Mrs. Warren's Profession
George Bernard Shaw
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Description
Mrs. Warren's Profession is a play written by Irish author George Bernard Shaw, written in 1893 and first performed in 1902. The story is about Mrs Kitty Warren, a former prostitute, who is now a brothel owner. In the play, she has to come to terms with her daughter Vivie's disapprovement of her chosen profession. Shaw illustrates his belief that prostitution was more an act of economic necessity than a moral failing.
№ 62 in Anne Haight's List of Banned Books.
This book has 65 pages in the PDF version, and was originally written in 1893.
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Excerpt from 'Mrs. Warren's Profession'
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 laugh at them if they did. So well have the rescuers learnt that Mrs Warren’s defence of herself and indictment of society is the thing that most needs saying, that those who know me personally reproach me, not for writing this play, but for wasting my energies on “pleasant plays” for the amusement of frivolous people, when I can build up such excellent stage sermons on their own work. Mrs Warren’s Profession is the one play of mine which I could submit to a censorship without doubt of the result; only, it must not be the censorship of the minor theatre critic, nor of an innocent court official like the Lord Chamberlain’s Examiner, much less of people who consciously profit by Mrs Warren’s profession, or who personally make use of it, or who hold the widely whispered view that it is an indispensable safety-valve for the protection of domestic virtue, or, above all, who are smitten with a sentimental affection for our fallen sister, and would “take her up tenderly, lift her with care, fashioned so slenderly, young, and SO fair.” Nor am I prepared to accept the verdict of the medical gentlemen who would compulsorily sanitate and register Mrs Warren, whilst leaving Mrs Warren’s patrons, especially her military patrons, free to destroy her health and anybody else’s without fear of reprisals. But I should be quite content to have my play judged by, say, a joint committee of the Central Vigilance Society and the Salvation Army. And the sterner moralists the members of the committee were, the better.
Some of the journalists I have shocked reason so unripely that they will gather nothing from this but a confused notion that I am accusing the National Vigilance Association and the Salvation Army of complicity in my own scandalous immorality. It will seem to them that people who would stand this play would stand anything. They are quite mistaken. Such an audience as I have described would be revolted by many of our fashionable plays. They would leave the theatre convinced that the Plymouth Brother who still regards the playhouse as one of the gates of hell is perhaps the safest adviser on the subject of which he knows so little. If I do not draw the same conclusion, it is not because I am one of those who claim that art is exempt from moral obligations, and deny that the writing or performance of a play is a moral act, to be treated on exactly the same footing as theft or murder if it produces equally mischievous consequences. I am convinced that fine art is the subtlest, the most seductive, the most effective instrument of moral propaganda in the world, excepting only the example of personal conduct; and I waive even this exception in favor of the art of the stage, because it works by exhibiting examples of personal conduct made intelligible and moving to crowds of unobservant, unreflecting people to whom real life means nothing. I have pointed out again and again that the influence of the theatre in England is growing so great that whilst private conduct, religion, law, science, politics, and morals are becoming more and more theatrical, the theatre itself remains impervious to common sense, religion, science, politics, and morals. That is why I fight the theatre, not with pamphlets and sermons and treatises, but with plays; and so effective do I find the dramatic method that I have no doubt I shall at last persuade even London to take its conscience and its brains with it when it goes to the theatre, instead of leaving them at home with its prayer-book as it does at present. Consequently, I am the last man in the world to deny that if the net effect of performing Mrs Warren’s Profession were an increase in the number of persons entering that profession, its performance should be dealt with accordingly.
Production notes: This edition of Mrs. Warren's Profession was published by Global Grey ebooks on the 18th January 2021. The artwork used for the cover is 'Portrait of Frances Sherborne Ridley Watts' by John Singer Sargent.
