<table><tr><th>Omeka ID</th><th>Omeka URL</th><th>Title</th><th>Subject</th><th>Description</th><th>Creator</th><th>Source</th><th>Publisher</th><th>Date</th><th>Contributor</th><th>Rights</th><th>Relation</th><th>Format</th><th>Language</th><th>Type</th><th>Identifier</th><th>Coverage</th><th>Publisher(s)</th><th>Original Format</th><th>Oxford Dictionary of National Biography Entry</th><th>Pages</th><th>Participants</th><th>Pen Name</th><th>Physical Dimensions</th><th>Position End Date</th><th>Position Start Date</th><th>Position(s)</th><th>Publication Frequency</th><th>Occupation</th><th>Sex</th><th>Society Membership End Date</th><th>Society Membership Start Date</th><th>Start Date</th><th>Sub-Committee End Date</th><th>Sub-Committee Start Date</th><th>Text</th><th>To</th><th>URL</th><th>Volume</th><th>Death</th><th>Biography</th><th>Birth</th><th>Committee End Date</th><th>Committee of Management End Date</th><th>Committee of Management Start Date</th><th>Committee Start Date</th><th>Committee(s)</th><th>Council End Date</th><th>Council Start Date</th><th>Date</th><th>Bibliography</th><th>End Date</th><th>Event Type</th><th>From</th><th>Image Source</th><th>Interactive Timeline</th><th>Issue</th><th>Location</th><th>Members</th><th>Ngram Date</th><th>Ngram Text</th><th>Files</th><th>Tags</th></tr><tr><td>256</td><td>https://historysoa.com/items/show/256</td><td>The Author, Vol. 02 Issue 05 (October 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+05+%28October+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 05 (October 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-10-01-The-Author-2-5</td><td></td><td></td><td></td><td></td><td>129&ndash;160</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-10-01&quot;&gt;1891-10-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>5</td><td></td><td></td><td>18911001</td><td>The Author.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT..&lt;br /&gt;
-&lt;br /&gt;
--- -&lt;br /&gt;
Vol. II.&mdash;No. 5.]&lt;br /&gt;
- - -&lt;br /&gt;
OCTOBER 1, 1891.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
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PAGE&lt;br /&gt;
. 119&lt;br /&gt;
.. 149&lt;br /&gt;
:::&lt;br /&gt;
1&lt;br /&gt;
Notices&lt;br /&gt;
The Authors&amp;#039; Club.. .&lt;br /&gt;
A Ladies&amp;#039; Club .. .&lt;br /&gt;
To an Author who complained of Neglect..&lt;br /&gt;
My Brother Charles. An Extract&lt;br /&gt;
Pegasus in Harness .. ..&lt;br /&gt;
&ldquo;Authors&amp;#039; Complaints and Publishers&amp;#039; Profits&lt;br /&gt;
Popular Platitudinous Philosophy&lt;br /&gt;
Notes and News ..&lt;br /&gt;
Lists and Risks&lt;br /&gt;
From America&lt;br /&gt;
Reviewers and Reviews ..&lt;br /&gt;
Magazines and Contributions ...&lt;br /&gt;
Commission Books&lt;br /&gt;
138&lt;br /&gt;
::::::::::::::&lt;br /&gt;
--- --&lt;br /&gt;
CONTENTS.&lt;br /&gt;
PAGE 1&lt;br /&gt;
.. 133&lt;br /&gt;
An Instructive Case&lt;br /&gt;
.. 134 The Marlowe Memorial&lt;br /&gt;
&ldquo;Good Work, Sure Pay&amp;quot;&lt;br /&gt;
.. 135 Correspondence-&lt;br /&gt;
.. 135&lt;br /&gt;
I. The Statute of Limitations ..&lt;br /&gt;
II. Fiction and Reality&lt;br /&gt;
1 38&lt;br /&gt;
II. Slating .. .. ..&lt;br /&gt;
IV. Words and Bricks&lt;br /&gt;
140&lt;br /&gt;
V. A Provident Society.&lt;br /&gt;
VI. An Honourable Action&lt;br /&gt;
146&lt;br /&gt;
VII. Reviews and Reviewers&lt;br /&gt;
147 Pages Cut or Uncut&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head &amp;quot;&lt;br /&gt;
.. 148 New Books .. .. ..&lt;br /&gt;
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&amp;lt;&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
PLIOCENE DEPOSITS OF BRITAIN, THE. By | STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
CLEMENT RBID, F.L.S., F.G.S. Five Plates (48 cuts), gs. 6d.&lt;br /&gt;
1831&ndash;40. Published under the direction of the State Trials&lt;br /&gt;
Committee. Edited by JOIN MACDONELL, M.A. 108.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
| MANUAL OF BIRDS OF NEW ZEALAND). By&lt;br /&gt;
Geology of. By WILLIAM WHITAKER, B.A. 18.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
WALTER L. BULLER, C.M.G., Sc.D)., F.R.S. Numerous Plates.&lt;br /&gt;
Royal 8vo. 108.&lt;br /&gt;
The Ge Jogy of. By W. WAITAKER, B.A., F.R.S., F.G.S..&lt;br /&gt;
INDIGENOUS GRASSES OF NEW ZEALAND. By&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
Cloth, 68. Vol. II. APPENDICES. 8vo. Cloth, 58.&lt;br /&gt;
JOHN BUCHANAN. Full-page Illustrations. Imp. 4to. Half&lt;br /&gt;
Morocco, 158.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew FOREST FLORA OF NEW ZEALAND. By T. KIRK,&lt;br /&gt;
Gardens. 28. iod.&lt;br /&gt;
F.L.S., late Chief Conservator of State Forests, N.Z., &amp;amp;c.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, 2d. Appendices, 2d. Numerous Plates. Fcap. folio. Cloth, 128. 6d.&lt;br /&gt;
each. Annual Subscription, including postage, 38. 9d.&lt;br /&gt;
HANDBOOK OF NEW ZEALAND FISHES. By R.&lt;br /&gt;
A. SHERRIN, Demy 8vo. Cloth, 28.&lt;br /&gt;
DESCRIPTIVE CATALOGUE OF MUSICAL INSTRU.&lt;br /&gt;
ORANGE CULTURE IN NEW ZEALAND. By G. C.&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. DAY, Oxfordshire Light Infantry, under&lt;br /&gt;
ALDERTON. Demy 8vo. Cloth, 28.&lt;br /&gt;
the orders of Col. SHAW-HELLIER, Commandant Royal Military&lt;br /&gt;
MANUAL OF NEW ZEALAND MOLLUSCA. By&lt;br /&gt;
School of Music. Illustrated by a series of Twelve artistically Prof. HUTTON. Royal 8vo. 38.&lt;br /&gt;
executed Plates in Heliogravure, and with numerous Wood NEW ZEALAND DIPTERA, HYMENOPTERA, AND&lt;br /&gt;
Engravings. 218.&lt;br /&gt;
ORTHOPTERA. By Prof. HUTTON. Royal 8vo. 28.&lt;br /&gt;
&amp;quot; It affords information obtainable nowhere else, and it has been&lt;br /&gt;
NEW ZEALAND COLEOPTERA. Parts 1 to 4. By&lt;br /&gt;
put together with so much care and thoughtfulness that Capt. Day&amp;#039;s&lt;br /&gt;
volume will be indeed welcomed by all who have to deal with the&lt;br /&gt;
Captain T. Broux. Royal 8vo. 78. 6d.&lt;br /&gt;
wind instruments, and can be accepted without question as the THE LITERATURE RELATING TO NEW ZEALAND,&lt;br /&gt;
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A Bibliography. Royal 8vo. Cloth, 28. 6d.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
POLYNESIAN MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. R.&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACE.&lt;br /&gt;
SCARGILL-BIRD, F.S.A. 78.&lt;br /&gt;
By Sir GEORGE GREY, K.C.B. Illustrated. Koyal 8vo. Cloth. 5:&lt;br /&gt;
&laquo; The value of such a work as Mr. Scargill-Bird&amp;#039;s can scarcely be ANCIENT HISTORY OF THE MAORI. By Jorche&lt;br /&gt;
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GOVERNMENT AND GENERAL PUBLISHERS. con&lt;br /&gt;
ERS. containing the&lt;br /&gt;
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I 2&lt;br /&gt;
&lt;br /&gt;
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George Augustus Sala.&lt;br /&gt;
W. Baptiste Scoones.&lt;br /&gt;
G. R. Sims.&lt;br /&gt;
J. J. Stevenson.&lt;br /&gt;
Jas. Sully.&lt;br /&gt;
William Moy Thomas.&lt;br /&gt;
H. D. Traill, D.C.L.&lt;br /&gt;
The Right Hon. the Baron Henry&lt;br /&gt;
de Worms, M.P., F.R.S.&lt;br /&gt;
Edmund Yates.&lt;br /&gt;
Hon. Counsel&mdash;E. M. Underdown, Q.C.&lt;br /&gt;
A. W. a Beckett.&lt;br /&gt;
W. Martin Conway.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman&mdash;Walter Besant.&lt;br /&gt;
Edmund Gosse. J. M. Lely.&lt;br /&gt;
H. Rider Haggard. Sir Frederick Pollock.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
Solicitors&mdash;Messrs. Field, Roscoe, &amp;amp; Co., Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
Secretary&mdash;S. Squire Sprigge.&lt;br /&gt;
OFFICES.&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields, W.C.&lt;br /&gt;
PUBLICATIONS OF THE SOCIETY.&lt;br /&gt;
1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
Property. Issued to all Memliers.&lt;br /&gt;
3. The Grievances Of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on the&lt;br /&gt;
general subject of Literature and its defence, held at Willis&amp;#039;s Rooms, March 1887.&lt;br /&gt;
4 Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glnisher.&lt;br /&gt;
q5, Strand, W.C.) is.&lt;br /&gt;
5. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, Secretary to the&lt;br /&gt;
Society. I*-&lt;br /&gt;
6. The Cost Of Production. In this work sj&amp;gt;eciuiens are given of the most important forms of type,&lt;br /&gt;
size of page, Ac., with estimates showing what it costs to produce the more common kinds of books.&lt;br /&gt;
2s. 6d. Out of Print, New Edition now preparing.&lt;br /&gt;
7. The Various Methods of Publication. By S. Squibb Sprigge. In this work, compiled from the&lt;br /&gt;
papers in the Society&amp;#039;s offices, the various kinds of agreements proposed by Publishers to Authors&lt;br /&gt;
are examined, and their meaning carefully explained, with an account of the various kinds of fraud&lt;br /&gt;
which have l&amp;gt;een made possible by the different clauses in their agreements. Price 3s. Second&lt;br /&gt;
Edition.&lt;br /&gt;
8. Copyright Law Eeform. An Exposition of Lord Monkswell&amp;#039;s Copyright Bill now before Parliament.&lt;br /&gt;
With Extracts from the Report of the Commission of 1878, and an Appendix containing the&lt;br /&gt;
Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre and Npottiswoode&lt;br /&gt;
1 *. 6d.&lt;br /&gt;
Other work* bearing on the TAteranj Profession will follow,&lt;br /&gt;
vol. n. I 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 132 (#536) ############################################&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The 11 Swan&amp;quot; is a beautiful Gold Ppn joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can be refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted.&lt;br /&gt;
There are yarions points to select from, broad, medium, and flue, every handwriting can he suited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post free, is only 10s, 6d.&lt;br /&gt;
&lt;br /&gt;
The. Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; ;Co.&amp;#039;s [famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot;Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not penetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One Will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Oliver Wkndell Holmes has used one of Mabie, Todd, &amp;amp; Co.&amp;#039;s Gold Pens since 1857, and is using the same&lt;br /&gt;
one (his &amp;quot; old friend &amp;quot;) to-day.&lt;br /&gt;
Sydney Grundy, Esq., says (referring to the Fountain Pen) :&mdash;&amp;quot;It is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Mobkrly Bell, Esq., Manager, The Times, says (referring to the Fountain Pen) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. D. Waddy, Esq., Q.C., M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as far as I can remember, they have never failed me.&amp;quot;&lt;br /&gt;
11 H-c-a^E-&amp;gt;-iJI 11 ■&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
&copy;3, CHBAPSIDE, LONDON.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 133 (#537) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 5.] OCTOBER 1, 1891. [Pbice Sixpence.&lt;br /&gt;
For the Opinions expressed in papers that are&lt;br /&gt;
signed the Authors alone are responsible.&lt;br /&gt;
NOTICES.&lt;br /&gt;
MEMBERS and others who wish their MSS.&lt;br /&gt;
read are requested not to send them to&lt;br /&gt;
the Office without previously communi-&lt;br /&gt;
cating with the Secretary. So large a number of&lt;br /&gt;
MSS. are sometimes sent in, that it is impossible to&lt;br /&gt;
guarantee that the Society&amp;#039;s Readers will furnish&lt;br /&gt;
rejwrts by any fixed date. The utmost practicable&lt;br /&gt;
despatch is aimed at, and MSS. are read in the&lt;br /&gt;
order in which they are received. It must also be&lt;br /&gt;
distinctly understood that the Society does not,&lt;br /&gt;
under any circumstances, undertake the publication&lt;br /&gt;
of MSS.&lt;br /&gt;
The official directions for the securing of American&lt;br /&gt;
copyright by English authors were given in the&lt;br /&gt;
Author for June 1891. Members are earnestly&lt;br /&gt;
entreated to take the trouble of reading those&lt;br /&gt;
directions.&lt;br /&gt;
In the Author for June 1890, and in &amp;quot;Methods&lt;br /&gt;
of Publication,&amp;quot; a brief statement is laid down for&lt;br /&gt;
the guidance of authors in their agreements on the&lt;br /&gt;
meaning of the different royalties proposed from&lt;br /&gt;
time to time&mdash;what is given to either side by those&lt;br /&gt;
royalties.&lt;br /&gt;
Members are earnestly requested to forward&lt;br /&gt;
agreements to the Society for inspection before&lt;br /&gt;
they sign them. Once signed, the mischief is&lt;br /&gt;
generally irreparable.&lt;br /&gt;
The Honorary Secretary of the Syndicate Depart-&lt;br /&gt;
ment will be glad to know the titles and lengths of&lt;br /&gt;
any stories written, or to be written, by Members&lt;br /&gt;
available for serial publication. Application is&lt;br /&gt;
constantly made to the Department for stories of&lt;br /&gt;
all descriptions which are ready. There is a great&lt;br /&gt;
demand tor &amp;quot;second rights&amp;quot; for newspaper use,&lt;br /&gt;
and Members will greatly oblige by forwarding the&lt;br /&gt;
names of tales already published, of which they are&lt;br /&gt;
willing to sell the serial use. MSS. should, how-&lt;br /&gt;
ever, in no case be forwarded to the Office without&lt;br /&gt;
previous communication with the Honorary Secre-&lt;br /&gt;
tary of the Syndicate Department.&lt;br /&gt;
&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
MR. Oswald Crawfurd, C.M.G., has accepted&lt;br /&gt;
the post of chairman of committee of the&lt;br /&gt;
proposed club. The form of approval sent&lt;br /&gt;
round with the last number of the Author has&lt;br /&gt;
resulted in a very good numl&amp;gt;er of names&mdash;quite&lt;br /&gt;
as many as were expected, considering the holiday&lt;br /&gt;
time. The same form is again enclosed. Readers&lt;br /&gt;
are earnestly begged to consider the Resolutions&lt;br /&gt;
published in the August number of the Author.&lt;br /&gt;
They are not final; they are tentative only, and&lt;br /&gt;
are subject to reconsideration. They contem-&lt;br /&gt;
plate a club of men only, because so many ladies&lt;br /&gt;
pointed out that they could not possibly pay so&lt;br /&gt;
large a subscription. Now, with a subscription&lt;br /&gt;
lower than five guineas it is perfectly impossible to&lt;br /&gt;
think of running a high-class club. That amount&lt;br /&gt;
will do no more than provide a moderate sized&lt;br /&gt;
house and a respectable service. It is in contempla-&lt;br /&gt;
tion to give the club a social character on the lines&lt;br /&gt;
already followed by some of the newer clubs. It is&lt;br /&gt;
intended to make it a comfortable house; a house&lt;br /&gt;
of rest, and a house of recreation. The word&lt;br /&gt;
Author is taken to include that large and impor-&lt;br /&gt;
tant branch of literature called journalism. But it&lt;br /&gt;
must not be taken to include only those persons who&lt;br /&gt;
follow the profession of letters. Then; are authors&lt;br /&gt;
most eligible for the club among all professions&lt;br /&gt;
under the sun. Literature is catholic. The club&lt;br /&gt;
should include all kinds of humanity which possess&lt;br /&gt;
the requisites of culture and of literary ambition&lt;br /&gt;
and experience.&lt;br /&gt;
&mdash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 134 (#538) ############################################&lt;br /&gt;
&lt;br /&gt;
&amp;#039;34&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
A LADIES&amp;#039; CLUE.&lt;br /&gt;
APRELIMINARY meeting has been held at&lt;br /&gt;
the Society&amp;#039;s office of ladies engaged in lite-&lt;br /&gt;
rature and journalism anxious to found a club&lt;br /&gt;
themselves. The chair was taken by Mrs. Stannard&lt;br /&gt;
(John Strange Winter). The meeting was nume-&lt;br /&gt;
rously attended. It is understood that a resolution&lt;br /&gt;
