people flocked to gaze admiringly at a fashionable courtesan and her attendant harlots, or thronged to listen to obscene and filthy songs, or to witness indecent exhibitions, especially if these involved the risk of life or limb to the performers. Money flowed into the treasuries when such were the inducements, and eager rivalry in their production was the inevitable consequence. Clergymen, aristocrats, and art professors joined in extolling the stage as “the educator of public taste,” while young girls crowded to enter the ballet as the proper road to a life of delightful immorality. The press groaned daily under the weight passing through it of novels which tinctured absolute crimes with poetry and romance, which clothed the worst sensuality in the white robes of innocence, and which taught and argued in favour of every vice. Serial journals adapted to every class, rested their claims to attention on the obscenity, scurrility, or blasphemy of their pages, disguised under a film of moral platitude. Such were some of the causes at work, here were some of their immediate results. Among the higher ranks of society immorality was so common as to excite but small attention; frequent divorce suits proved this; scandalous disclosures of high life were of common occurrence; they gratified the public taste while serving to show the deeper depths below. Pleasure-seeking being the only employment of the wealthy and governing class, they elevated it into a “cult,” and wearied with the tameness of mere harlotry, gluttony, and show, brought “art” to their aid and invented “æstheticism” as a cloak for higher flights of sin. The men of the “upper ten thousand” were trained from their cradles for a life of sensuous enjoyment. They held themselves aloof from commoner clay as from
