The amazing decision of the Government to employ methods quite alien to England, and rather belonging to the police of the Continent, probably arises from the appearance of papers which are lucid and fighting, like the papers of the Continent. The business may be put in many ways. But one way of putting it is simply to say that a monopoly of bad journalism is resisting the possibility of good journalism. Journalism is not the same thing as literature; but there is good and bad journalism, as there is good and bad literature, as there is good and bad football. For the last twenty years or so the plutocrats who govern England have allowed the English nothing but bad journalism. Very bad journalism, simply considered as journalism.
It always takes a considerable time to see the simple and central fact about anything. All sorts of things have been said about the modern Press, especially the Yellow Press; that it is Jingo or Philistine or sensational or wrongly inquisitive or vulgar or indecent or trivial; but none of these have anything really to do with the point.
The point about the Press is that it is not what it is called. It is not the "popular Press." It is not the public Press. It is not an organ of public opinion. It is a conspiracy of a very few millionaires, all sufficiently similar in type to agree on the limits of what this great nation (to which we belong) may know about itself and its friends and enemies. The ring is not quite complete; there are old-fashioned and honest papers: but it is sufficiently near to completion to produce on the ordinary purchaser of news the practical effects of a corner and a monopoly. He receives all his political information and all his political marching orders from what is by this time a sort of half-conscious secret society, with very few members, but a great deal of money.
This enormous and essential fact is concealed for us by a number of legends that have passed into common speech. There is the notion that the Press is flashy or trivial _because_ it is popular. In other words, an attempt is made to discredit democracy by representing journalism as the natural literature of democracy. All this is cold rubbish. The democracy has no more to do with the papers than it has with the peerages.
The millionaire newspapers are vulgar and silly because the millionaires are vulgar and silly. It is the proprietor, not the editor, not the sub-editor, least of all the reader, who is pleased with this monotonous prairie of printed words. The same slander on democracy can be noticed in the case of advertisements. There is many a tender old Tory imagination that vaguely feels that our streets would be hung with escutcheons and tapestries, if only the profane vulgar had not hung them with advertisements of Sapolio and Sunlight Soap. But advertisement does not come from the unlettered many. It comes from the refined few. Did you ever hear of a mob rising to placard the Town Hall with proclamations in favour of Sapolio? Did you ever see a poor, ragged man laboriously drawing and painting a picture on the wall in favour of Sunlight Soap--simply as a labour of love? It is nonsense; those who hang our public walls with ugly pictures are the same select few who hang their private walls with exquisite and expensive pictures. The vulgarisation of modern life has come from the governing class; from the highly educated class. Most of the people who have posters in Camberwell have peerages at Westminster. But the strongest instance of all is that which has been unbroken until lately, and still largely prevails; the ghastly monotony of the Press.
Then comes that other legend; the notion that men like the masters of the Newspaper Trusts "give the people what they want." Why, it is the whole aim and definition of a Trust that it gives the people what it chooses.