was unanimously passed iu favour of such a club. &mdash; &bull;&lt;br /&gt;
TO AN AUTHOR WHO COMPLAINED OP&lt;br /&gt;
NECJLECT AND DEPRECIATION.&lt;br /&gt;
Friend, l&amp;gt;c not fretful if the voice of fame,&lt;br /&gt;
Along the narrow ways of hurrying men&lt;br /&gt;
Where unto echo echo shouts again,&lt;br /&gt;
Be all day long not noisy with your name.&lt;br /&gt;
When dumb the noon-day din of praise and&lt;br /&gt;
blame,&lt;br /&gt;
And heavenly constellations hush the ken,&lt;br /&gt;
If yours be light celestial, you will then&lt;br /&gt;
Shine like a star, eternally the same.&lt;br /&gt;
Nor in your upward journeying stoop to con&lt;br /&gt;
The straining petulance of tethered spite,&lt;br /&gt;
That still hath railed whenever Genius shone:&lt;br /&gt;
As, when dogs bay the moon in midmost night,&lt;br /&gt;
The moon nor looks nor listens, but sails on,&lt;br /&gt;
Slowly ascending her predestined height.&lt;br /&gt;
Alfred Austin.&lt;br /&gt;
MY BROTHER CHARLES: An Extract.&lt;br /&gt;
&bull; &bull;&bull;&bull;&bull;&bull;&lt;br /&gt;
After these melancholy events, nothing remained&lt;br /&gt;
but for the company to break up, and for every&lt;br /&gt;
member of it to go his own way. I took a tender&lt;br /&gt;
farewell of Dollie, with great sorrow on both sides,&lt;br /&gt;
many promises of constancy, and some tears. But&lt;br /&gt;
I felt sure&mdash;I had a presentiment&mdash;that I should&lt;br /&gt;
never see her more. The dear girl proposed to&lt;br /&gt;
return for the moment to her &amp;quot; Pop,&amp;quot; who conducted&lt;br /&gt;
a store at Syracuse, 111., and was a strict church&lt;br /&gt;
meml&amp;gt;er. She thought tliat by burying in oblivion,&lt;br /&gt;
or carefully editing, the history of the last three&lt;br /&gt;
months, and by pretending that she had another en-&lt;br /&gt;
gagement as a schoohnarm, she might get some&lt;br /&gt;
dollars oiit of the old man, with the help of which&lt;br /&gt;
she could try the stage again with better luck. Cer-&lt;br /&gt;
tainly, one who has once l&amp;gt;eeii on the boards returns&lt;br /&gt;
to them quite naturally, and can never again do&lt;br /&gt;
anything else. My presentiment proved true, that&lt;br /&gt;
is to sav, I have only seen her once since. I was&lt;br /&gt;
tramping through the city of Detroit, when I saw a&lt;br /&gt;
name&mdash;her name&mdash;on a poster with a picture. I&lt;br /&gt;
went to the gallery in my rags. I saw her dressed&lt;br /&gt;
in tights dancing a breakdown, singing saucy songs,&lt;br /&gt;
looking so happy and lively, that it made me sick&lt;br /&gt;
and ill just to think of her happiness and mr&lt;br /&gt;
rags. And all through one thing. I suppose she&lt;br /&gt;
had got the dollars out of her &amp;quot; Pop,&amp;quot; and so got&lt;br /&gt;
back to the boards with l&amp;gt;etter luck. Well, when I&lt;br /&gt;
had taken her ticket and seen her off, I made the&lt;br /&gt;
melancholy discovery that I was left absolutely&lt;br /&gt;
penniless&mdash;stone broke. I returned to the hotel and&lt;br /&gt;
spent the rest of that day and most of the night in&lt;br /&gt;
trying to find a way out of the mess. What I wanted&lt;br /&gt;
was money to carry me on to New York, and to&lt;br /&gt;
keep me going there until 1 should find another&lt;br /&gt;
engagement. When I fell asleep, I had fully&lt;br /&gt;
resolved what to do. I do not defend the plan&lt;br /&gt;
which I finally adopted. I am aware that it mav lie&lt;br /&gt;
attacked, especially if a harsh and one-sided view&lt;br /&gt;
is adopted; but I do declare that it was forced&lt;br /&gt;
upon me, and that I fully intended, but for the&lt;br /&gt;
accursed accidents which followed, to repay all&lt;br /&gt;
the money I should make by my false pretences.&lt;br /&gt;
I daresay I shall not l&amp;gt;e believed, but that was my&lt;br /&gt;
honest intention.&lt;br /&gt;
I was then six and twenty years of age, an&lt;br /&gt;
Englishman by birth, and, as you have guessed,&lt;br /&gt;
an actor&mdash;not as yet a very successful actor&mdash;by&lt;br /&gt;
profession. I still think that if I had had the luck&lt;br /&gt;
to light upon a really new part, and to make it my&lt;br /&gt;
own, I had the touch and go, light comedy style,&lt;br /&gt;
and might have made a reputation&mdash;ah ! equal to&lt;br /&gt;
any. I&amp;#039;ve seen Charles Wyudham, and it is absurd&lt;br /&gt;
to suppose that I could not . . . But it is too late.&lt;br /&gt;
And all through the most extraordinary mis-&lt;br /&gt;
fortune that ever befell any man. There I was, an&lt;br /&gt;
honourable, scrupulous young man&mdash;I repeat, that&lt;br /&gt;
I intended to pay back the money&mdash;and I was&lt;br /&gt;
wrecked, ruined by one&mdash;just one&mdash;accident, which&lt;br /&gt;
nobody could have foreseen. At the same time,&lt;br /&gt;
I admit that I ought to have got away at once&lt;br /&gt;
without an hour&amp;#039;s delay. I might have guessed;&lt;br /&gt;
and here I am, all in consequence of that accident,&lt;br /&gt;
tramp, gaolbird, swindler, thief, and can&amp;#039;t raise&lt;br /&gt;
myself again as long as I live. Sometimes when I&lt;br /&gt;
think of that accident I feel as if the top of my&lt;br /&gt;
head was being lifted off.&lt;br /&gt;
In the morning, my plan fully formed, I dressed&lt;br /&gt;
myself as carefully as my slender wardrobe would&lt;br /&gt;
allow, and after breakfast sallied out, thankful&lt;br /&gt;
that it did not occur to the clerk as I passed him&lt;br /&gt;
in the hall, to remind me of the hotel bill. The&lt;br /&gt;
place was Philadelphia, which is full of rich people,&lt;br /&gt;
and has some liu-niry people. I had procured&lt;br /&gt;
from the directory certain names and addresses&lt;br /&gt;
which I thought would be useful. There was a&lt;br /&gt;
great Shakespearean scholar; there was a rich&mdash;ft&lt;br /&gt;
very rich&mdash;editor; there was a poet of eminence;&lt;br /&gt;
there were three or four clergymen; there W&laquo;*&lt;br /&gt;
others&mdash;scholars and authors. I called upon all of&lt;br /&gt;
them. The Shakespearean scholar lent me $icc; the&lt;br /&gt;
rich editor, $125; the poet, $zo; the others, from &sect;to&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 135 (#539) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
135&lt;br /&gt;
to $20 each. I went l&amp;gt;ack to my hotel that morning&lt;br /&gt;
richer than when I left it by about S3oo&mdash;say, &pound;60&lt;br /&gt;
in English money. This was very good business,&lt;br /&gt;
so good that I ought to have cleared out at once&lt;br /&gt;
without the least delay. I ought to have suspected&lt;br /&gt;
that something was going to happen after such&lt;br /&gt;
wonderful luck. For I had no dilliculty whatever&lt;br /&gt;
with my little plan. It came off without a hitch.&lt;br /&gt;
Such a plan generally does. It must be simple;&lt;br /&gt;
it must be well and naturally told; there must be&lt;br /&gt;
no hint or suggestion that the story could be&lt;br /&gt;
suspected or disbelieved. What I did was this: I&lt;br /&gt;
sent in my card, &amp;quot; Mr. Wilford Amhurst, Dramatic&lt;br /&gt;
Authors&amp;#039; Club, London.&amp;quot; I was taken to see my man&lt;br /&gt;
&mdash;it was the Shakespearean scholar&mdash;in his study.&lt;br /&gt;
Now I certainly looked very English, and I believe&lt;br /&gt;
I had at that time an honest face and a frank&lt;br /&gt;
manner. After all these prisons, and ups and&lt;br /&gt;
downs, my face may be English still, but it is no&lt;br /&gt;
longer honest, nor is my manner frank. I began&lt;br /&gt;
by apologizing for intruding. I ventured to do so&lt;br /&gt;
on account of his well known sympathy with letters.&lt;br /&gt;
Then I paused a moment. He 1 rowed his head in&lt;br /&gt;
silence. I went on to say that the name on my&lt;br /&gt;
card, Wilford Amhurst,&amp;quot; was not my real but&lt;br /&gt;
my stage name, that I was really Wilford Ingledew,&lt;br /&gt;
and that I was the youngest brother of Charles&lt;br /&gt;
Ingledew, the well known novelist. The scholar&lt;br /&gt;
started and looked suspicions. &amp;quot;Charles Ingle-&lt;br /&gt;
dew,&amp;quot; he said, &amp;quot; must be a good deal older than&lt;br /&gt;
yourself.&amp;quot; &amp;quot;Not so very much,&amp;quot; I replied, putting&lt;br /&gt;
something on my own age and taking something&lt;br /&gt;
from his. &amp;quot;I am 36 and he is 46.&amp;quot; He asked&lt;br /&gt;
me, still in a doubtful kind of way, but open to&lt;br /&gt;
conviction, to tell him a little more about myself.&lt;br /&gt;
I said that I was at Rugby and afterwards at&lt;br /&gt;
Pembroke, Cambridge, where I did not stay to&lt;br /&gt;
take a degree, but left at the end of my second vear.&lt;br /&gt;
It was rather a lucky guess about Pembroke, because&lt;br /&gt;
I had once stayed with a man who was stage-struck,&lt;br /&gt;
and I knew something about the College, a nil so&lt;br /&gt;
did lie. He asked me if I had written anything.&lt;br /&gt;
I gave him a long list of plays and poems, none of&lt;br /&gt;
which I had with me. He then asked me if I had&lt;br /&gt;
any letter or anything from my brother which&lt;br /&gt;
would go to prove my statement. I pulled&lt;br /&gt;
out of my pocket-lxx&amp;gt;k a letter written on some&lt;br /&gt;
English note paper&mdash;fortunately rather soiled and&lt;br /&gt;
dirty, which helped ine. It began &amp;quot;My dear&lt;br /&gt;
Wilford.&amp;quot; It lamented my bad luck, gently&lt;br /&gt;
intimated that extravagance was partly the cause&lt;br /&gt;
of it, and exhorted me to return to England,&lt;br /&gt;
where, he said, he had little doubt that with my&lt;br /&gt;
undoubted talent I should certainly succeed. He&lt;br /&gt;
ended it with two or three purely family matters&mdash;&lt;br /&gt;
a reference to my mother&amp;#039;s health, and&amp;#039; another to&lt;br /&gt;
a married sister who had recently been happily&lt;br /&gt;
confined of twins, and he remained, hoping to&lt;br /&gt;
sec me at home before long, my affectionate brother&lt;br /&gt;
Charles Ingledew. I had written the letter myself&lt;br /&gt;
that morning. As for the signature, I copied it&lt;br /&gt;
from a magazine. &amp;quot;This,&amp;quot; said my scholar, &amp;quot;is&lt;br /&gt;
certainly Charles Ingledew&amp;#039;s signature. I suppose&lt;br /&gt;
there is no doubt that you are the person you repre-&lt;br /&gt;
sent yourself to be; and, in that case, what do you&lt;br /&gt;
want of me?&amp;quot; &amp;quot;Well, I am absolutely j&amp;gt;enniless.&lt;br /&gt;
That is my case. I cannot beg or steal. I want to&lt;br /&gt;
borrow. Only I want to borrow so that my brother&lt;br /&gt;
should not know. He would l&amp;gt;c disgusted if he&lt;br /&gt;
knew anything about it. He is always pitching&lt;br /&gt;
into me about extravagance. Will you, on my&lt;br /&gt;
word of honour only, lend me a hundred dollars?&lt;br /&gt;
I am going back to London, and I shall send you&lt;br /&gt;
the money as soon as I possibly can. If I don&amp;#039;t&lt;br /&gt;
get it by my own work, I shall have to borrow it of&lt;br /&gt;
Charles.&amp;quot; Without a word he opened a drawer&lt;br /&gt;
and took out notes to that amount. &amp;quot;There,&amp;quot; he&lt;br /&gt;
said, &amp;quot;take these for your brother&amp;#039;s sake.&amp;quot;&lt;br /&gt;
I wrung his hand, and I went away without&lt;br /&gt;
another word. That was the best thing to do.&lt;br /&gt;
Gratitude, chokes you see. You press the hand of&lt;br /&gt;
your benefactor and yon go, with bowed shoulders,&lt;br /&gt;
opening and closing the door with just a little&lt;br /&gt;
demonstration and without noise.&lt;br /&gt;
In all the other cases I was equally successful.&lt;br /&gt;
Not a doubt was raised. Only I asked less of the&lt;br /&gt;
clergymen, and wanted nothing more than to pay&lt;br /&gt;
my hotel bill and to get on to New York, where I&lt;br /&gt;
hail friends.&lt;br /&gt;
Now, I .say again, had I possessed any sense at all,&lt;br /&gt;
I ought to have been so astonished at my wonderful&lt;br /&gt;
good luck that I should have made tracks at once. I&lt;br /&gt;
should have gone on by the first train to New York.&lt;br /&gt;
I should have made any further question, discussion,&lt;br /&gt;
or difficulties impossible. I ought to have known&lt;br /&gt;
that such ease in getting would have been followed&lt;br /&gt;
by tremendous difficulty in keeping. It is always&lt;br /&gt;
the way. The easier you get, the quicker you lose.&lt;br /&gt;
Well, I had impressed upon every one the&lt;br /&gt;
necessity of keeping my secret. They had all&lt;br /&gt;
promised, and to this day I cannot tell who, if&lt;br /&gt;
any, did betray me. I incline on the whole to&lt;br /&gt;
the belief that the old scoundrel, villain, rogue who&lt;br /&gt;
but there, you shall see.&lt;br /&gt;
I dined pleasantly and had a small bottle of&lt;br /&gt;
Burgundy&mdash;fancy a stone-broke player drinking&lt;br /&gt;
Burgundy in Philadelphia! and I really felt quite&lt;br /&gt;
happv, comfortable, and free from anxiety. As for&lt;br /&gt;
baing found out, or anything, that did not enter into&lt;br /&gt;
my imagination. After dinner I strolled into the&lt;br /&gt;
saloon and s it d jwn with a cigar looking on at the&lt;br /&gt;
p.;ople.&lt;br /&gt;
They came and went in twos an J threes; they&lt;br /&gt;
sat down and talked or they stood at the bar and&lt;br /&gt;
drank. I watched and listened, sitting lazily in a&lt;br /&gt;
corner under a gas light.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 136 (#540) ############################################&lt;br /&gt;
&lt;br /&gt;
136&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Presently two men came in, ami one had un&lt;br /&gt;
evening paper. He began to run his eve down the&lt;br /&gt;
columns, telling the news as he went on. One&lt;br /&gt;
thing after the other lie noted. Then he came to u&lt;br /&gt;
paragraph which he rend out at length. &amp;quot;There&lt;br /&gt;
is staying at the Lone Star Hotel a young English-&lt;br /&gt;
man who is at once actor, poet, and dramatist.&lt;br /&gt;
His theatrical name is Wilt&amp;#039;ord Amhurst. His&lt;br /&gt;
real name is Wilford Ingledew, and he is the&lt;br /&gt;
youngest brother of diaries Ingledew, the English&lt;br /&gt;
novelist. He has called upon one of the most&lt;br /&gt;
prominent citizens and revealed his name. He is&lt;br /&gt;
said to be a handsome Englishman of a thoroughly&lt;br /&gt;
Britannic aspect, looking younger than he is&mdash;&lt;br /&gt;
probably from wearing neither beard nor moustache.&lt;br /&gt;
He is ten years younger than his brother, who is&lt;br /&gt;
now forty-six, and he greatly resembles him in face&lt;br /&gt;
and stature. He has been a member of a travelling&lt;br /&gt;
variety company which has not been eminently&lt;br /&gt;
successful.&amp;quot; You sec that nothing here was said&lt;br /&gt;
about begging and borrowing. Yet I felt uneasy.&lt;br /&gt;
He read this out, and said, &amp;quot;Why, I remember&lt;br /&gt;
Wilford Amhurst in the piece&mdash;what was it&mdash;the&lt;br /&gt;
Criterion comedy piece. And ...&amp;quot; His&lt;br /&gt;
voice stopped short, for he recognised me.&lt;br /&gt;
Even then there was still time. I should have&lt;br /&gt;
left the saloon immediately and taken the night&lt;br /&gt;
train. Fool! double&mdash;treble Fool!&lt;br /&gt;
The man advanced to me. &amp;quot;Mr. Wilford&lt;br /&gt;
Ingledew,&amp;quot; he said, &amp;quot; I have the pleasure of wish-&lt;br /&gt;
ing you well. Your brother&amp;#039;s works are so well&lt;br /&gt;
known to me that I feel as if-no introduction was&lt;br /&gt;
necessary to&amp;quot;&lt;br /&gt;
This beautiful and trustful beginning was com-&lt;br /&gt;
pletely spoiled, however, by a third person. He&lt;br /&gt;
was, to look at, a Brute&mdash;a Brute and a Beast.&lt;br /&gt;
He was clad in a filthy greasy gaberdine&mdash;the poor&lt;br /&gt;
despised Jew in the middle ages always wore a&lt;br /&gt;
gaberdine, therefore I use that word to describe the&lt;br /&gt;
ragged old thing that hung on his shoulders. He&lt;br /&gt;
was a man of short grey hair and long grey bristles&lt;br /&gt;
&mdash;the former on his head, the latter on his chin.&lt;br /&gt;
