Today, those cases which drunk people are to be put to violent to police officers that perform the public service in the night are going to frequently. If a drunk man did a assault and intimidation to police officers that are performing a public service, he can be punished by public affairs executive interference sin, but if he tried only an abuse, he can be arrested and punished by contempt. But there is criticism that abuse the public authority for this. Whether arrest of flagrant delictor is legitimate, it is to be judged on the basis of the time of arrest situation, and police officers must have an accurate understanding of the requirements of arrest. For this, the law and judicial precedent must give an accurate guide line to police officers in order that able to arrest the culprit and to crush the crime. However, if there are different conclusions that the cases of two of judgment there is no difference, precedents of the court is not the role of the criteria was firmly in the investigation field of clear distinction, the side is that rather it was confusing. In order to solve this confusion, I think that “anxiety of flee or destroy evidence” shall be excluded as the requirements of a flagrant delictor, and if not a serious case or a urgent case need to determine whether there is a need to arrest.

The literary achievements T. S. Eliot, as a poet, critic and publisher, had made with The Criterion (1922-1939), mostly a quarterly journal, at Faber & Faber, are supposed to be a good example by which we can examine the process of human studies in terms of production, consumption, and distribution of poetry. Lady Rothermere was a patron of the arts, including Eliot’s publishing activities for the commentary journal of The Criterion, yet she was not happy working with him for a long time. The response of Lady Rothermere to the first publication of The Criterion, by Eliot as publisher in October 1922, was critically and cynically ‘dull’; Ezra Pound considered such a comment by Lady Rothermere on Eliot’s works “intentionally offensive” in a letter to Eliot in 1922. Lady Rothermere pursued entertainment in cheap and vulgar literature for the public, different from Eliot, who wanted to publish an elite journal, intellectual and sincere in literary commentary, on his own. Nonetheless, the contribution of Lady Rothermere on Eliot’s works in The Criterion casts a great shadow, by supporting human studies and by the promoting popularity of humanities, into the early literary history of the 20th century. As a matter of fact, Lady Rothermere turned out to be an essential patron for Eliot’s literary activities in the 1920s, yet her active passion and involvement in Eliot’s publication of The Criterion appeared to be a considerable threat to his literary life in poetry and criticism.