm than
good In England and in some other coun-
tries such an official has been a source OF
contention constantly.
THE privilege of free speech is not to be
lightly interfered with. A drama too strenu-
ously controlled might dwindle into nothing
ness. A really wise and capable censor
would be almost impossible to find. His
qualifications would have TO be numerous
and superlatve The position might become
political. which think. would be deplor
able.
II am tor a free theatre; the public and
the press will take care that 1t is a healthy
theatre. l am for community theatres
where a management of the people will pro
duce fine plays at a small price without re
gard to profit. I am for a children's the
atre where children will learn TO love the
best drama-not baby talk drama but plays
they will want 20 see again whenever they
are finely played.
Ambitious and capable actors have al
ways had the greatest influence on public
taste, so let us pray for men and women
who will aspire TO play the great roles"
The New York herald., 1921-12-18
A CENSOR BRING PROSPERITY TO THEATRES?

think they are perfectly moral. One OF them
was a success in London, where they have
censor. But the New York officials may not
think they are moral / want some one to
whom l can go and get an official opinion az
to their legality before I have invested from
$4,000 to $4,000 in them only TO find that
1 must close them because somebody who
differs from me has the authority to close
them before I've been condemned by courts
constituted to try such matters"
Although John Golden is proud of the
spotless character of his plays, he does not
believe that morality in general is to be
maintained by a censorship. So he ex-
presses his conclusion in these words:
"I am against a stage censorship. Per
sonally, I have shown my leaning for hu-
morous plays without an unclean line with
so much emphasis that there is perhaps an
impression am TO be regarded as in favor
of stage censorship.
IT am unalterably opposed to it. ! have
no hope that it would be beneficial; | am
as certain it would stunt the growth Of the
American drama, interfere with the accom-
plishment of the ultimate end of all theatri-
cal effort-the realization of national lit
erary DRAMAS I am certain that if there
were such censors in other centuries there
never would have been a Shakespeare.
Beaumont or Fletcher or a Sophocles. This
generation must strive for the literary
drama or draw a blank in the history of
dramatic literature
"I wouldn't give UP an afternoon of golf
to listen to any one who thought he could
persuade me that three or six or sixty men
could constitute a jury to decide just what
100 100000 people ought TO have for bene-
fetal amusement. These millions are cast
ingtheir ballot in direct vote every evening
and several matinees a week through the
ticket windows of American theatres. Abe
Lincoln believed in the people, and his opin-
ion is good enough for me. They're faster
than Jersey justice in sending a bad play
to the storehouse
The New York herald., 1921-12-18
Augustus Thomas, for Dran1atists,
Joins Managers in Opposition

Augustus Thomas. most eminent of Amer
lean paywrights was selected TO speak foi
the dramatists. He joins with the manager
IN his opposition TO the proposed censorship.
lie said
"On principle am opposed 10 a censorship
Of any kind OF publication, whether books.
plays, pictures or newspapers. 1 am most
opposed as matter Of practice TO a censor
ship of plays, not because 1 am professional
playwright, but for the reason that what is
likely 10 be the Objectionable thing in
production is frequently not evident in the
script of play.
Il am not opposed to, but. on the contrary.
am in favor OF. holding the theatre to strict
accountability and to proper standards OF
decency by the exercise of the machinery
already existing for that purpose, If neces-
sary strengthening that machinery and
would be glad TO see a rule that would take
a license away from the producer who
showed a repeated disposition to offend"
Paul d. Cravath was one of the founders
of the New Theatre and has always been an
enthusiastic patron of the theatre So he
gave to TIE New York HERALD the view o.
the layman in these words
II am opposed to censorship for the the
atre. Censorship of literary and artistic pro
ductions is against the genius of our insti-
tutions II should never be resorted o.
except i'm cases Of strong necessity. No
such necessity exists in the case Of the
American theatre We have many dull
plays and many vulgar plays. but few plays
that are really subversive Of good morals.
''The gain from censorship would be en-
tirely TOO slight 10 Justify the serious Inter-
ference with liberty Of thought and express
sion that IL would involve. Another radical
objection 10 censorship Is the difficulty OF
securing wise censor. Censors. usually
become narrow and arbitrary and slaves to
false standards.
Il think tho remedy against demoralzine
plays lies in the more rigorous enforcement
of the authority that now exists in the pub
lie authorities to prevent the production or
demoralizng plays. Authors and producers
would rarely risk the production OF objec-
tionabie plays II they knew that their pro.
ductiou would be stopped by the public au-
thorities. think the proper exercise Of the
police power would adequately protect the
public while obviating the evils of censor
ship"
The New York herald., 1921-12-18