He had a swollen and pimply face, a swollen red&lt;br /&gt;
nose, and blue lips. He looked as if he was half&lt;br /&gt;
drunk. I never knew him afterwards or saw him&lt;br /&gt;
but what he looked half drunk. He had been&lt;br /&gt;
standing by, apparently taking no heed of what&lt;br /&gt;
was said. Now he came lurching forward.&lt;br /&gt;
&amp;quot;Wilford Ingledew? I believe it is. Good&lt;br /&gt;
Lord! Here&amp;#039;s a chance! Wilford&mdash;Wilford, I&lt;br /&gt;
say. Wilford Ingledew&mdash;Ingledew&mdash;don&amp;#039;t you&lt;br /&gt;
know me? Look at me, man. Don&amp;#039;t you know&lt;br /&gt;
me now &amp;#039;i Your eldest brother&mdash;Jack Ingledew&mdash;&lt;br /&gt;
I am. Jack Ingledew. Him that went away&lt;br /&gt;
3o years ago and never went home again. Boys,&amp;quot;&lt;br /&gt;
&mdash;he turned to some loafing blackguards behind&lt;br /&gt;
him,&mdash;&amp;quot; you all know Jack Ingledew&mdash;old Jack.&amp;quot;&lt;br /&gt;
They murmured with ono consent that they all&lt;br /&gt;
knew Jack&mdash;old Jack. &amp;quot;Old Jack&mdash;that you&lt;br /&gt;
thought dead&mdash;eh &amp;#039;&amp;lt; long since dead. And to think&lt;br /&gt;
that we meet here after all these years. It makes&lt;br /&gt;
me thirsty. Brother&mdash;brother Wilford&mdash;a little&lt;br /&gt;
baby three years old when I went away&mdash;shake&lt;br /&gt;
hands&mdash;shake hands with your eldest brother&mdash;&lt;br /&gt;
long parted&mdash;grief as is felt&mdash;happy to part&mdash;&lt;br /&gt;
happy to meet again. Joy demands a drink. We&lt;br /&gt;
must celebrate this happy occasion with a drink.&lt;br /&gt;
Come.&amp;quot;&lt;br /&gt;
This was the terrible accident. This was the&lt;br /&gt;
cause of all the trouble. Through the accursed&lt;br /&gt;
mischance of that eldest brother&mdash;if he was an&lt;br /&gt;
eldest brother&mdash;Lord knows !&mdash;turning up at that&lt;br /&gt;
juncture.&lt;br /&gt;
The man who had first spotted ine stepped aside,&lt;br /&gt;
leaving me to the Beast of the Greasy Gaberdine.&lt;br /&gt;
What I ought to have done is perfectly plain&lt;br /&gt;
and simple. 1 did not do it. In fact, I gave him&lt;br /&gt;
a drink. I ought, of course, to have refused any&lt;br /&gt;
knowledge of the Beast. I ought to have said that&lt;br /&gt;
there was no John Ingledew&mdash;was there, in fact?&lt;br /&gt;
Was this man really Charles Ingledew&amp;#039;s elder&lt;br /&gt;
brother? I don&amp;#039;t know. I never could find out.&lt;br /&gt;
But the knowledge of my own guilt made me weak.&lt;br /&gt;
I accepted his filthy hand. I gave him another&lt;br /&gt;
drink. I owned up to the eldest brother; I was&lt;br /&gt;
civil to him. I pointed out that I could not very&lt;br /&gt;
well remember a man whom I had not seen for so&lt;br /&gt;
long. He then asked certain questions which I&lt;br /&gt;
answered as well as I could. I incline to the belief&lt;br /&gt;
that he was what he pretended, because at one point&lt;br /&gt;
he stopped and looked suspicious. Then he caught&lt;br /&gt;
me by the waistcoat button and he whispered,&lt;br /&gt;
&amp;quot;Brother, Brother Wilford! They&amp;#039;ve telegraphed&lt;br /&gt;
across to know if Charles Ingledew has got a&lt;br /&gt;
brother Wilford.&amp;quot;&lt;br /&gt;
I started, I turned pale.&lt;br /&gt;
&amp;quot;Brother&mdash;you&amp;#039;d better bolt. I knew you were&lt;br /&gt;
a bunco-steerer at the go off. Now, you go in and&lt;br /&gt;
make up your grip&mdash;quick. Else, to-morrow, you&amp;#039;ll&lt;br /&gt;
be laid by the heels. I&amp;#039;ll wait here for you&mdash;I&amp;#039;ll&lt;br /&gt;
see you through. You rely on me.&amp;quot;&lt;br /&gt;
I was so knocked over with the thought of the&lt;br /&gt;
telegraph that I curdled and curled up. I did what&lt;br /&gt;
he told me. My grip took no time, because it was&lt;br /&gt;
reduced to an empty box. I told him so.&lt;br /&gt;
&amp;quot;Then,&amp;quot; he said, &amp;quot;we&amp;#039;ll leave it behind. Now,&lt;br /&gt;
let&amp;#039;s have one more drink and than catch a train.&lt;br /&gt;
I&amp;#039;ll see you through. Your eldest brother John&mdash;&bull;&lt;br /&gt;
old Jack&mdash;he&amp;#039;ll stand by the family.&amp;quot; Yet he had&lt;br /&gt;
just before called me a bunco-steerer. But I was&lt;br /&gt;
in such a fright about the telegraph that I hardly&lt;br /&gt;
knew what he said, and I walked along beside hi in&lt;br /&gt;
in a dream.&lt;br /&gt;
&amp;quot;We&amp;#039;ll take tickets to New York and we&amp;#039;ll get&lt;br /&gt;
out at a station I know,&amp;quot; he said, &amp;quot; That will pre-&lt;br /&gt;
vent your being nabbed as soon as you get out of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 137 (#541) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
i37&lt;br /&gt;
the train. You&amp;#039;ll have just to lie quiet for a day&lt;br /&gt;
or two, and then you can go on.&amp;quot;&lt;br /&gt;
I thought that the first thing I would do was to&lt;br /&gt;
get rid of him. That proved, as you will see, not&lt;br /&gt;
quite so easy. We took a night train; it left&lt;br /&gt;
Philadelphia at eleven. We sat down together&mdash;this&lt;br /&gt;
evil-smelling l&amp;gt;east ami myself. He talked fami-&lt;br /&gt;
liarly to the eonduetor&mdash;told him that I was his&lt;br /&gt;
younger brother, and he grinned; said that younger&lt;br /&gt;
brothers ought to look after the seniors, and that 1&lt;br /&gt;
was a model younger brother. He said many&lt;br /&gt;
more fncetious and pleasant things. You can&lt;br /&gt;
suppose that I greatly enjoyed his society and his&lt;br /&gt;
conversation.&lt;br /&gt;
In aliout two hours or so we stopped at some&lt;br /&gt;
small station. &amp;quot;Now,&amp;quot; he whispered, &amp;quot;let&amp;#039;s get&lt;br /&gt;
down. I know where you can find a place to hide&lt;br /&gt;
in for a bit&mdash;a snug quiet place, where the drink&lt;br /&gt;
is good. Come along.&amp;quot;&lt;br /&gt;
We got down just as the train began to move&lt;br /&gt;
on again. The night wits pitch dark; the petro-&lt;br /&gt;
leum lamps of the station were extinguished&lt;br /&gt;
directly after the train went on.&lt;br /&gt;
&amp;quot;This way,&amp;quot; the man took my arm and led&lt;br /&gt;
me along in the darkness. I knew not what&lt;br /&gt;
direction we took nor how long we walked. It&lt;br /&gt;
seemed to me a walk of hours. Presently we&lt;br /&gt;
stopped at a house in the midst, as it seemed, of a&lt;br /&gt;
wood, where lights were shown in the windows.&lt;br /&gt;
My man blew a whistle, and the door was thrown&lt;br /&gt;
open. &amp;quot;Walk in, brother Wilford,&amp;quot; he said,&lt;br /&gt;
grinning, &amp;quot; Here you will l&amp;gt;c real welcome. Such&lt;br /&gt;
a chance as this has never come to you before.&amp;quot;&lt;br /&gt;
Within, the place proved to be a kind of log&lt;br /&gt;
house. It consisted of one large room with a stove.&lt;br /&gt;
Along the walls were lynches, and on these benches&lt;br /&gt;
were mattresses, on some of which men were&lt;br /&gt;
sleeping. I saw that four were asleep; two more&lt;br /&gt;
were playing cards at a table; there was a lire&lt;br /&gt;
burning; anil there was the usual detestable smell&lt;br /&gt;
of jx&amp;#039;troleum from the lamp. And I discovered at&lt;br /&gt;
once that I was fallen among a den of thieves and&lt;br /&gt;
rogues.&lt;br /&gt;
&amp;quot;Gentlemen,&amp;quot; said my eldest brother, &amp;quot;I have&lt;br /&gt;
brought you my brother&mdash;my younger brother&lt;br /&gt;
Wilford&mdash;Wilford Ingledew. He is in a little&lt;br /&gt;
trouble just now, on account of certain alleged&lt;br /&gt;
false pretences&mdash;people will say anything&mdash;we have&lt;br /&gt;
all suffered from calumny&mdash;I&amp;#039;ve asked him here to&lt;br /&gt;
share our hospitality for a bit. A clever fellow, I&lt;br /&gt;
think, you will find my younger brother Wilford.&amp;quot;&lt;br /&gt;
The two men who were playing looked up&lt;br /&gt;
anxiously. Then they threw down their cards,&lt;br /&gt;
and stood up, feeling at their belts, and I began to&lt;br /&gt;
perspire at the nose. &amp;quot;What does he know,&lt;br /&gt;
Jack?&amp;quot;&lt;br /&gt;
&amp;quot;Nothing. Leave that to me. Now, brother&lt;br /&gt;
as we are all friends here and brothers, let us l&amp;gt;cgin&lt;br /&gt;
VOL. II.&lt;br /&gt;
by sharing. What did you make by the job?&lt;br /&gt;
Come&mdash;don&amp;#039;t look scared&mdash;you can&amp;#039;t get out of&lt;br /&gt;
this if you try&mdash;by . . .&amp;quot; He lugged out a re-&lt;br /&gt;
volver. &amp;quot;So begin. Clear your pockets. You&amp;#039;ve&lt;br /&gt;
got to do what you&amp;#039;re told. You&amp;#039;ve got to&mdash;or&mdash;&amp;quot;&lt;br /&gt;
he fingered the pistol. I had to turn every pocket&lt;br /&gt;
out, and to show it empty. I had to take off my&lt;br /&gt;
boots and coat and waistcoat to show that nothing&lt;br /&gt;
was concealed. The whole now lay upon the&lt;br /&gt;
table&mdash;three hundred dollars and more.&lt;br /&gt;
&amp;quot;There are seven of us,&amp;quot; said old Jatk. &amp;quot;You&lt;br /&gt;
make eight. Every man&amp;#039;s share is $40, odd. As for&lt;br /&gt;
your share, we&amp;#039;ll keep it for you. Oh! You shall&lt;br /&gt;
not lose it. You are among men of honour. And&lt;br /&gt;
now, brother, if you like to lie down and go to&lt;br /&gt;
sleep, you can. If you like a drink, say so. If&lt;br /&gt;
you like to cut in with the cards, say so. We&amp;#039;re&lt;br /&gt;
all friends here and all brothers. Them as&lt;br /&gt;
are not brothers we make dead uns, which&lt;br /&gt;
saves trouble.&amp;quot; I stayed in that den for three&lt;br /&gt;
weeks. I was never left alone. I was given&lt;br /&gt;
to understand by old Jack and one or other&lt;br /&gt;
of them that if I chose to throw in my lot&lt;br /&gt;
with these miscreants I should be received as one&lt;br /&gt;
of the gang. If not, I should not be allowed to&lt;br /&gt;
escape, and in fact . . . you may guess.&lt;br /&gt;
In a month&amp;#039;s time, I was dressed like a gentle-&lt;br /&gt;
man: I was an English nobleman, and I was&lt;br /&gt;
living at a high-class New York hotel. I had a&lt;br /&gt;
pocket-full of money, and I was working for a big&lt;br /&gt;
thing.&lt;br /&gt;
You see what I am now&mdash;a broken-down tramp,&lt;br /&gt;
in rags and penniless. The gang is dispersed; we&lt;br /&gt;
have all had sentences to work out. As for old&lt;br /&gt;
Jack&mdash;my eldest brother&mdash;I don&amp;#039;t know what has&lt;br /&gt;
become of him, but I should like to murder him.&lt;br /&gt;
If I were to meet him on a lonely road I believe I&lt;br /&gt;
should murder him. And the moral of my story, I&lt;br /&gt;
often think, is that when you have made a lucky&lt;br /&gt;
hit you must get away as quick as you cati before&lt;br /&gt;
some cussed accident sets things agee. Now, if I&lt;br /&gt;
had gone straight away that very moment&mdash;think&lt;br /&gt;
&mdash;I should now&mdash;who knows ?&mdash;be managing a&lt;br /&gt;
London theatre. I might have married Dollie.&lt;br /&gt;
Oh! it makes me mad only to think of it. Because&lt;br /&gt;
I stayed I had to run awny at night and fell into a&lt;br /&gt;
gang of rogues, and was compelled to l&amp;gt;ccome their&lt;br /&gt;
confederate and got into prison and . . . there&lt;br /&gt;
. you see.&lt;br /&gt;
It&amp;#039;s all very well to say that I shouldn&amp;#039;t have&lt;br /&gt;
pretended to be the brother of an English writer.&lt;br /&gt;
I was stone-broke and I had to get some money&lt;br /&gt;
somehow, and I meant to give that money back.&lt;br /&gt;
The devil of it was that I stayed and went into&lt;br /&gt;
that bar. I stayed. That way the lmd luck&lt;br /&gt;
came in.&lt;br /&gt;
&diams;&bull;&bull;■&raquo;&lt;br /&gt;
K&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 138 (#542) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
PEGASUS IN HARNESS.&lt;br /&gt;
Put Pegasus in hnrness&lt;br /&gt;
And tench him how to trot;&lt;br /&gt;
Take him to the market&lt;br /&gt;
With his wares piping hot,&lt;br /&gt;
All fresh anil glowing&lt;br /&gt;
From his owner&amp;#039;s mind,&lt;br /&gt;
Three a penny, four a penny,&lt;br /&gt;
Best of their kind.&lt;br /&gt;
Lord! here&amp;#039;s a bother,&lt;br /&gt;
The creature wants to fly!&lt;br /&gt;
Quiet, there, my beauty,&lt;br /&gt;
We&amp;#039;ll loose you by-and-bye!&lt;br /&gt;
Come now, it&amp;#039;s useless,&lt;br /&gt;
Customers don&amp;#039;t soar;&lt;br /&gt;
It won&amp;#039;t pay, alack, to scorn&lt;br /&gt;
Their muddy floor.&lt;br /&gt;
Why, what a blessing&lt;br /&gt;
The harness was so strong:&lt;br /&gt;
What a task &amp;#039;tis to get&lt;br /&gt;
The chafing steed along!&lt;br /&gt;
Fold your wings, do, now!&lt;br /&gt;
Keep them for the sky;&lt;br /&gt;
Men pay to touch their feathers, not&lt;br /&gt;
To see them fly.&lt;br /&gt;
Pegasus, when night comes&lt;br /&gt;
We&amp;#039;ll fly up to the stars,&lt;br /&gt;
We&amp;#039;ll soar above Venus,&lt;br /&gt;
And we&amp;#039;ll mount beyond Mars;&lt;br /&gt;
Earth lies a ball lx&raquo;neath&mdash;&lt;br /&gt;
Alx&amp;gt;ve, still there&amp;#039;s blue&mdash;&lt;br /&gt;
By day we must earn our bread;&lt;br /&gt;
At night we&amp;#039;ll be true.&lt;br /&gt;
There&mdash;we endeavour,&lt;br /&gt;
Here&mdash;we must win;&lt;br /&gt;
There&mdash;lift up our hands,&lt;br /&gt;
Here&mdash;stoop for a pin;&lt;br /&gt;
Turn every penny&lt;br /&gt;
Another to gain:&lt;br /&gt;
Heaven bids&mdash;struggle!&lt;br /&gt;
Earth bids&mdash;uttain!&lt;br /&gt;
But oh ! when night comes&lt;br /&gt;
To the earth-wearied man,&lt;br /&gt;
To one master he&amp;#039;s true,&lt;br /&gt;
And he sleeps while he can&mdash;&lt;br /&gt;
Swoop ! and a rushing,&lt;br /&gt;
The great steed has gone:&lt;br /&gt;
The Boundless receives him,&lt;br /&gt;
His master sleeps on.&lt;br /&gt;
I&amp;#039;mph! what&amp;#039;s to do now?&lt;br /&gt;
There&amp;#039;s the bread winner&amp;#039;s flown.&lt;br /&gt;
Why&mdash;fetch up a mule, man,&lt;br /&gt;
Put the gold trappings on;&lt;br /&gt;
He&amp;#039;ll give time to see them;&lt;br /&gt;
He&amp;#039;s safe, sure, and slow,&lt;br /&gt;
If you speak still of &amp;quot; Pegasus&amp;quot;&lt;br /&gt;
Xobody &amp;#039;11 know.&lt;br /&gt;
Sidney Caxton.&lt;br /&gt;
&diams;*&bull;&bull;&diams;&lt;br /&gt;
&amp;quot;AUTHORS&amp;#039; COMPLAINTS AND&lt;br /&gt;
PUBLISHERS&amp;#039; PROFITS.&amp;quot;&lt;br /&gt;
IHAVE read with much interest Mr. George&lt;br /&gt;
Putnam&amp;#039;s paper on this subject in the Forum&lt;br /&gt;
of September, the more so because I have lnul&lt;br /&gt;
from time to time several conversations with the&lt;br /&gt;
writer on the points raised in his paper, and I&lt;br /&gt;
always found him willing to meet me half way on&lt;br /&gt;
all essential points, and, to the best of my recollec-&lt;br /&gt;
tion, perfectly ready to admit the useful functions&lt;br /&gt;
of our Society, and the reasonableness of its aims.&lt;br /&gt;
So much, indeed, he admits in this article when he&lt;br /&gt;
says&mdash;the italics are my own&mdash;&amp;quot;Whatever shape&lt;br /&gt;
the compensation of the author may take (excepting&lt;br /&gt;
only that of a purchase outright of his copyright)&lt;br /&gt;
he is of course entitled to precise information us to&lt;br /&gt;
the publishing statistics of his boohs.&amp;quot;&lt;br /&gt;
Exactly. This concession covers nearly the&lt;br /&gt;
whole ground. The chief grievance of the author&lt;br /&gt;
is that he has been, and still is, called upon to&lt;br /&gt;
surrender his property on terms the half of which&lt;br /&gt;
are carefully concealed from him; tliat he is offered&lt;br /&gt;
this and that without being informed what the&lt;br /&gt;
arrangement gives to the other side. Let us know&lt;br /&gt;
what the other side receives for himself as well&lt;br /&gt;
as what he ijices the author. Then we shall&lt;br /&gt;
understand what we are about. Now, the most&lt;br /&gt;
important part of the work of the Society has been&lt;br /&gt;
the publication&mdash;approximately only, for nothing is&lt;br /&gt;
more elastic than a printer&amp;#039;s bill&mdash;of the actual cost&lt;br /&gt;
of production. With this in our hands, we have a&lt;br /&gt;
