'Shouting Fire in a Theater': The Life and Times of Constitutional Law’s Most Enduring Analogy

Carlton F. W. Larson
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Abstract

In 1919, Justice Oliver Wendell Holmes introduced the specter of a man falsely shouting fire in a theater into First Amendment law. Nearly one hundred years later, this analogy remains the most enduring analogy in constitutional law. It has been relied on in hundreds of constitutional cases and it has permeated popular discourse on the scope of individual rights.This Essay examines the both the origins and the later life of Holmes’s theater analogy. Part One is a detective story, seeking to solve the mystery of how Holmes came up with this particular example. This story takes us to the forgotten world of the late nineteenth and early twentieth centuries, when false shouts of fire in theaters were a pervasive problem that killed hundreds of people both in the United States and Great Britain. The person who shouted “fire” in a crowded theater was a recognizable stock villain of popular culture, condemned in newspapers, magazines and books from coast to coast. The analogy, lifted by Holmes from a federal prosecutor in Cleveland, was rooted in this larger world of popular culture. Understanding this world also answers another question: Why do lawyers and non-lawyers alike refer to “shouting fire in a crowded theater” rather than “falsely shouting fire in a theater and causing a panic,” which is what Holmes actually wrote? Along the way, we will encounter a real detective and even a mustachioed villain.Part Two is based on an empirical study of the 278 subsequent judicial opinions that employ the theater analogy. In lower courts, opinions that invoke the analogy, not surprisingly, typically reject free speech claims, but opinions that paraphrase Holmes are, counter-intuitively, more receptive to free speech claims than opinions that quote Holmes precisely. The Essay concludes by noting that the theater analogy has largely lost its capacity to frighten in the visceral way that Holmes’s audience would have understood it. Although it persists in constitutional law, it has become rarified and largely abstract, perhaps contributing in some small way to the general libertarian trend of modern First Amendment law.
“剧院失火”:宪法最经久不衰的比喻的生命与时代
1919年,大法官奥利弗·温德尔·霍姆斯(Oliver Wendell Holmes)将一个人在剧院里错误地喊着火的幽灵引入了第一修正案。将近一百年后,这个类比仍然是宪法中最经久不衰的类比。数百个宪法案件都以它为依据,它已经渗透到关于个人权利范围的流行话语中。本文考察了福尔摩斯戏剧比喻的起源和他的晚年生活。第一部分是一个侦探故事,试图解开福尔摩斯是如何想出这个特殊例子的谜团。这个故事把我们带到了19世纪末和20世纪初被遗忘的世界,当时剧院里假喊着火是一个普遍存在的问题,在美国和英国都造成了数百人死亡。在拥挤的剧院里大喊“着火了”的人是流行文化中公认的老反派,受到了全国各地报纸、杂志和书籍的谴责。这个类比是福尔摩斯从克利夫兰的一位联邦检察官那里提出来的,它根植于这个更大的流行文化世界。理解这个世界也回答了另一个问题:为什么律师和非律师都提到“在拥挤的剧院里喊着火了”,而不是“在剧院里错误地喊着火了,引起恐慌”,而福尔摩斯实际上是这样写的?一路上,我们会遇到一个真正的侦探,甚至是一个大胡子恶棍。第二部分是基于对278份采用戏剧类比的司法意见书的实证研究。在下级法院,引用这个类比的意见,毫不奇怪,通常会拒绝言论自由的主张,但是,与直觉相反,解释福尔摩斯的意见,比精确引用福尔摩斯的意见更容易接受言论自由的主张。文章最后指出,戏剧的类比在很大程度上已经失去了以福尔摩斯的观众所能理解的本能方式吓唬人的能力。尽管它在宪法中仍然存在,但它已经变得越来越模糊,而且在很大程度上是抽象的,也许在某种程度上对现代第一修正案的普遍自由主义趋势有所贡献。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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