to the people who go to see the unclean
plays. We have had real experience in one
or two of the Western cities with an attempt
at censorship and the outcome was absurd.
Very often a manuscript does not indi-
cate any lewdness whatever, whereas the
performance might disclose a great deal. So
let the play be produced and stand or fall
on it's decency or lack of it. No censorship
for mel"
In reference to a stage censorship Lee
Shubert said:
THE speaking stage is not in need of
censorship. Such a supervision placed in
the hands of two or three men would prove
detrimental to the drama for it would be
difficult to find exactly the right people to
pass upon plays. After all, the public is the
best and surest arbiter, and I do not recall
any instances where a really bad, immoral
or vicious play has been allowed to con-
tinue.
"If the public makes up its mind that
play is not suited for public presentation the
law offers remedy. Plays are not pro-
duced in quantities are moving pictures,
and the moduS operdndi Is totally different
In fact, there is little comparison between
moving picture censorship and censorship of
the spoken play. It is my opinion that If
such a censorship is established the theatre
will suffer"
No manager feels more strongly on the
subject than Arthur Hopkins. He may be
said, however, to take a merely theoretical
interest in the matter since he has never
stood in any danger of the action of such
public official even if he. had existed. The
Hopkins theatre has usually been singularly
free from the kind of play that might at
tract the attention Of the prurient. But he
says:
Censorship is the assumption before the
x.T..N.
such is unfair and pernicious. Criminal law
confines itself to the person who is charged
with an offence already committed II takes
away no freedom Of action from the citizen
on the assumption that with the exercise of
such freedom he may become a criminal.
The New York herald., 1921-12-18
Calls Censorship Autocrsdc
And Unsuited TO a Democracy

"But after ALL there is one answer that
finally disposes OF the question of censor
ship. This is a democratic country and CEN
sorship is autocratic. Even the censorship
partisans cannot deny this fact"
Just al business man in the theatre"
said William Harris, Jr, IL should not object
to censorship. There are circumstances un-
der which l should welcome IT, II would
simplify matters greatly il when an author
submitted a play could send IL 10 tho cen
sor and ask. Is there any objection to this
play?' II there were objection ! should not
try il at ALL The play would go back TO the
author, who would be the chief sufferer.
For the manager that's a much better sys-
TEN than the present one OF paying an au-
thor in advance, getting elaborate produc
ton and an expensive cast all under con-
tract. and then having a play closed per-
emptorily with loss say of 0,O0O, merely
because some official didn't like t.
But. remember, that is only business
consideration. II doesn't take into account
the aspirations OF author, director or man
ager who wishes 10 see fine things done in
the theatre. There you have the tragedy of
running up against blank wall in censor
ship You might have the case of n fine
work OF art-you very conceivably would
have such a case II the play discussed any
OF the serious problems of sex--and you
couldn't produce the play at all il the cen
sor said, NO That's not a matter Of dollars
The New York herald., 1921-12-18