very simple sum in arithmetic:&mdash;(i) The actual&lt;br /&gt;
cost of production. (2) The royalty paid to the&lt;br /&gt;
author. (3) The trade price of the book. The&lt;br /&gt;
publisher&amp;#039;s profit can be easily calculated. Now,&lt;br /&gt;
Mr. Putnam in this article talks round and round&lt;br /&gt;
the subject, but does not touch the real point at&lt;br /&gt;
issue. For instance, he carefully enumerates the&lt;br /&gt;
various methods of dealing with authors; he points&lt;br /&gt;
out the increased cost of printing, and binding, and&lt;br /&gt;
distribution; but he evades the main points, viz.,&lt;br /&gt;
the actual profit made by the publishers on the&lt;br /&gt;
various methods described and the proportion&lt;br /&gt;
which, in his opinion, should be taken by the&lt;br /&gt;
publisher.&lt;br /&gt;
He complained that I consider only tin? question of&lt;br /&gt;
books with a side of 10,000. I suppose he alludes to&lt;br /&gt;
Mr. Sprigge&amp;#039;s book&mdash;the &amp;quot; Methods of Publication&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 139 (#543) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
*39&lt;br /&gt;
&mdash;and to the &amp;quot;Cost of Production.&amp;quot; But in those&lt;br /&gt;
books, the sale of 1,000 copies, and even less, is&lt;br /&gt;
carefully considered, as well as the sale of 10,000.&lt;br /&gt;
He says in one place (p. 74.) that I am &amp;quot; inclined&lt;br /&gt;
to contend that there are, as a matter of fact, no&lt;br /&gt;
such things as publishing losses,&amp;quot; and that I &amp;quot;claim&lt;br /&gt;
that the publishers rarely take any risk in publish-&lt;br /&gt;
ing, as they make a practice of putting their money&lt;br /&gt;
only into books that an- sure to pay.&amp;quot; On p. 7a he&lt;br /&gt;
says, &amp;quot;It is the contention of the English Society&lt;br /&gt;
of Authors that the publisher who understands his&lt;br /&gt;
business must take, ami, as a matter of fact, does&lt;br /&gt;
take, no risk in his undertakings.&amp;quot; Now, there is&lt;br /&gt;
a difference between &amp;quot;rarely&amp;quot; and &amp;quot;never&amp;quot;&mdash;a&lt;br /&gt;
very great difference. What I have said, over and&lt;br /&gt;
over again&mdash;what I am prepared to prove, by&lt;br /&gt;
hundreds of cast&amp;#039;s and agreements brought to our&lt;br /&gt;
office&mdash;by verbal information from persons who&lt;br /&gt;
have been employed in publishers&amp;#039; offices&mdash;and&lt;br /&gt;
by examination of advertised publishers&amp;#039; lists, is&lt;br /&gt;
this. There has grown up of late years a custom&lt;br /&gt;
of making authors pay whenever there is any real&lt;br /&gt;
risk. It is very seldom that publishers take any&lt;br /&gt;
risk. I might go further and say that there are&lt;br /&gt;
some houses which never will take any risk at all.&lt;br /&gt;
Bv this I mean the simple meaning that the words&lt;br /&gt;
convev. In other words, it is very seldom that a&lt;br /&gt;
publisher will produce a l&raquo;ook unless he sees his&lt;br /&gt;
way to the sale of at least as many copies as will&lt;br /&gt;
pay the cost of production, with something for his&lt;br /&gt;
services or the interest of his money.&lt;br /&gt;
Over and over again has this proposition been&lt;br /&gt;
stated. Nothing in the world could be more true&mdash;&lt;br /&gt;
nothing more reasonable and probable. Over and&lt;br /&gt;
over again interested or malicious persons have dis-&lt;br /&gt;
torted the statement into quite a different one, and&lt;br /&gt;
have virtuously argued themselves black in the face&lt;br /&gt;
on the assumption that 1 have said that there are&lt;br /&gt;
no risks in publishing.&lt;br /&gt;
There may be plenty of risk in publishing.&lt;br /&gt;
You may produce a lwok on a subject which no&lt;br /&gt;
one wants; you may produce a bad book on any&lt;br /&gt;
subject; vou may produce tot) large an edition of a&lt;br /&gt;
l)ook; vou may spend more money in advertising a&lt;br /&gt;
book than the l&amp;gt;ook will bear; you may bring out&lt;br /&gt;
a book at a wrong time; many tilings of the kind&lt;br /&gt;
may happen. But a skilled&mdash;or a well advised&lt;br /&gt;
publisher&mdash;in this great world of English readers&mdash;&lt;br /&gt;
with this immense market before him&mdash;with all&lt;br /&gt;
the various branches of letters&mdash;with all the&lt;br /&gt;
different audiences&mdash;with all the favourite leaders&lt;br /&gt;
and authorities in all these branches&mdash;need never, I&lt;br /&gt;
maintain, unless he pleases, run any risk at all.&lt;br /&gt;
And he very seldom does.&lt;br /&gt;
He may, it is true, l&amp;gt;c disappointed in the ulti-&lt;br /&gt;
mate proceeds. But that is not risk. My con-&lt;br /&gt;
tention is that he need never publish a book unless&lt;br /&gt;
he knows that the minimum of the sales will cover&lt;br /&gt;
his expenditure and something over. And I do&lt;br /&gt;
not for a moment agree with Mr. Putnam that a&lt;br /&gt;
man would be valuable to a publishing firm who&lt;br /&gt;
would keep them from losses, because an educated&lt;br /&gt;
man, brought up in the business, will easily, and&lt;br /&gt;
does easily, learn for himself. Of course, I am not&lt;br /&gt;
speaking of American risks,of which I know nothing.&lt;br /&gt;
I agree with Mr. Putnam&mdash;and he with me&mdash;in&lt;br /&gt;
so many points that I should like him to agree with&lt;br /&gt;
ine in all. For instance, he is perfectly right when&lt;br /&gt;
he says that authors cannot expect compensation&mdash;&lt;br /&gt;
he means pay&mdash;for work which proves to have no&lt;br /&gt;
marketable value. An author can only be paid out&lt;br /&gt;
of the proceeds of his book. But that must be a&lt;br /&gt;
very poor publisher who cannot tell beforehand&lt;br /&gt;
whether a book has a marketable value or not. One&lt;br /&gt;
publisher&mdash;de mes amis&mdash;has an eagle eye for the&lt;br /&gt;
detection of marketable value in novels He never&lt;br /&gt;
fails&mdash;at least, I think not&mdash;I hope not&mdash;in this in-&lt;br /&gt;
stinct of his. He produces works by unknown&lt;br /&gt;
writers, and they Income known and popular. He&lt;br /&gt;
knows. With this and other examples before me,&lt;br /&gt;
when a publisher writes complaining that he has lost&lt;br /&gt;
by this book and by that book, I am inclined to say,&lt;br /&gt;
&amp;quot;Friend, if that is true, you do not know your own&lt;br /&gt;
business.&amp;quot; But he never shows his books, remein-&lt;br /&gt;
l&amp;gt;er. Mr. Putman makes a great ileal about the&lt;br /&gt;
&amp;quot;generosity&amp;quot; of certain publishers. First of all,&lt;br /&gt;
we do not want generosity. We do not want to&lt;br /&gt;
keep up the old notion which caused a publisher&lt;br /&gt;
to be considered as a (generally) malevolent old&lt;br /&gt;
man (but sometimes benevolent), who sat upon a bag&lt;br /&gt;
of gold&mdash;an enormous bag of untold gold&mdash;and dealt&lt;br /&gt;
out capricious gifts, varying according to his&lt;br /&gt;
temper. Nor do we want the other notion which&lt;br /&gt;
made of the publisher the guardian angel of letters,&lt;br /&gt;
thinking only how he could advance the holy&lt;br /&gt;
cause of literature, and careless whether he ruined&lt;br /&gt;
himself or not. Nor do we want the old sorry&lt;br /&gt;
spectacle of the writing-man who goes humbly, hat&lt;br /&gt;
in hand, body bent, voice hushed, to the man who&lt;br /&gt;
pays, ami takes with tears of gratitude whatever he&lt;br /&gt;
may offer or may chuck. What we now say is&lt;br /&gt;
this, &amp;quot;What do you mean by your 4 generosity&amp;#039;?&lt;br /&gt;
Hang your generosity! Keep it for the charity&lt;br /&gt;
sermon. Give us plain and simple justice. You have&lt;br /&gt;
graciously heretofore given this and tossed that;&lt;br /&gt;
what have you kept for yourself? Show us your&lt;br /&gt;
accounts before you talk of generosity.&amp;quot;&lt;br /&gt;
Then; are one or two other points in which Mr.&lt;br /&gt;
Putnam unfortunately fails to understand the&lt;br /&gt;
position. Thus, he girds at Canon Farrar, saying&lt;br /&gt;
that he appealed to the public for sympathy, because&lt;br /&gt;
his publishers had made more money than himself&lt;br /&gt;
when he had signed a contract to do and work for&lt;br /&gt;
so much. Canon Farrar did nothing of the kind.&lt;br /&gt;
The grievance in his case was this: He did agree&lt;br /&gt;
to do a certain piece of work for a certain sum of&lt;br /&gt;
K S&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 140 (#544) ############################################&lt;br /&gt;
&lt;br /&gt;
140&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
money. The work proved enormously successful.&lt;br /&gt;
He had no claim for anything more, and never set&lt;br /&gt;
up any claim. But when the firm in question&lt;br /&gt;
invited him to do another work, they did not let&lt;br /&gt;
him understand how successful his first work had&lt;br /&gt;
been. They said nothing about the proportion&lt;br /&gt;
of profit they had made for themselves; they&lt;br /&gt;
said nothing about what they knew they should&lt;br /&gt;
make on the next work. This, no doubt,&lt;br /&gt;
was what is called business. But the English&lt;br /&gt;
publisher has always endeavoured to make the&lt;br /&gt;
English author believe that he is his friend. My&lt;br /&gt;
own contention in that matter is that Farrar should&lt;br /&gt;
not have signed that second agreement until the&lt;br /&gt;
firm had shown him by their books what it had&lt;br /&gt;
made out of the first. The same remark applies to&lt;br /&gt;
all cases of so-called &amp;quot;generosity.&amp;quot; Let the&lt;br /&gt;
accounts be produced. Then we shall see. We&lt;br /&gt;
do not wish to rob the publisher by accepting his&lt;br /&gt;
&amp;quot;generosity.&amp;quot; We, do not wish him to rob us&lt;br /&gt;
under the name of &amp;quot;generosity.&amp;quot; I pass over all&lt;br /&gt;
Mr. Putnam&amp;#039;s remarks on American publishing for&lt;br /&gt;
obvious reasons. I think, for the same reasons, he&lt;br /&gt;
should not have entered the lists al&amp;gt;out English&lt;br /&gt;
publishing. And I also wish very much that he&lt;br /&gt;
had read what has l&amp;gt;een said and printed by my&lt;br /&gt;
friends on the subject before committing himself to&lt;br /&gt;
statements and charges which cannot be sustained.&lt;br /&gt;
He says that we have made &amp;quot;sweeping charges&amp;quot;&lt;br /&gt;
against publishers as a class. We have done no-&lt;br /&gt;
thing of the kind. We have proved &amp;quot; up to the&lt;br /&gt;
hilt,&amp;quot; as the Spectator allowed, that fraudulent&lt;br /&gt;
practices exist, and are, indeed, rife. The fact that&lt;br /&gt;
many of us are on friendly terms with publishers is&lt;br /&gt;
quite enough to disprove the assertion of &amp;quot; sweeping&lt;br /&gt;
charges.&amp;quot; It is also a fact that many of the prac-&lt;br /&gt;
tices which we have proved to exist are now carried&lt;br /&gt;
on in a much more secret and guarded fashion than&lt;br /&gt;
prevailed four or five years ago. Meantime, I&lt;br /&gt;
commend to Mr. Putnam the consideration of our&lt;br /&gt;
great principle that in all business relations, part-&lt;br /&gt;
nerships, joint adventures, and enterprises, it is&lt;br /&gt;
right, just, and proper that the two parties should&lt;br /&gt;
each and severally have a full knowledge of what&lt;br /&gt;
the agreements give to either side. That once&lt;br /&gt;
conceded, the rest, viz., an equitable understanding&lt;br /&gt;
that shall safeguard both parties may be arrived at.&lt;br /&gt;
Such an understanding is very much to be desired&lt;br /&gt;
in the interests of publishers as well as of authors,&lt;br /&gt;
and, indeed, cannot but Ixj desired by every honour-&lt;br /&gt;
able publisher as well as by any honourable and&lt;br /&gt;
self-respecting author.&lt;br /&gt;
Walter Bksant.&lt;br /&gt;
POPULAR PLATITUDINOUS PHILOSOPHY.&lt;br /&gt;
1. The publisher risks dire poverty who pays a&lt;br /&gt;
new author anything.&lt;br /&gt;
2. Publishing is the most precarious form of&lt;br /&gt;
&amp;quot;plunging.&amp;quot;&lt;br /&gt;
3. Every author should rest content with the&lt;br /&gt;
honour of appearing in print.&lt;br /&gt;
4. An artist should be above alimony: Art is&lt;br /&gt;
degraded by any money.&lt;br /&gt;
5. Publishing is a matter of favouritism, by&lt;br /&gt;
which paper-makers, printers, lxx&amp;gt;kbinders, and&lt;br /&gt;
booksellers all conspire against unknown genius&lt;br /&gt;
6. Artists should Ik; angels&mdash;all soul: eating is&lt;br /&gt;
merely animal, and therefore inartistically vulgar.&lt;br /&gt;
7. The general public is divisible into those who&lt;br /&gt;
buy books but do not read them, those who read&lt;br /&gt;
but do not buy, and those who neither buy nor&lt;br /&gt;
read.&lt;br /&gt;
8. What we manufacture we should be jmid for;&lt;br /&gt;
but what other people make they should give us for&lt;br /&gt;
nothing.&lt;br /&gt;
9. All best work is borrowed, and therefore&lt;br /&gt;
belongs to someone else.&lt;br /&gt;
1 o. The alphabet is public property, and whoso&lt;br /&gt;
disarranges it into Iwoks only disturbs what belongs&lt;br /&gt;
to everybody.&lt;br /&gt;
11. Everything that was best contrived to live in&lt;br /&gt;
the past.&lt;br /&gt;
12. In the multitude of conventionalisms is to be&lt;br /&gt;
found the highest wisdom.&lt;br /&gt;
13. A publisher is a philanthropist who scorns&lt;br /&gt;
coarse commerce.&lt;br /&gt;
14. What is conscience in ourselves is only&lt;br /&gt;
conceit in the other man.&lt;br /&gt;
15. Civility is what the other people owe us.&lt;br /&gt;
16. There is no fine art in fiction; it is just as&lt;br /&gt;
easy as lying.&lt;br /&gt;
Phinlay Olknelo.&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
fl^HE Spectator devotes an article to some&lt;br /&gt;
I remarks made by me in another place on the&lt;br /&gt;
distribution of national honours, orders anil&lt;br /&gt;
titles. The editor, it appears, does not agree with&lt;br /&gt;
these remarks. Now there is one thing for which&lt;br /&gt;
I especially respect the Spectator. It always&lt;br /&gt;
seeks to represent the views which it attacks,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 141 (#545) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
141&lt;br /&gt;
honourably and fuirly. This conceded, let me&lt;br /&gt;
state my case again. The State confides to the&lt;br /&gt;
Sovereign the task of recognising distinction and&lt;br /&gt;
good service l&amp;gt;y the grant of certain orders and&lt;br /&gt;
titles. The Spectator says that these decorations&lt;br /&gt;
are part of the wages of the State for servants of&lt;br /&gt;
the State. My position entirely. But I maintain&lt;br /&gt;
that everything &mdash; every kind of service &mdash; that&lt;br /&gt;
advances the happiness, the safety, the welfare,&lt;br /&gt;
the moral and intellectual level of mankind, is a&lt;br /&gt;
distinct service to the State, and should be recog-&lt;br /&gt;
nised as such. The Spectator would narrow the&lt;br /&gt;
service of the State, apparently, to service paid for&lt;br /&gt;
by the State. The writer says that decorations and&lt;br /&gt;
titles are &amp;quot;part of the wages of the State, outward&lt;br /&gt;
and visible signs of good conduct.&amp;quot; In that case&lt;br /&gt;
why were Bass, Allsopp, and Guinness raised to&lt;br /&gt;
the peerage? Why, again, is a plain country&lt;br /&gt;
gentleman made a baronet? Why is the warden&lt;br /&gt;
of a city company made a knight? That defini-&lt;br /&gt;
tion clearly will not serve. There is, in fact, no&lt;br /&gt;
rule whatever, no principle recognised in the dis-&lt;br /&gt;
tribution of honours. Somebody advises the&lt;br /&gt;
Queen. Is it the Prime Minister? I do not&lt;br /&gt;
know. Whoever it is, he makes no reservation&lt;br /&gt;
whatever about paid servants of the State. None&lt;br /&gt;
whatever. He says that a soldier or a sailor, a&lt;br /&gt;
lawyer, a politician, a rich man, if he is rich&lt;br /&gt;
enough, a man in the Treasury, or the Foreign&lt;br /&gt;
Office, or the Diplomatic Service, may look forward&lt;br /&gt;
to receiving some kind of distinction. No one, he&lt;br /&gt;
says, however distinguished in medicine, architec-&lt;br /&gt;
ture, painting, literature, music, acting, sculpture,&lt;br /&gt;
science, or teaching, must ever expect a peerage.&lt;br /&gt;
If a physician were to discover a certain way of&lt;br /&gt;
curing gout or rheumatism and abolishing that&lt;br /&gt;
agony for ever, he would have no more than a&lt;br /&gt;
baronetcy. If a man brews enough beer, of course,&lt;br /&gt;
he shall lie raised to the Upper House, and sit&lt;br /&gt;
apart&mdash;he and his&mdash;for ever, but not if he writes&lt;br /&gt;
the most splendid play ever produced. In some&lt;br /&gt;
of these branches they from time to time offer a&lt;br /&gt;
very distinguished man&mdash;say a Huxley&mdash;the saine&lt;br /&gt;
distinction&mdash;the smallest of all&mdash;that they give the&lt;br /&gt;
mayor of a country town. Now, for all these&lt;br /&gt;
branches&mdash;for every noble calling&mdash;I claim the&lt;br /&gt;
right of national recognition, in whatever way&lt;br /&gt;
tin? nation can or does exercise that recognition.&lt;br /&gt;
Especially I claim it for literature, because of all&lt;br /&gt;
noble callings it is the one which has lieen the&lt;br /&gt;
least recognised.&lt;br /&gt;
Observe that I do not ask, as the Spectator&lt;br /&gt;
mistakenly asserts, that great authors should&lt;br /&gt;
receive the honour of Knight Bachelor. The&lt;br /&gt;
Spectator, you see, cannot conceive it possible&lt;br /&gt;
that any great author in his wildest ambitions&lt;br /&gt;
should look beyond a knighthood. I want a very&lt;br /&gt;
great deal more for them. I want ■whatever&lt;br /&gt;
honours the State has to bestow&mdash;the very highest.&lt;br /&gt;
The Spectator mentions the peerage of the&lt;br /&gt;
Laureate. I wonder if the Sjwctator rememliers&lt;br /&gt;
that at the time when Lord Tennyson received an&lt;br /&gt;
honour which recognised the very point I insist&lt;br /&gt;
upon, some of the papers tried to make out that&lt;br /&gt;
it was conferred upon him because he was of good&lt;br /&gt;
birth. Others said that poets ought not to want&lt;br /&gt;
peerages&mdash;the Spectator to-day says as much.&lt;br /&gt;
The answer is clear; great poets do not want&lt;br /&gt;
peerages; they confer services upon the State&lt;br /&gt;
which cannot be measured; but, in whatever way&lt;br /&gt;
the State chooses to recognise great services, it is&lt;br /&gt;
bound in that way to recognise a great poet. It&lt;br /&gt;
is no honour to Tennyson that he is a peer; it is&lt;br /&gt;
the acknowledgment of his vast services to the&lt;br /&gt;
State in the way open to a grateful nation. Such&lt;br /&gt;
acknowledgments are due to literature as much as&lt;br /&gt;
to any other profession. Not that writers will do&lt;br /&gt;
better work, but that the world will liegin to think&lt;br /&gt;
more highly of its writers and will begin to value&lt;br /&gt;
their work more and will lie influenced more readily&lt;br /&gt;
by them when it sees that they are recognised&lt;br /&gt;
by the State. Now, here is a case in point. In&lt;br /&gt;
the year 1887, when the nation rejoiced over an&lt;br /&gt;
event of a most remarkable kind, cards of admission&lt;br /&gt;
were sent to the most distinguished persons in the&lt;br /&gt;
country for the great ceremony in Westminster&lt;br /&gt;
Abliey. There were present men of every calling;&lt;br /&gt;
it was a national representative gathering. For&lt;br /&gt;
most of those who were present, the card was not&lt;br /&gt;
so much an honour as a thing due to their position.&lt;br /&gt;
Very well. Not one single man or woman of&lt;br /&gt;
letters was invited as such. The whole of litera-&lt;br /&gt;
ture was absolutely ignored and contemptuously&lt;br /&gt;
passed over. Would that insult have been possible&lt;br /&gt;
had men of letters lieen regarded, like soldiers, as&lt;br /&gt;
servants of the State, and, like soldiers, to lie&lt;br /&gt;
recognized in the distribution of honours?&lt;br /&gt;
The Spectator sup]Kises the Prime Minister&lt;br /&gt;
worried between the rival claims of half-a-dozen&lt;br /&gt;
poets; well, why not? There is nothing so very&lt;br /&gt;
absurd about that. I suppose he is now worried&lt;br /&gt;
lietween the rival claims of Mr. Facing-both-Ways,&lt;br /&gt;
politician, and Mr. Creeping Backstairs, professional&lt;br /&gt;
Worm, both of whom ardently desire to be&lt;br /&gt;
knighted. Then we are told dogmatically, &amp;quot;We&lt;br /&gt;
have no business whatever to give titles and deco-&lt;br /&gt;
rations to literary men. They are far lictter&lt;br /&gt;
without them.&amp;quot; Does this mean that they write&lt;br /&gt;
lietter without them? If so, one might just as&lt;br /&gt;
well say that they have no business with new coats&lt;br /&gt;
&mdash;&amp;quot; they are far better without them.&amp;quot; Or does&lt;br /&gt;
it mean that they will feel better in their insides&lt;br /&gt;
without titles and decorations? There is, in&lt;br /&gt;
fact, absolutely nothing that can be said against&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 142 (#546) ############################################&lt;br /&gt;
&lt;br /&gt;
142&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
granting titles to one class any more than to any&lt;br /&gt;
other class j the arguments of the Spectator apply-&lt;br /&gt;
just as well to engineers as to poets. Do Millais&lt;br /&gt;
and Leighton paint worse since they had titles?&lt;br /&gt;
Can anyone in his senses believe that either Lecky&lt;br /&gt;
or Meredith would write worse if he were made a&lt;br /&gt;
Peer? Does anyone believe that Lord Lytton is a&lt;br /&gt;
worse ambassador because he is a poet? Lastly,&lt;br /&gt;
the Spectator asks what Browning would have done&lt;br /&gt;
as an ambassador? Of one thing I am quite&lt;br /&gt;
certain: If he was in other respects fitted for the&lt;br /&gt;
post of ambassador, his poetry would have l&amp;gt;een no&lt;br /&gt;
disqualification.&lt;br /&gt;
The Victorian reign will be glorified in after&lt;br /&gt;
ages mainly for three splendours. First, the&lt;br /&gt;
enormous and unparalleled increase of the English-&lt;br /&gt;
speaking race; so that they began with thirty&lt;br /&gt;
millions, and, after fifty years, have grown to a&lt;br /&gt;
hundred millions. Second, the wonderful ad-&lt;br /&gt;
vancement of science, by means of which almost&lt;br /&gt;
the elementary conditions of life have been revo-&lt;br /&gt;
lutionized. Thirdly, the magnificence of the&lt;br /&gt;
Victorian literature. When the future historian&lt;br /&gt;
dwells upon these illustrations of the period, he&lt;br /&gt;
will go on to remark that all of them flourished&lt;br /&gt;
under the absolute neglect and contempt of the&lt;br /&gt;
English Court and the English Government. The&lt;br /&gt;
colonies owed nothing, except snubs, to the Colonial&lt;br /&gt;
Office. No Government has ever attempted to&lt;br /&gt;
organise, to control, to assist, to direct, or to advise&lt;br /&gt;
emigration. The Government, without making an&lt;br /&gt;
effort to divert the stream, allowed the half of the&lt;br /&gt;
Irish ]&amp;gt;eople to go over bodily to the United States,&lt;br /&gt;
and to lend their invaluable legs and arms to the&lt;br /&gt;
material progress of that Republic. Until the&lt;br /&gt;
latter years of the reign, no colonist, however&lt;br /&gt;
great his services, was recognised even by the&lt;br /&gt;
insignificant distinction of a Knight Bachelor. As&lt;br /&gt;
for science, there have never been, since the world&lt;br /&gt;
began, such giants as those of our century. Have&lt;br /&gt;
any of these men of science been raised to the&lt;br /&gt;
House of Lords? Not one. Has there ever been&lt;br /&gt;
any national recognition of the best of them?&lt;br /&gt;
Perhaps it may be replied that a knighthood was&lt;br /&gt;
offered to one. A knighthood? In literature it&lt;br /&gt;
is an age which has produced two or three; English&lt;br /&gt;
writers of the first rank&mdash;the very first rank; it&lt;br /&gt;
has also produced a great number of writers whose&lt;br /&gt;
work is good, lasting, most useful, ami helpful,&lt;br /&gt;
beyond anything of the sort ever seen lx&amp;gt;fore in any&lt;br /&gt;
generation. Have these men received any national&lt;br /&gt;
honours or recognition? None whatever. The&lt;br /&gt;
House of Commons grants a little sum of &pound;400 a&lt;br /&gt;
year for distinguished service in literature, and the&lt;br /&gt;
First Lord of the Treasury refuses to use it for&lt;br /&gt;
that purpose&mdash;gives it to widows of officers&lt;br /&gt;
instead. One simple distinction, or recognition,&lt;br /&gt;
is the command to dine with the Sovereign. Do&lt;br /&gt;
these men ever receive such a command. Never.&lt;br /&gt;
My &amp;quot; grievance,&amp;quot; as the Spectator calls it, is, in&lt;br /&gt;
short, that national distinctions, which should&lt;br /&gt;
belong to every intellectual calling, are limited to&lt;br /&gt;
one or two, and are even bestowed without reference&lt;br /&gt;
to distinction at all.&lt;br /&gt;
I have received a paper&mdash;Hearth and Home&mdash;&lt;br /&gt;
which contains an account of a little discussion&lt;br /&gt;
between three persons&mdash;a Member of Parliament, a&lt;br /&gt;
&amp;quot;Labour Leader,&amp;quot; and a lady journalist. The dis-&lt;br /&gt;
cussion turned on the influence of a certain novel&lt;br /&gt;
on certain changes in opinion and reforms in&lt;br /&gt;
action. The Member of Parliament and the Labour&lt;br /&gt;
Leader maintained that the novel had nothing to do&lt;br /&gt;
with any reform. The lady said that, the novel had&lt;br /&gt;
everything to do with it. It was clear, from the&lt;br /&gt;
remarks of the other two, that they were totally&lt;br /&gt;
ignorant of the force of sentiment, or the power of&lt;br /&gt;
the artist to create, arouse, and direct public&lt;br /&gt;
opinion. They could not understand that senti-&lt;br /&gt;
ment, of which they doubtless supposed themselves&lt;br /&gt;
to have none, could possibly have anything to do&lt;br /&gt;
with practical things. That is to say, they knew&lt;br /&gt;
nothing of the history of popular opinion on popular&lt;br /&gt;
movements, and nothing whatever of the part&lt;br /&gt;
played by the poet, the dramatist, and the novelist.&lt;br /&gt;
This is very interesting. The same men who, after&lt;br /&gt;
reading &amp;quot; Uncle Tom&amp;#039;s Cabin,&amp;quot; would be maddened&lt;br /&gt;
by the cruelty and the wickedness of slavery, and&lt;br /&gt;
if the opportunity arose, would be spurred to action&lt;br /&gt;
by that madness, stoutly maintain that sentiment&lt;br /&gt;
plays no part in affairs; and that poet, artist, actor,&lt;br /&gt;
and novelist can effect nothing. On the same day,&lt;br /&gt;
as an illustration of the supposed powerlessness of&lt;br /&gt;
sentiment, all the world reads that Mr. Hall Caine&lt;br /&gt;
is going to Russia to study the question of the Jews&lt;br /&gt;
with a view, if he sees his way, to write a novel about&lt;br /&gt;
it. The English Jews who have proposed this task to&lt;br /&gt;
him are wiser, you see, than the Member of Parlia-&lt;br /&gt;
ment and the Labour Leader. The genius of the&lt;br /&gt;
novelist, who concentrates the attention and the&lt;br /&gt;
interest on a single group of the wretched, starving&lt;br /&gt;
fugitives&mdash;perhaps on a single figure&mdash;will do more&lt;br /&gt;
to bring home to our understanding the true,&lt;br /&gt;
nature of their sufferings than a thousand telegrams&lt;br /&gt;
and as many leading articles.&lt;br /&gt;
The story which is going about the papers con-&lt;br /&gt;
cerning French publishers is simply incredible. It&lt;br /&gt;
is said that the enormous editions of novels adver-&lt;br /&gt;
tised on the covers of the books are to a great&lt;br /&gt;
extent fictitious, and that those magnificent figures&lt;br /&gt;
&mdash;200th edition&mdash;5ooth edition, which fill the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 143 (#547) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
*43&lt;br /&gt;
breast of the British publisher&mdash;and, to a humbler&lt;br /&gt;
extent, the British author&mdash;with envy, are simply&lt;br /&gt;
trade lies. It is further stated that French authors&lt;br /&gt;
have been receiving royalties on the fictitious&lt;br /&gt;
numbers&mdash;in other words&mdash;that the publishers have&lt;br /&gt;
been paying for thousands of books which have&lt;br /&gt;
never been sold: in other words again that they&lt;br /&gt;
are possessed of secret mines of gold. It is again&lt;br /&gt;
stated that they have actually printed, though they&lt;br /&gt;
have not sold, the numbers they advertise, and that&lt;br /&gt;
their warehouses are bulging and bursting from top&lt;br /&gt;
to bottom with unsold novels. Lastly, it is stated&lt;br /&gt;
that certain firms are on the verge of bankruptcy&lt;br /&gt;
in consequence of this practice. We are not sur-&lt;br /&gt;
prised. There is, however, a way of explaining the&lt;br /&gt;
story. The trick of advertising edition after edition&lt;br /&gt;
of a book is not unknown in this country. The&lt;br /&gt;
edition may be as small as you please&mdash;a single&lt;br /&gt;
copy, perhaps&mdash;or fifty copies. It is a dirty trick;&lt;br /&gt;
a fraudulent trick; it assures the public that the&lt;br /&gt;
book is so much in demand that all these editions&lt;br /&gt;
have been taken up; the public believes that a&lt;br /&gt;
genuine edition is meant and is deceived ; the state-&lt;br /&gt;
ment was issued with intent to deceive; it is therefore&lt;br /&gt;
fraudulent. The trick is brother or sister of that&lt;br /&gt;
other trick by which a publisher buys a whole&lt;br /&gt;
edition of the author without stating the number&lt;br /&gt;
and trades on the omission. Henceforth I shall&lt;br /&gt;
accept the French novel in its 5ooth edition as&lt;br /&gt;
having probably circulated to the extent of a thou-&lt;br /&gt;
sand. Let us cease therefore to wish we had been&lt;br /&gt;
born in a country so eager to possess new literature.&lt;br /&gt;
The circular of a Society called the &amp;quot; British and&lt;br /&gt;
Foreign Association&amp;quot; lies before me. It has about&lt;br /&gt;
90 &amp;quot; Honorary Meml&amp;gt;ers,&amp;quot; among whom are several&lt;br /&gt;
very good names indeed. It lias a President, a&lt;br /&gt;
Chief Secretary, General Councillors, and Repre-&lt;br /&gt;
sentative Councillors. Its prospectus states that it&lt;br /&gt;
has 4,000 members. Its objects are three-fold:&lt;br /&gt;
(l) To promote fraternity among the nations.&lt;br /&gt;
Very good indeed. (2) To encourage literary&lt;br /&gt;
talent among the members by means of a monthly&lt;br /&gt;
magazine. Hum! By means of a monthly maga-&lt;br /&gt;
zine? But surely there are already dozens of&lt;br /&gt;
monthly magazines which do that very same thing.&lt;br /&gt;
And (3) to aid in popularising the works of the&lt;br /&gt;
members. Surely that is done already by the&lt;br /&gt;
reviews, and by the recommendation of readers one&lt;br /&gt;
to the other. What other method has this&lt;br /&gt;
Association?&lt;br /&gt;
Turning to the &amp;quot;advantages of membership,&amp;quot;&lt;br /&gt;
we find that the first advantage is social. Wrecked&lt;br /&gt;
on a desert island, you find the other inhabitants&lt;br /&gt;
also members&mdash;and there you are. The next&lt;br /&gt;
advantage is that you can find persons with whom&lt;br /&gt;
you will correspond&mdash;&amp;quot; exchange ideas &amp;quot;&mdash;says the&lt;br /&gt;
prospectus. This opens up a new, broad, and&lt;br /&gt;
hitherto unworked field of misery. Fancy belonging&lt;br /&gt;
to a Society which will provide an endless supply&lt;br /&gt;
of unknown correspondents anxious to exchange&lt;br /&gt;
ideas!&lt;br /&gt;
A third advantage is found in &amp;quot;the Literary&lt;br /&gt;
Branch.&amp;quot; This means the monthly magazine of&lt;br /&gt;
which I have never yet seen a copy. If there are&lt;br /&gt;
4,000 members all wanting to get their con-&lt;br /&gt;
tributions in, where is the advantage? If the&lt;br /&gt;