and cents. 1t is an artist being denied his
expression, and few things are worse.
"In theory, censorship has advantages, of
course, and if one could get the ideal person
for censor many problems would be solved.
But where would you get the ideal person?
He should be man or woman of culture
and achievement, preferably a person of dis
tinction. But the more you search, Diog-
enes like, for such a wise man or woman
the more you find that such people of I'M
portance shy away from such a task. They
realize that their personal prejudices would
be involved, try as they might to keep them
out and they instinctiVey hesitate to accept
the responsibility of judging for the public
at large
"Of course, there are people seeking posi-
ton in the public eye who are glad to take
such jobs. and in the majority of eases they
get the jobs. But once they get in they not
only carry personal prejudices of their own
they become the football of prejudices Of
any organized group of citizens. AS a re-
suit, in actual practice censorship is abom-
Unable. 1t has been stupdly administered in
the past and it will be Just stupidity ad-
minstered, no doubt. in future.
There never has been a play produced /
dare say, that didn't annoy some one so
much he wanted TO stop it. The case of
Abraham Lincoln is significant Between
the time Mr.. Drinkwater's play was an
nounced and the time that l actually pro-
duced it letters poured in denouncing me as
a traitor for bringing over this play by an
Englishman. In connection with this play
I've been called about everything undesir-
able. Only the other day a committee at a
Southern convention denounced the play Bit
terly. How little they knew about it may
be judged from the fact that they thought
Booth Harrington was the author!
The New York herald., 1921-12-18
Right Edgar Selwyn, Sam H Harris,
practical who speak plainly about

about the old days of the drama, speaks now
to the point:
Censorship is un-American. The proper
use of police power would render censor
ship unnecessary. AS existing laws provide
punishment for those who violate them any
one who produces Objectionable play can
be punished by fine and Imprisonment. Cen
sorship has failed wherever it has been
tried.
Enforce the law and there will be no need
of censorship"
THE effects of a possible censorship i'm
the American theatre would be too varied
for any man to predict in precise detail just
what they would be-" was the first explana-
ton of Sam H. Harris. Then he went on:
1.-THE first immediate effect, of course,
would be to put halter on initiative. The
playwright would have to throw away his
inspiration, and for substitute he would
have set of rules laid down by board Of
politically hand picked censors. The writing
of plays would become mechanical, and this
most important of the arts of the theatre
would deteriorate.
Secondly, the producer would become in
effect, merely an employee of the censor's
office. He would hesitate TO encourage new
playwriting talent. His own judgment would
be valueless. His experience would be
pigeonhoied. His honesty of purpose would
be continuously under suspicion.
ut is no wild guess to assume that play
censorship would be followed by press CEN
sorship. The censor habit would spread un-
til every art and profession came under its
influence. This might not materialize in
one generation, but 1t would be inevitable.
And then we would find that experiment,
the very life of artistic and professional en-
terprise, would have to be abandoned.
II have been asked many times whether
| am in favor of censorship in the theatre.
This is a question that cannot be answered
with blunt yes or no If l say yes l
imply that there is need of censorship If
| say mo- 1 indicate that I fear its effect
upon my own productions
"The question must be answered with an
explanation. Our present laws can be
trusted to dispose of any plays that might be
calculated to exert immoral influence We
do not need and never have needed a censor
ship to right any wrong in the theatre.
Personally / never have and never viii
produce any play that would offend any
ones morals There are enough plays that
are sane, healthy and artistic to supply
every theatrical producer with material for
his productions A sufficient number of
them come to my desk every season 20 keep
me busy
The New York herald., 1921-12-18
Law Is Ample as 1t Stands.
Says William A. Brady

"If there are not at present ample laws to
punish the person who offends against pub
lie decency let more stringent laws be en-
acted. But let them be entirely confined to
the person charged with an offence that has
already been committed. BY this process
the person charged is given the right OF
public trial and the protection of the courts
in the presentation of his defence.
Censorship is arbitrary and permits of
no appeal AS such, it Is autocratic and
nm n-American and in itself is a greater evil
than the evil IL seeks to correct"
William A. Brady. who sowed his wild oats
so long ago that The Turtle" and Mile.
Effi' have been forgotten by all but few
of those old reminiscencers who will talk
The New York herald., 1921-12-18
Driven to Unprecedented Lengths
To Provide the Sex Appeal

It is this theory which has driven some
of the more or less ratified" purveyors of
entertainment to lengths they never went
before. III it were possible to make the sex
appeal as strong possible they would see
that their authors did not let up on that
phase of their play. The authors have
proved themselves most complaisant They
might be shy on story, on humor or tech
nique or on other qualities that made play
successful, yet they were never at loss
to supply what might prove to be the neces-
sary element in a sex farce.
SO there came the long and wearisome
procession of these obnoxious plays. the re-
action Of public opinion against them, the
occasional interference of the police and the
final murnurings about the necessity Of a
censorship which might pass such plays
and arrest them in their poisonous flight
before they reach the stage.
The New York herald., 1921-12-18
Fears Militant Minority
Bullying a Supine Majority