magazine is not known to the world, what is the&lt;br /&gt;
good of appearing in it? If the contributions&lt;br /&gt;
are worthy of publication, there are dozens of&lt;br /&gt;
magazines which will gladly pay for them.&lt;br /&gt;
Fourthly, there is a &amp;quot;Tutorial&amp;quot; department.&lt;br /&gt;
This seems to be a bid at a tutorial agency. Do&lt;br /&gt;
many of the 4,000 members join in the hope of&lt;br /&gt;
getting a tutorship?&lt;br /&gt;
Fifthly, there is the &amp;quot;Hotel Tariff.&amp;quot; Members&lt;br /&gt;
get a reduction at certain hotels&mdash;it is not stated&lt;br /&gt;
which these are, or where they are, or why they&lt;br /&gt;
make a reduction.&lt;br /&gt;
Sixthly, the &amp;quot;Commercial&amp;quot; side. Valuable&lt;br /&gt;
business connexions are said to have been formed&lt;br /&gt;
by correspondence between members. This seems&lt;br /&gt;
quite a new departure for a Literary, Peaceful,&lt;br /&gt;
Popular Association.&lt;br /&gt;
Here you have the Association&mdash;its objects and&lt;br /&gt;
advantages&mdash;all drawn up by its own officers; the&lt;br /&gt;
annual subscription is only half-a-guinea. What is&lt;br /&gt;
that in return for the chance of getting into the&lt;br /&gt;
magazine, and &amp;quot;exchanging ideas&amp;quot; with all kinds&lt;br /&gt;
of wonderful people, and opening valuable business&lt;br /&gt;
connexions, and getting tutorships? Meantime,&lt;br /&gt;
one would like to know on what representations&lt;br /&gt;
the 90 Honorary Members gave permission for&lt;br /&gt;
their names to appear? We will inquire further&lt;br /&gt;
into this very interesting &amp;quot;British and Foreign&lt;br /&gt;
Association.&amp;quot;&lt;br /&gt;
The competitive columns of certain popular&lt;br /&gt;
papers are producing very dangerous consequences&lt;br /&gt;
in inducing young winners of prizes to l&amp;gt;elieve&lt;br /&gt;
themselves born for literary fame. I fear that&lt;br /&gt;
these lines will not fall into the hands of any&lt;br /&gt;
such, but if they do, let me most earnestly implore,&lt;br /&gt;
them not to attempt Editor or Publisher with&lt;br /&gt;
original work without taking advice ns to the&lt;br /&gt;
quality of their work, either of the Society or of&lt;br /&gt;
some competent friend. We have been richly&lt;br /&gt;
blessed, as they used to say, in our efforts at&lt;br /&gt;
dissuasion. We have succeeded in leading out of&lt;br /&gt;
the stony fields of unsuccessful Literature many&lt;br /&gt;
who are now grazing sweetly in pastures of Clerk-&lt;br /&gt;
land or Trade-land. Sometimes those who are thus&lt;br /&gt;
turned aside kick and are restive. Then they&lt;br /&gt;
answer the advertising publisher&amp;#039;s letter that he&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 144 (#548) ############################################&lt;br /&gt;
&lt;br /&gt;
144&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
will moot all demands up to 5,ooo copies for &pound;60,&lt;br /&gt;
and proceed to learn the rest of the lesson which&lt;br /&gt;
never fails to follow. After that they go hack&lt;br /&gt;
into Clerk*land meekly, if somewhat bruised and&lt;br /&gt;
battered.&lt;br /&gt;
Some months ago I wrote a little paper called &amp;quot;A&lt;br /&gt;
School for Novelists,&amp;quot; in which I pointed out how,&lt;br /&gt;
given the natural aptitude to begin with, the&lt;br /&gt;
aspirant in Romance might rind his way greatly&lt;br /&gt;
smoothed, and might be saved from many dis-&lt;br /&gt;
appointments and humiliations, by learning the&lt;br /&gt;
technique of the Art. There was the usual and&lt;br /&gt;
expected kind of comment. Everybody who saw&lt;br /&gt;
his way to a clever thing ignored my saving clause&lt;br /&gt;
concerning the natural aptitude, and extended the&lt;br /&gt;
finger of scorn at the man who could lie such a&lt;br /&gt;
fool as to suppose that novelists can be made by&lt;br /&gt;
schools and lectures. But the project still remains&lt;br /&gt;
even when the clever things have all been said at&lt;br /&gt;
the cost of truth, and by the suppression of the most&lt;br /&gt;
important part of my contention. We shall see a&lt;br /&gt;
School of Fiction yet. If I had the time I would&lt;br /&gt;
start one myself, and I believe that I should do&lt;br /&gt;
very well with it, both for myself and for my&lt;br /&gt;
pupils. I now learn that there has been founded,&lt;br /&gt;
or will soon be founded, a College for Journalists&lt;br /&gt;
in the United States, out of which should come&lt;br /&gt;
many good things, and especially that regard&lt;br /&gt;
for truth which is surely the one thing most&lt;br /&gt;
wanted in American Journalism. And I am re-&lt;br /&gt;
minded that there has existed for some years a&lt;br /&gt;
School of Journalism in this London Town. The&lt;br /&gt;
school gives lectures and instruction in all the various&lt;br /&gt;
duties of a journalist: among them, on paragraphs,&lt;br /&gt;
reviewing, special and war correspondence, art and&lt;br /&gt;
dramatic criticism, leaders, editing, sub-editing, &amp;amp;c.&lt;br /&gt;
In other words, the school undertakes to turn out&lt;br /&gt;
a practical journalist in 12 months. It is directed&lt;br /&gt;
by Mr. David Anderson, himself a well-known&lt;br /&gt;
leader writer on the best London Papers.&lt;br /&gt;
Now, here comes in the reservation. The School&lt;br /&gt;
of Journalism can no more make a journalist, than&lt;br /&gt;
a School of Fiction could make a novelist; but it&lt;br /&gt;
can prepare the way for one who has the natural&lt;br /&gt;
aptitude. Many of those who pass through the&lt;br /&gt;
course may fail afterwards in their profession; but&lt;br /&gt;
that failure ought not to bring discredit, on the&lt;br /&gt;
school, so long as some can be found who attribute&lt;br /&gt;
their success mainly or in part to the work of the&lt;br /&gt;
school. For my own part, I welcome such schools&lt;br /&gt;
as additional proof, for the eyes of the world, that&lt;br /&gt;
Literature is a profession, and one with many&lt;br /&gt;
branches, of which journalism is one.&lt;br /&gt;
Certain not unfriendly critics have questioned the&lt;br /&gt;
use of my suggestion that authors should practise&lt;br /&gt;
the art of public speaking. &amp;quot;Why,&amp;quot; asks one,&lt;br /&gt;
&amp;quot;should authors make public speeches at all?&amp;quot;&lt;br /&gt;
Because they are sometimes very much wanted to&lt;br /&gt;
do so in the interests of their own calling. Because&lt;br /&gt;
they often know a great deal on special subjects on&lt;br /&gt;
which their spoken judgment might be very useful&lt;br /&gt;
indeed. Because authorship belongs to every pro-&lt;br /&gt;
fession and (idling under the sun, and he who&lt;br /&gt;
would teach or guide the world should lie able to&lt;br /&gt;
do so by word of mouth as well as by pen. Cer-&lt;br /&gt;
tainly there are men, as this critic points out, who&lt;br /&gt;
could never become orators. Thackeray was one;&lt;br /&gt;
Anthony Trollope was another; John Stuart Mill&lt;br /&gt;
was a very ineffective, unattractive speaker. Yet,&lt;br /&gt;
had one of those three studied and practised the.&lt;br /&gt;
art, he might at least have been able to say the&lt;br /&gt;
thing he wautcnl to say effectively and convincingly.&lt;br /&gt;
The last named might certainly have increased his&lt;br /&gt;
influence and power enormously. He did his best&lt;br /&gt;
and the House emptied the moment he rose.&lt;br /&gt;
Their desk, my critic goes on to say, is their&lt;br /&gt;
proper place. If so, John Morley had lietter go&lt;br /&gt;
liack te his desk; Mr. Arthur Balfour also, the&lt;br /&gt;
author of one admirable book at least, had better&lt;br /&gt;
go back to his; Mr. Gladstone to his; all the&lt;br /&gt;
Divines and Theologians must go back to their&lt;br /&gt;
desks. In fact, everylnxly who writes books must&lt;br /&gt;
be forbidden to do anything else. Docs not this&lt;br /&gt;
seem a little absurd? Behind the notion, you see, is&lt;br /&gt;
concealed some of the old contempt of the literary&lt;br /&gt;
man. He is still, as of old, held te be useless except&lt;br /&gt;
with a pen in his hand, and not of much use then.&lt;br /&gt;
I find a very apt illustration of my remarks con-&lt;br /&gt;
cerning authors and oratory in a certain ceremony&lt;br /&gt;
which took place at Canterbury the other day.&lt;br /&gt;
The address of the occasion, which is given l&amp;gt;elow,&lt;br /&gt;
was delivered by Mr. Henry Irving. Now, there&lt;br /&gt;
is no iM&amp;#039;tter speaker than Mr. Irving &mdash; &amp;#039;tis his&lt;br /&gt;
vocation. Also, the address was everything that&lt;br /&gt;
could lie desired. But I should have preferred&lt;br /&gt;
seeing a poet&mdash;a dramatic poet&mdash;or a leading man&lt;br /&gt;
of letters at least, deliver that address. And I take&lt;br /&gt;
it that the reason why Mr. Henry Irving was&lt;br /&gt;
invited to perform the task was the difficulty of&lt;br /&gt;
finding an English author of eminence who can&lt;br /&gt;
speak. It was not altogether because Mr. Lowell&lt;br /&gt;
was an American that he was invited to deliver the&lt;br /&gt;
address on the unveiling of Fielding&amp;#039;s bust.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 145 (#549) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
J45&lt;br /&gt;
Vague reports are flying about concerning a&lt;br /&gt;
monster pet ition about to be drawn up and presented&lt;br /&gt;
to the Archbishop of Canterbury. It will be signed&lt;br /&gt;
by millions, and it will bo a request that prayers&lt;br /&gt;
should l&amp;gt;e put up in all the churches, and con-&lt;br /&gt;
tinued for twelve months, that the heart of the&lt;br /&gt;
young journalist may be inclined unto verifying his&lt;br /&gt;
references, and that the heart of the editor may be&lt;br /&gt;
inclined unto visiting the neglectful with stripes.&lt;br /&gt;
My sympathy is entirely with that petition. I find,&lt;br /&gt;
for instance, that at least a dozen paragraphs have&lt;br /&gt;
appeared stating (i) that I myself have by myself&lt;br /&gt;
decided against admitting ladies to the Authors&amp;#039;&lt;br /&gt;
Club: (2) that my reason is that they write for&lt;br /&gt;
religious periodicals, and therefore they cannot pay&lt;br /&gt;
the five-guinea subscription. These statements are&lt;br /&gt;
entirely false. &amp;quot;What happened was this. At the&lt;br /&gt;
preliminary meeting of the Temporary Committee,&lt;br /&gt;
July 23rd, a set of tentative Resolutions were&lt;br /&gt;
drawn up and passed. These Resolutions con-&lt;br /&gt;
templated a club of men only. One of the chief&lt;br /&gt;
reasons for such a conclusion was the fact that&lt;br /&gt;
so many ladies had written to say that they could&lt;br /&gt;
not jwssibly pay a subscription of five guineas.&lt;br /&gt;
Therefore, the Committee, and not I myself, passed&lt;br /&gt;
Resolutions contemplating a club for men only.&lt;br /&gt;
They inserted these Resolutions in the Author,&lt;br /&gt;
and asked for opinions. Moreover, in the Sep-&lt;br /&gt;
tember number of the Author I expressly called&lt;br /&gt;
attention to these facts, so that it is pure invention&lt;br /&gt;
to say that I have excluded ladies. Another&lt;br /&gt;
ingenious inventor of copy has added that the reason&lt;br /&gt;
why ladies cannot afford five guineas is that they&lt;br /&gt;
work for religious periodicals. Another want of&lt;br /&gt;
verification! What I said was this: &amp;quot;An ideal&lt;br /&gt;
club of authors should admit women as well as men.&lt;br /&gt;
Literature is, above all others, a profession open to&lt;br /&gt;
both sexes. Yet literary women are even more&lt;br /&gt;
mercilessly sweated than men, especially by religious&lt;br /&gt;
societies, who pretend not to know that sweating&lt;br /&gt;
was specially contemplated in the framing of the&lt;br /&gt;
Eighth Commandment; and the number of ladies&lt;br /&gt;
who live by their literary work, and can afford even&lt;br /&gt;
so reasonable a subscription as five guineas is very&lt;br /&gt;
small.&amp;quot; It is, indeed, very small indeed. Some&lt;br /&gt;
day I hope to show what the sweating of women in&lt;br /&gt;
literature really means. In the case of one religious&lt;br /&gt;
society I have already done something in tliat&lt;br /&gt;
direction.&lt;br /&gt;
Walter Besant. &diams;■&raquo;■&diams;&lt;br /&gt;
LISTS AND RISES.&lt;br /&gt;
f |^HE long lists of announcements of new books&lt;br /&gt;
I show no falling off in numbers, at least.&lt;br /&gt;
Modern English literature appears to flourish&lt;br /&gt;
in every branch. Those who think that nobody buys&lt;br /&gt;
books may look at these lists and ask themselves for&lt;br /&gt;
whom the new books are all printed and published?&lt;br /&gt;
To lie on the shelves? To l&amp;gt;e given away? For the&lt;br /&gt;
pride of the publisher? Nay, but to be sold. There&lt;br /&gt;
is, again, we are expected to believe, an enormous risk&lt;br /&gt;
in bringing out every one of these books. The very&lt;br /&gt;
length of the lists shows the absurdity of the risk&lt;br /&gt;
bogey. Looking through the lists one sees a book&lt;br /&gt;
here and a l&amp;gt;ook there whose success seems doubt-&lt;br /&gt;
ful&mdash;new poems, but these are always paid for by the&lt;br /&gt;
author; novels by unknown hands, which are also&lt;br /&gt;
paitl for by the author, unless they are so striking as&lt;br /&gt;
to leave no doubt in the mind of the reader; books&lt;br /&gt;
of essays, by unknown writers; biographies of&lt;br /&gt;
unknown persons, and so forth, of which all that&lt;br /&gt;
one can say is that if a publisher were to bring&lt;br /&gt;
them out at his own risk he would l&amp;gt;e a very&lt;br /&gt;
sanguine person and a very bad man of business.&lt;br /&gt;
But the chief lesson to be learned by this enormous&lt;br /&gt;
output is the enormous market. We who live in&lt;br /&gt;
London are too apt to fall into the error of judging&lt;br /&gt;
everything by a London standard; more than that,&lt;br /&gt;
by the standard of a small piece of London. For&lt;br /&gt;
instance, in Club land nolxxly buys Ixwks, news-&lt;br /&gt;
papers, or magazines; but in the suburbs there are&lt;br /&gt;
hundreds&mdash;thousands of houses&mdash;who buy both&lt;br /&gt;
books and magazines, while in the country houses&lt;br /&gt;
and country towns, though the circulating library&lt;br /&gt;
goes for much it is not everything, and there are&lt;br /&gt;
India and the Colonies. The inquiry which we con-&lt;br /&gt;
ducted some months ago gave us some insight into&lt;br /&gt;
the vastness of the book market. The autumn lists&lt;br /&gt;
enlarge that view. To take nine publishers only out&lt;br /&gt;
of the daily increasing number of firms, we find the&lt;br /&gt;
following numbers of new lxx&amp;gt;ks announced re-&lt;br /&gt;
spectively :&mdash;82, 57, 57, 5i, 43, 37, 36, 35, and 34,&lt;br /&gt;
or an average of 43&amp;#039; 2 among the nine. Probably&lt;br /&gt;
there are a thousand in all for the autumn output.&lt;br /&gt;
This represents at an average of &pound;100 a-piece, an&lt;br /&gt;
outlay, or an investment, of &pound;ioo,coo, and, of&lt;br /&gt;
course, this is only a part of the whole year&amp;#039;s&lt;br /&gt;
enterprise. It is a large sum of money. Would it&lt;br /&gt;
be embarked year after year&mdash;would new firms,&lt;br /&gt;
some of them without any capital at all&mdash;come into&lt;br /&gt;
the business if it were full of risks? Of course not.&lt;br /&gt;
For my part I have never been able to understand&lt;br /&gt;
why some publishers&mdash;not all&mdash;affect to be engaged&lt;br /&gt;
in a kind of gambling business. It is not reputable&lt;br /&gt;
to them as business men; it is not in the least&lt;br /&gt;
true; and it damages literature by making authors&lt;br /&gt;
believe that everything is a toss up. &amp;quot;Rider&lt;br /&gt;
Haggard has succeeded,&amp;quot; says some lunatic, who&lt;br /&gt;
thinks he can write, &amp;quot;Why shouldn&amp;#039;t I get a&lt;br /&gt;
chance as well as he?&amp;quot; Literally, this notion is&lt;br /&gt;
widespread. A great many people write to the&lt;br /&gt;
Society in this sense and under this idea. And they&lt;br /&gt;
are greatly helped by the absurd way in which some&lt;br /&gt;
publishers wish risk to be considered as the first&lt;br /&gt;
element in their work. You can hardly read a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 146 (#550) ############################################&lt;br /&gt;
&lt;br /&gt;
146&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
leading article on the subject which does not start&lt;br /&gt;
with the assumption that publishing is pure gamb-&lt;br /&gt;
ling&mdash;speculation&mdash;a toss up. The bogey springs&lt;br /&gt;
up like a jack-in-the-box in all kinds of unexpected&lt;br /&gt;
places. The other day I bought Mr. Andrew&lt;br /&gt;
Lang&amp;#039;s &amp;quot;Hypnerotomachia,&amp;quot; in a second-hand&lt;br /&gt;
bookseller&amp;#039;s, and carried it home. It is prefaced&lt;br /&gt;
by an introduction which is both attractive and&lt;br /&gt;
instructive. In the middle of it occurs this&lt;br /&gt;
remarkable passage, &amp;quot;and there is risk in pub-&lt;br /&gt;
lishing, though a hundred Mr. Besants say there&lt;br /&gt;
is not.&amp;quot; Where are these hundred? I only know&lt;br /&gt;
one person of that name who has written upon the&lt;br /&gt;
subject, and he most certainly has never said any-&lt;br /&gt;
thing so foolish. There is risk, and plenty, as I&lt;br /&gt;
have said elsewhere and everywhere, in publishing.&lt;br /&gt;
But then publishers of the present day very seldom&lt;br /&gt;
take any. If anybody takes upon himself to deny&lt;br /&gt;
this statement he must do so only after he has care-&lt;br /&gt;
fully examined publishers&amp;#039; books, with the aid of&lt;br /&gt;
an accountant, if he is not skilled in accounts. If&lt;br /&gt;
anyone will produce such proofs I am ready to&lt;br /&gt;
modifv my statement. For my own part, I have&lt;br /&gt;
been enabled to see, what nobodv else in the&lt;br /&gt;
world has seen, except our secretaries, a very&lt;br /&gt;
large and perfectly unique collection of pub-&lt;br /&gt;
lishers&amp;#039; agreements and publishers&amp;#039; accounts, to&lt;br /&gt;
which we have added a mass of information on&lt;br /&gt;
the cost of production never l&amp;gt;efore possessed by&lt;br /&gt;
anyone. And with this knowledge in my hands,&lt;br /&gt;
I lx)ldly say that very few publishers ever take any&lt;br /&gt;
risk in the production of new liooks. As to new&lt;br /&gt;
magazines and such ventures I sav nothing, of&lt;br /&gt;
course. I take only new books written by living&lt;br /&gt;
authors. Meantime, this absurd sentence stands in&lt;br /&gt;
the middle of Mr. Lang&amp;#039;s Introduct ion to a mediaeval&lt;br /&gt;
book like a bit of modern common earthenware&lt;br /&gt;
on a shelf filled with Murano glass. The effect is&lt;br /&gt;
very striking. There will not, I suppose, be&lt;br /&gt;
another edition of the liook for a hundred years to&lt;br /&gt;
come, and many a pleasant little controversy will&lt;br /&gt;
arise when we are all forgotten as to this wonderful&lt;br /&gt;
glimpse of a hundred all clamouring like one man,&lt;br /&gt;
that there was no risk in publishing.&mdash;What hun-&lt;br /&gt;
dred? Who were they? Where did they clamour?&lt;br /&gt;
Why, in the nineteenth century it was notorious that&lt;br /&gt;
every publisher quickly went to immortal smash,&lt;br /&gt;
and the Court of Bankruptcy was filled with&lt;br /&gt;
unhappy publishers who had failed, and on days&lt;br /&gt;
&amp;quot;out,&amp;quot; the streets were crammed with publishers&lt;br /&gt;
dressed in the livery of their Union!&lt;br /&gt;
W. B.&lt;br /&gt;
FROM AMERICA.&lt;br /&gt;
WE are certainly not going to interfere&lt;br /&gt;
between American authors and American&lt;br /&gt;
publishers. But the following seems to&lt;br /&gt;
show that all is not complete happiness across the&lt;br /&gt;
ocean. It is taken from the New York Critic:&mdash;&lt;br /&gt;
&amp;quot;A publishing-house of old and high standing&lt;br /&gt;
bought a MS. of 3o,ooo words at an agreed price,&lt;br /&gt;
plus a share on sales. A year elapsed and then the&lt;br /&gt;
author was asked if he would extend it to 60,000&lt;br /&gt;
words, which he did, without asking that the&lt;br /&gt;
original price should be doubled, but he drew&lt;br /&gt;
the balance, which was not to have been paid until&lt;br /&gt;
publication. At the end of 18 months it was&lt;br /&gt;
found that the lxx&amp;gt;k could not l&amp;gt;e issued until&lt;br /&gt;
two years had elapsed since the original sale.&lt;br /&gt;
There was no stipulation as to date of publication.&lt;br /&gt;
At this stage the author sent in proposals to the&lt;br /&gt;
publisher asking that, in consideration of the&lt;br /&gt;
unreasonable delay of two years, and also of his&lt;br /&gt;
complacency in doubling the work at their sugges-&lt;br /&gt;
tion, they should make a further payment, either&lt;br /&gt;
in full purchase of author&amp;#039;s interest, or as an&lt;br /&gt;
advance. No sort of complaint had been made&lt;br /&gt;
against the MS. from first to last. To this the&lt;br /&gt;
representative of the firm replied with a flat refusal&lt;br /&gt;
to submit the proposal, on the ground (to quote his&lt;br /&gt;
letter) that &amp;#039; it is absurd to claim that the delay in&lt;br /&gt;
publication is either a matter for which we should&lt;br /&gt;
be blamed or that has caused you loss.&amp;#039; As to the&lt;br /&gt;
suggestion of reciprocity in goodwill based on&lt;br /&gt;
the author&amp;#039;s readiness in furnishing twice the&lt;br /&gt;
quantity of matter specified in the contract,&lt;br /&gt;
the reply is simply the remark &amp;#039;you readily offered&lt;br /&gt;
to enlarge it without charge.&amp;#039; From which it&lt;br /&gt;
appears that time is not money to the author tribe,&lt;br /&gt;
and the driving of a sharp bargain absolves the&lt;br /&gt;
gainer from any obligation, to do a favour to the&lt;br /&gt;
one who suffers through his lordly leisureliness.&amp;quot;&lt;br /&gt;
Thus far the correspondent, on which the editor&lt;br /&gt;
remarks&mdash;&lt;br /&gt;
&amp;quot;There seems in this case to have been some&lt;br /&gt;
&amp;#039;reciprocity in goodwill,&amp;#039; as the writer admits&lt;br /&gt;
having been paid &amp;#039;the balance &amp;#039; which was to have&lt;br /&gt;
been paid on publication.&amp;quot;&lt;br /&gt;
True, Mr. Editor, but what were the respective&lt;br /&gt;
values of the &amp;quot;reciprocity in goodwill&amp;quot;? The&lt;br /&gt;
writer was to have received, say, &pound;100 on&lt;br /&gt;
publication. This was delayed for 18 months,&lt;br /&gt;
although when the bargain was made, immediate&lt;br /&gt;
publication was, in fact, contemplated. The writer,&lt;br /&gt;
however, got paid his &pound;100, so that the publisher&lt;br /&gt;
clearly lost 18 months&amp;#039; interest on his money. But&lt;br /&gt;
the writer doubled the length of the work, and&lt;br /&gt;
should have received double the pay. Therefore&lt;br /&gt;
the writer lost &pound;100, while the publisher lost only&lt;br /&gt;
&pound;7 io&laquo;., reckoning 5 per cent, interest. But in&lt;br /&gt;
what other profession in the world would an&lt;br /&gt;
employer dare to propose that payment made for a&lt;br /&gt;
stipulated piece of work should be made to serve&lt;br /&gt;
for double that piece of work?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 147 (#551) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
EEVIEWEES AND EEVIEWS.&lt;br /&gt;
I.&lt;br /&gt;
IT would appear, from certain papers which have&lt;br /&gt;
at various times occupied your columns, that&lt;br /&gt;
many writers believe that favourable notice&lt;br /&gt;
from the various reviews is sufficient to secure a&lt;br /&gt;
reasonable sale for most books. If such an impres-&lt;br /&gt;
sion prevails, there may be some use in detailing my&lt;br /&gt;
own experiences. Some years since, I made my first&lt;br /&gt;
venture with a volume of verse. My reasons were&lt;br /&gt;
various, the proverbial vanity of the verse-writer&lt;br /&gt;
amongst them, but the hope of profit was not.&lt;br /&gt;
My own knowledge, lmcked by competent advice,&lt;br /&gt;
and the opinion of my publisher was sufficient, I&lt;br /&gt;
think, to prevent any disappointment upon that&lt;br /&gt;
head, when a publication which had cost me about&lt;br /&gt;
&pound;70 brought in a return of &pound;|5 in sides. Yet, in&lt;br /&gt;
one way, I was unfortunately very successful. The&lt;br /&gt;
reviews, from which I had expected very mixed&lt;br /&gt;
criticism, were uniformly in my favour, and some&lt;br /&gt;
half-dozen proved enthusiastic. It may cut matters&lt;br /&gt;
short if I say that, encouraged by their tone, I&lt;br /&gt;
followed this first venture with two similar ones,&lt;br /&gt;
the results, pecuniary and critical, being almost&lt;br /&gt;
identical, so that I was the proud possessor of&lt;br /&gt;
some 70 eulogiums of my work in print, besides&lt;br /&gt;
letters from various writers, including our great poet,&lt;br /&gt;
in return for which I had invested a capital of some-&lt;br /&gt;
thing over &pound;200. A wealthy man might consider&lt;br /&gt;
this money well invested for such a result. I did&lt;br /&gt;
not, and encouraged this time by the advice of&lt;br /&gt;
friends, I set to work to recover my stake by&lt;br /&gt;
publishing, at my own cost, a prose work. The&lt;br /&gt;
reviews were even warmer in tone than they had&lt;br /&gt;
been as regarded my verse, with a solitary ex-&lt;br /&gt;
ception in a non-literary pa|X&amp;#039;r, and I ln-gan to&lt;br /&gt;
feel confident of a return ; so that I was considerably&lt;br /&gt;
mortified this time on receiving once more an&lt;br /&gt;
account of the sale of about a hundred copies out&lt;br /&gt;
of what I had hoped, from the tone of the critics,&lt;br /&gt;
would prove to be merely a first edition. This&lt;br /&gt;
time I thought that my publisher might be at&lt;br /&gt;
fault, though I had no definite cause of dissatis-&lt;br /&gt;
faction with him. Accordingly, I carried my&lt;br /&gt;
fifth venture, a work of fiction, to another firm to&lt;br /&gt;
which I had l&amp;gt;ccn recommended. With regard to&lt;br /&gt;
the manner in which I was advised and treated by&lt;br /&gt;
this firm, I may have something to say at a future&lt;br /&gt;
date. Once again, all the papers which reviewed&lt;br /&gt;
my tale praised it, and I lost something over &pound;40.&lt;br /&gt;
I returned to my old publishers, anil had a sixth&lt;br /&gt;
book printed last year. Results were about the&lt;br /&gt;
same: one unfavourable review in the Church&lt;br /&gt;
Times; about a score of favourable notices in&lt;br /&gt;
various well-known papers; side about ioo&lt;br /&gt;
copies.&lt;br /&gt;
Now, as many of the sales of my various works&lt;br /&gt;
were made in quarters known to myself, I am able&lt;br /&gt;
to state, with fair certainty, that from 100 to i5o&lt;br /&gt;
favourable reviews have not averaged a return of&lt;br /&gt;
more than three or four shillings apiece from sides&lt;br /&gt;
obtained by their influence. How many sales the&lt;br /&gt;
two unfavourable notices may have prevented is a&lt;br /&gt;
doubtful question.&lt;br /&gt;
It may possibly lx- of some interest if I set down,&lt;br /&gt;
in conclusion, the course taken by the four chief&lt;br /&gt;
weekly Metropolitan Reviews, as showing the risks&lt;br /&gt;
which an author, otherwise favourably received,&lt;br /&gt;
may have of being overlooked by them.&lt;br /&gt;
The Saturday Review ignored my first two&lt;br /&gt;
volumes, and published favourable notices of the&lt;br /&gt;
last four with fair promptitude. No beginner&lt;br /&gt;
need complain of such a course.&lt;br /&gt;
The Spectator commenced with number two,&lt;br /&gt;
and has fx-en extremely kind: however, the notices&lt;br /&gt;
appeared at from three months to a year after&lt;br /&gt;
publication, and my last work, published ten&lt;br /&gt;
months since, is, I believe, still unnoticed by them.&lt;br /&gt;
The Athcnrrum noticed number five only.&lt;br /&gt;
The Academy noticed number one only.&lt;br /&gt;
I may mention that both these last notices were&lt;br /&gt;
favourable, and the notice in the Academy of my&lt;br /&gt;
first volume of verse, coupled with those in the&lt;br /&gt;
Scotsman, Graphic, &amp;lt;&amp;amp;c, was the chief inducement&lt;br /&gt;
to the publication of my second and third volumes.&lt;br /&gt;
Y. A. G.&lt;br /&gt;
II.&lt;br /&gt;
We have recently had a little talk about the&lt;br /&gt;
reviews of novels. It may be interesting to some&lt;br /&gt;
of our readers to see how an American paper, the&lt;br /&gt;
New York Critic, reviews novels. First of all, the&lt;br /&gt;
Critic gives to each work its own separate space&lt;br /&gt;
and title. The notices are short, but they are&lt;br /&gt;
detached. The author is treated as an individual,&lt;br /&gt;
not as one of a herd. This is respectful and polite.&lt;br /&gt;
The reviewer then gives a short account of the&lt;br /&gt;
work&mdash;so far as one can judge, a fair account.&lt;br /&gt;
In this account he tells something of the story.&lt;br /&gt;
And it ends with a few words of appreciative&lt;br /&gt;
approval or the reverse. This method is not pro-&lt;br /&gt;
posed as a model, but it is suggested for considera-&lt;br /&gt;
tion. The following, for instance, is the notice of&lt;br /&gt;
Hardy&amp;#039;s &amp;quot;Group of Noble Dames &amp;quot; :&mdash;&lt;br /&gt;
&amp;quot;At a meeting of one of the Wessex Field and&lt;br /&gt;
Antiquarian clubs, held in the museum of the town,&lt;br /&gt;
certain stories were partly told, partly read from&lt;br /&gt;
manuscript. The club was of an inclusive and&lt;br /&gt;
intersocial character, the meeting was to extend&lt;br /&gt;
over two days, the rain came down in an obstinate&lt;br /&gt;
jwtter which revealed no sign of cessation, and the&lt;br /&gt;
members agreed to let the stories do duty for the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 148 (#552) ############################################&lt;br /&gt;
&lt;br /&gt;
148&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
regulation papers on deformed butterflies, fossil&lt;br /&gt;
ox-horns, and other prehistoric relics. Some of&lt;br /&gt;
them observed tlint a storm-bound club could not&lt;br /&gt;
be selective, and they were much pleased to hear&lt;br /&gt;
such curious chapters from the domestic histories&lt;br /&gt;
of the country. There was no lack of material in&lt;br /&gt;
Wessex. Many were the legends and traditions of&lt;br /&gt;
gentle and noble dames, renowned in times past in&lt;br /&gt;
that part of England, whose actions and passions&lt;br /&gt;
were now, but for men&amp;#039;s memories, buried under&lt;br /&gt;
the brief inscription on a tomb or an entry of dates&lt;br /&gt;
in a dry pedigree. The stories, once told, were too&lt;br /&gt;
good to be lost, so they were gathered together and&lt;br /&gt;
published in a volume called &amp;#039;A Group of Noble&lt;br /&gt;
Dames.&amp;#039; Truly fascinating tales they have proved&lt;br /&gt;
to be, well calculated to while away the dreary and&lt;br /&gt;
monotonous hours of many a club called together&lt;br /&gt;
for more serious work. Their local colour is perfect,&lt;br /&gt;
their interest is absorbing, and the style in which&lt;br /&gt;
they are told is so simple and so natural that, in&lt;br /&gt;
speaking of them, one drops unconsciously into the&lt;br /&gt;
quaint old English expressions in vogue in those&lt;br /&gt;
days. They are among the best things that&lt;br /&gt;
Thomas Hardy has ever done, and are issued in a&lt;br /&gt;
very attractive cover. (81.25. Harper &amp;amp; Bros.)&amp;quot;&lt;br /&gt;
&lt;br /&gt;
MAGAZINES AND CONTRIBUTIONS.&lt;br /&gt;
AGliEAT many letters from time to time&lt;br /&gt;
have reached the Society on the subject of&lt;br /&gt;
prices paid for articles in magazines. There&lt;br /&gt;
have been so many that the Society has now an&lt;br /&gt;
actual knowledge of the ordinary rate of pay of&lt;br /&gt;
every magazine, including certain organs whose&lt;br /&gt;
editors (or proprietors) go on the principle of&lt;br /&gt;
never paying anybody if they can possibly avoid&lt;br /&gt;