You may say that i'll such case only
cranks protest But have a suspicion we
call them cranks only because there are few
of them. When they increase in numbers
and they become thoroughly organized, we
find that great menace of all democracies-
the militant minority by sheer bullying in
legislative halls or executive offices enforc-
ing it's will over supine majority. The CEN
sor is an ideal instrument in the hands of
militant minority. We have few enough lib
critics left. They may establish a censorship
over our theatre, the way things going
now, but I sincerely hope not"
Edgar Selwyn expressed his disapproval Of
a possible censorship thus
The most essential thing in every worth
while achievement is freedom. The Ameri-
can theatre has taken such progressive
strides because it has been unhamperad by
censorship. 1t equals, II not excels. any the
atrN in the world to-day because it has de-
rended entirely upon the good taste Of the
public for its censorship. Any other censor
ship would be a tragedy.
'Nor is there the slightest need Of censor
ship. Vulgar plays seldom make money for
a producer Thanks to the good taste of the
American public, they usually die of inani-
ton Once in a while they gain some sem
sational publicity which eXcites the morbid
curiosity of people. but even the morbidly
curious public is very limited one. and will
not support a play for any long period Of
time
Never has there been greater proof than
this season that the demand is for plays of
quality. The fact that such plays as The
Circle and a Bill of Divorcement' have
played steadily TO capacity business is proof
enough that there is an abiding apprecia-
ton Of merit on the part of the New York
audiences. It IS only the stupidity vulgar or
mediocre things which have suffered for
patronage"
Who would ever have thought that A II.
Woods would be the man 10 speak the first
word in favor of the scorned censor? But
he was. It was he who said when the recent
discussion as 10 the propriety OF one of his
productions was at its height
1.-THE only safe course for the theatrical
manager as we'll as for the public, In the
future is to have censor. / want censor
TO whom I can submit the manuscript of
play before have invested n penny in IL
and find out from him whether or not /
can produce the play II he sanctions II
then I know that am safe from official In
terference thereafter. II he does not sane
tion 1t have not lost anything
The New York herald., 1921-12-18

L E. Sohe eprs a lg pa he
The New York herald., 1921-12-18

Would Do More Harm Than
H. Safeguard
% many a"ae
The New York herald., 1921-12-18

w THAT is the matter with the
Wv theatre? is question wor-
rying actors, playwrights,
producers and owners. Something
deeper than the competition of the
movies is suspected, something else
than mere economy on the part of
the public. 1t even has been sug-
gested that the stage needs a censor
to raise the standard of plays and
make them acceptable to the people
at large. Just what is thought of
possible censorship is told in the
symposium presented to it's readers
by The New York Herald to-day.
The New York herald., 1921-12-18
Al H. Woods Sees Protection
For the Producer in Plan

Judgments as to the morality or i'm
morality Of a play differ. There are ne
many opinions there are people. u seems
too risky for n manager TO trust his own
in the production Of a play The authorities
may differ with him, and the authorities
hold the cards. The manager may be right
but that's unimportant. He can evidently
be considerably damaged before the courts
decide whether he is right or wrong No
man wants to play a game in which he loses
before the game starts. A censor would pro-
tect the theatrical manager, not only from
his own mistakes but from an official au-
thority that may also make mistakes.
Il have two plays now that are cast and
for one Of which the production IL ready.
The New York herald., 1921-12-18

den Lee Shuber whose opinions theatre censorship
The New York herald., 1921-12-18
Joins in Belief That Public
Is Best Censor in the End

",The drama in America has struggled
along pretty well and remained pretty clean
as a rule: and when public sentiment is
strong enough to turn its back upon unclean
plays they will fail. and without public sem
timent laws they are only partially enforce
able. The lamentable situation in reference
to prohibition is a good illustration in point.
heard Henry Watterson once say, NO
matter how damned bad newspaper was it
was usually one degree better than the
people who read it, Maybe that applies also