it. The rates vary very largely, partly depend-&lt;br /&gt;
ing on the name and reputation of the writer,&lt;br /&gt;
partly on the circulation of the magazine, and,&lt;br /&gt;
in some cases, on the sweating disposition of&lt;br /&gt;
the proprietor. They vary, indeed, in an astonish-&lt;br /&gt;
ing manner. One or two of the oldest and the best-&lt;br /&gt;
known magazines are offering their contributors&lt;br /&gt;
sums which would be thought contemptible by the&lt;br /&gt;
new and cheaper organs, while some of the latter&lt;br /&gt;
are offering prices for work by well-known men&lt;br /&gt;
far above any dreamed of by their older contem-&lt;br /&gt;
poraries. It would seem that there is, and can be,&lt;br /&gt;
no fixed rate for contributions. Journals do not&lt;br /&gt;
all have a wide circulation. When the circulation of&lt;br /&gt;
a magazine has begun to go down, the effect upon&lt;br /&gt;
payment of contributors must, sooner or later, be&lt;br /&gt;
marked; in fact, at this moment certain magazines&lt;br /&gt;
are proving their decline and impending fall&lt;br /&gt;
by the decrease in the amount of the contributor&amp;#039;s&lt;br /&gt;
cheque. It is impossible, without loss; to pay the&lt;br /&gt;
old scale for half the old subscription. On the other&lt;br /&gt;
hand, these things get whispered abroad. Then&lt;br /&gt;
good writers cease to send in work. Then the&lt;br /&gt;
paper is no longer looked at, or inquired after; at&lt;br /&gt;
the clubs it remains in its case ; no new subscribers&lt;br /&gt;
take it in; it gradually fades into decay and&lt;br /&gt;
forgetfulness. There are, besides, certain maga-&lt;br /&gt;
zines&mdash;of which an example was given in last&lt;br /&gt;
month&amp;#039;s Author&mdash;which simply go on the broad&lt;br /&gt;
and intelligible principle of never paying any&lt;br /&gt;
contributor at all unless they are compelled. The&lt;br /&gt;
Society is accumulating evidence on all these points.&lt;br /&gt;
Other considerations affect tht question. Thus:&lt;br /&gt;
(I) There are always a great many people who will&lt;br /&gt;
willingly contribute papers for nothing, except the&lt;br /&gt;
joy of seeing their names in print. If, therefore,&lt;br /&gt;
there were enough of these writers to fill a magazine&lt;br /&gt;
with papers attractive, pleasant, and popular, it&lt;br /&gt;
could be run for nothing. Happily, the numlier&lt;br /&gt;
of writers who are pleasant and popular is very&lt;br /&gt;
limited; therefore, this resource is soon exhausted.&lt;br /&gt;
Yet the number of articles offered to editors on&lt;br /&gt;
all conceivable subjects is incredible. (2) It&lt;br /&gt;
must be remembered that the question is, or should&lt;br /&gt;
be, one of bargain only. The writer, for instance,&lt;br /&gt;
who might possibly be accepted on some magazine&lt;br /&gt;
if he offered his work for nothing, would be cer-&lt;br /&gt;
tainly rejected if he demanded what he might&lt;br /&gt;
himself consider a reasonable sum for his work;&lt;br /&gt;
and, even in the higher-class magazines, if an editor&lt;br /&gt;
chooses to offer only so much&mdash;a great deal less,&lt;br /&gt;
perhaps, than the writer expected&mdash;it is oi&amp;gt;en for&lt;br /&gt;
him to refuse or to accept the offer. Only, as said&lt;br /&gt;
above, where such small offers are made, it is a&lt;br /&gt;
proof of a falling circulation.&lt;br /&gt;
It wotdd be, perhaps, as well if writers, before&lt;br /&gt;
sending a paper to a magazine, were to ascertain&lt;br /&gt;
at the Society&amp;#039;s office the usual scale of pay. They&lt;br /&gt;
could then decide whether it was worth while to&lt;br /&gt;
send in their papers, and could stipulate beforehand&lt;br /&gt;
what price they would be prepared to take.&lt;br /&gt;
&lt;br /&gt;
COMMISSION BOOKS.&lt;br /&gt;
fl^HE Secretary is continually receiving letters&lt;br /&gt;
I and requests on the subject of commission&lt;br /&gt;
books; that is to say, books which the author&lt;br /&gt;
pays for and the publisher sells on a commission of&lt;br /&gt;
10 or 15 per cent, There are a great number of&lt;br /&gt;
books published at the author&amp;#039;s expense, and yet&lt;br /&gt;
there are not many commission l&amp;gt;ooks. In other&lt;br /&gt;
words, as we arc always insisting, a vast number&lt;br /&gt;
of novels are issued every year by foolish and&lt;br /&gt;
deluded people who pay in advance what they are&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 149 (#553) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
149&lt;br /&gt;
informed is half the cost, and afterwards receive&lt;br /&gt;
what they are informed is half the proceeds.&lt;br /&gt;
They can then imitate Mr. Bob Sawyer by placing&lt;br /&gt;
their profits in a wine-glass ami covering them&lt;br /&gt;
with a gooseberry skin. Generally, however, they&lt;br /&gt;
cannot even do that, for the profits turn out to&lt;br /&gt;
be &amp;quot;nuppence.&amp;quot; That is not commission pub-&lt;br /&gt;
lishing. Yet, if a man has got a good book, there&lt;br /&gt;
can be no better way of publishing, provided he&lt;br /&gt;
can get a good house. It is said, and lielieved, that&lt;br /&gt;
a house will not push a book on a 10 per eent.&lt;br /&gt;
commission. That may be true. If it is, perhaps&lt;br /&gt;
they would push it on a i5 per cent, commission.&lt;br /&gt;
Let us see how this works out, taking the&lt;br /&gt;
average six-shilling novel of about 17 sheets. The&lt;br /&gt;
first edition of 1,000 copies costs about &pound;90. The&lt;br /&gt;
next edition of 3,ooo costs about &pound;118. The price&lt;br /&gt;
being 3s. ^d., the first edition, allowing for pre-&lt;br /&gt;
sentation copies, realizes about &pound;i5o, the next&lt;br /&gt;
about &pound;5oo. On the first edition the publisher, at&lt;br /&gt;
15 per cent., takes &pound;22 ios., and on the second&lt;br /&gt;
edition &pound;75. The author, on the other hand,&lt;br /&gt;
makes on the first edition &pound;37 10s., and on the&lt;br /&gt;
next edition of 3,ooo he makes about &pound;3oo. It&lt;br /&gt;
certainly seems to me as if this was a very equitable&lt;br /&gt;
arrangement. I suppose that all the trouble of&lt;br /&gt;
printing the book is taken by the author.&lt;br /&gt;
AN INSTRUCTIVE CASE.&lt;br /&gt;
AN agreement and a bundle of accounts are&lt;br /&gt;
l)efore us. The agreement contains as an&lt;br /&gt;
integral part an &amp;quot;estimate&amp;quot; of the cost&lt;br /&gt;
of production. Observe, that if the author, having&lt;br /&gt;
signed the agreement, afterwards discovers that the&lt;br /&gt;
&amp;quot;estimate&amp;quot; was fraudulent, he has no redress&lt;br /&gt;
except by action in the High Court of Justice, and&lt;br /&gt;
a very difficult business it is to prove by experts&lt;br /&gt;
the fraud in such a case. In the Author we have&lt;br /&gt;
repeatedly warned readers against signing any&lt;br /&gt;
agreement containing an &amp;quot;estimate.&amp;quot; Now the&lt;br /&gt;
book before us being submitted to a printer, it is&lt;br /&gt;
actually found that his &amp;quot;estimate&amp;quot; has been&lt;br /&gt;
exactly doubled, i.e., that the printing and produc-&lt;br /&gt;
tion of the book really cost exactly half of what&lt;br /&gt;
was stated in the &amp;quot;estimate.&amp;quot; The author in the&lt;br /&gt;
agreement bound himself to pay half the &amp;quot; estimate,&amp;quot;&lt;br /&gt;
i.e., he was made liable, really, for the whole of the&lt;br /&gt;
cost. He did pay, in reality, half the sum in&lt;br /&gt;
advance, and left the rest to come out of sides.&lt;br /&gt;
At the close of the iirst edition the publisher&lt;br /&gt;
having, in addition to the other fraud, and contrary&lt;br /&gt;
to the agreement, charged a much larger sum for&lt;br /&gt;
advertisements than was arranged, how does the&lt;br /&gt;
account stand?&lt;br /&gt;
1. According to the publisher&amp;#039;s returns, the cost&lt;br /&gt;
of the book exceeds the sales by about &pound;70.&lt;br /&gt;
Placing against this the sum actually paid&lt;br /&gt;
by the author, he loses aliout &pound;3o. Very&lt;br /&gt;
bad business indeed.&lt;br /&gt;
2. According to the reality of the case, the sales&lt;br /&gt;
of the book exceed the cost by about &pound;5.&lt;br /&gt;
Add the sum paid by the author, and the&lt;br /&gt;
publisher is in pocket to the tune of about&lt;br /&gt;
&pound;40. Not such IkkI business, after all,&lt;br /&gt;
with quite a little book, and quite a little&lt;br /&gt;
fraud.&lt;br /&gt;
&lt;br /&gt;
THE MARLOWE MEMORIAL.&lt;br /&gt;
f|&amp;gt;HE following is the address of Mr. Henry&lt;br /&gt;
I Irving on the unveiling of the Marlowe&lt;br /&gt;
Memorial, as reported in the Times:&mdash;&lt;br /&gt;
&amp;quot;We are here to-day to pay tribute to a&lt;br /&gt;
great memory and to repair a great omission.&lt;br /&gt;
England has always set much store by the men&lt;br /&gt;
who helped to save the State in the supreme&lt;br /&gt;
crisis of her history. The statesmen and&lt;br /&gt;
warriors of the Elizabethan times have never&lt;br /&gt;
lacked a grateful recognition from their descen-&lt;br /&gt;
dants. The literature which was the flower and&lt;br /&gt;
crown of that period of our national growth ban&lt;br /&gt;
remained our chief glory to these days, and the&lt;br /&gt;
works of its greatest representative are the most&lt;br /&gt;
enduring possessions of all who speak the English&lt;br /&gt;
tongue. Of Shakespeare there are memorials which&lt;br /&gt;
attest at almost every turn in our daily lives our&lt;br /&gt;
reverence for his surpassing genius. But till to-&lt;br /&gt;
day we have presented to the world no conspicuous&lt;br /&gt;
symbol of our enormous debt to a man who was&lt;br /&gt;
contemporary with Shakespeare, and in one sense&lt;br /&gt;
his tutor, antl who was the first to employ with&lt;br /&gt;
a master hand the greatest instrument of our&lt;br /&gt;
language. It was natural enough that the fame of&lt;br /&gt;
Christopher Marlowe should be overshadowed by&lt;br /&gt;
that of William Shakespeare, but it is surely some&lt;br /&gt;
discredit to Englishmen that the fine sense of&lt;br /&gt;
Marlowe&amp;#039;s gifts and services to letters, which&lt;br /&gt;
scholars have always had, have hitherto found no&lt;br /&gt;
substantial shape in some trophy for the acclama-&lt;br /&gt;
tion of the world. To-day this long oversight has&lt;br /&gt;
been repaired. Here, in the birthplace of Marlowe,&lt;br /&gt;
rich as it is in the commanding associations of our&lt;br /&gt;
history, you have erected a monument which to&lt;br /&gt;
future generations will speak with a voice no less&lt;br /&gt;
potent than the. historic echoes of this city.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 150 (#554) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A UTHOR.&lt;br /&gt;
(Hoar, hear.) What manner of man Marlowe&lt;br /&gt;
was in outward seeming I suppose nobody knows.&lt;br /&gt;
Even if it were fmniliar to us, the counterfeit&lt;br /&gt;
presentment could not have the force and signifi-&lt;br /&gt;
cance of the beautiful figure which we owe to the&lt;br /&gt;
art of the sculptor; but it is not with Marlowe; the&lt;br /&gt;
man that we need busy ourselves, even if there&lt;br /&gt;
were more material than there is for judgment of&lt;br /&gt;
his brief and sad career, for it is the ideal of the&lt;br /&gt;
poet whose &amp;quot; raptures were all air and fire&amp;quot; that&lt;br /&gt;
must constantly be present to our minds as we gaze&lt;br /&gt;
on this image of his worship. It recalls some&lt;br /&gt;
of his own Hues which are eloquent of this&lt;br /&gt;
devotion :&mdash;&lt;br /&gt;
&amp;quot;Our souls, whose faculties can comprehend&lt;br /&gt;
The wondrous architecture of the world,&lt;br /&gt;
And measure every wandering planet&amp;#039;s course,&lt;br /&gt;
Still climbing after knowledge infinite&lt;br /&gt;
And always moving as the restless spheres,&lt;br /&gt;
Will us to wear ourselves, anil never rest&lt;br /&gt;
Until we reach the ripest fruit of all.&amp;quot;&lt;br /&gt;
The man who struck such chords as these is not&lt;br /&gt;
unworthy of a monument in his native place.&lt;br /&gt;
(Hear, hear.) It was Marlowe who first wedded&lt;br /&gt;
the harmonies of the great organ of blank verse&lt;br /&gt;
which peals through the centuries in the music of&lt;br /&gt;
Shakespeare. It was Marlowe who first captured&lt;br /&gt;
the majestic rhythms of our tongue, and whose&lt;br /&gt;
&amp;quot;mighty line&amp;quot; is the most resounding note in&lt;br /&gt;
England&amp;#039;s literature. Whatever may be thought&lt;br /&gt;
of his qualities as a dramatist, and whatever place&lt;br /&gt;
he may hold amongst the great writers who framed&lt;br /&gt;
the models of English tragedy, he stands foremost&lt;br /&gt;
and apart as the poet who gave us, with a rare&lt;br /&gt;
measure of richness, the literary form which is the&lt;br /&gt;
highest achievement of poetic expression. I do not&lt;br /&gt;
pretend to do justice to Marlowe in this very&lt;br /&gt;
imperfect utterance of some thoughts which are in&lt;br /&gt;
your minds. It has been a great privilege to me&lt;br /&gt;
to come here to-day to perform an office which&lt;br /&gt;
might have been placed in far worthier hands.&lt;br /&gt;
But I am glad to have an opportunity of speaking&lt;br /&gt;
as an Englishman of the claims of Marlowe&amp;#039;s&lt;br /&gt;
fame to be prized and cherished by his countrymen.&lt;br /&gt;
His reputation should be an abiding element of our&lt;br /&gt;
national pride. And, finally, as an actor, I am&lt;br /&gt;
proud to remember that Marlowe&amp;#039;s work, like&lt;br /&gt;
Shakespeare&amp;#039;s, was written primarily for the stage,&lt;br /&gt;
that, if not an actor himself, Marlowe was intimately&lt;br /&gt;
associated with the actor&amp;#039;s calling, and that the&lt;br /&gt;
Elizabethan dramatists, with Shakespeare, the&lt;br /&gt;
actor, at their head, in employing the stage as the&lt;br /&gt;
first medium of their appeal to posterity linked it&lt;br /&gt;
for ever witli an imperishable glory.&amp;quot; (Cheers.)&lt;br /&gt;
GOOD WORE, SURE PAY.&lt;br /&gt;
IN a paragraph which recently appeared in the&lt;br /&gt;
Author, under the somewhat mystic headline&lt;br /&gt;
&amp;quot;One Word from you. Sir,&amp;quot; literary aspirants&lt;br /&gt;
who are constantly having their overtures declined&lt;br /&gt;
by editors and publishers were exhorted to produce&lt;br /&gt;
&amp;#039;&bull; (food Work &amp;quot;&mdash;a direct and perfectly intelligible&lt;br /&gt;
proposition&mdash;as the one way out of their difficulties;&lt;br /&gt;
and they were further assured that &amp;quot; Good Work,&amp;quot;&lt;br /&gt;
of no matter what kind, had always its mercantile&lt;br /&gt;
value, and could always (consequently or presum-&lt;br /&gt;
ably) command its price. It seems almost a pity&lt;br /&gt;
that so genteel and reputable a fallacy, the&lt;br /&gt;
fostering of which may suit the interests of more&lt;br /&gt;
than one faction in the literary state, should be&lt;br /&gt;
doomed to fall beneath the slow cruel axe of Time,&lt;br /&gt;
yet fall it must. No doubt editors and publishers&lt;br /&gt;
are made the recipients of a vast deal of trash (for&lt;br /&gt;
which commodity, by-the-bye, there is always a&lt;br /&gt;
brisk and healthy demand at the bookstalls, which&lt;br /&gt;
makes it a wonder why publishers should decline&lt;br /&gt;
any of it); but these gentlemen, who have some-&lt;br /&gt;
how l&amp;gt;een empowered to direct and regulate the&lt;br /&gt;
reading of the nation, may be accredited with dis-&lt;br /&gt;
crimination sufficient to enable them to know the&lt;br /&gt;
true metal from the base. But, distinctly and&lt;br /&gt;
emphatically, once and for all, the refusal of a&lt;br /&gt;
manuscript by an editor or publisher, or by all the&lt;br /&gt;
editors and publishers existent, is simply no&lt;br /&gt;
criterion of its merit; a fact which it seems the&lt;br /&gt;
object of certain (possibly interested) persons to&lt;br /&gt;
deny, conceal, or disguise, while it should l&amp;gt;o&lt;br /&gt;
proclaimed far and wide. Need I do more than&lt;br /&gt;
name the historic cases of &amp;quot; The Vicar of Wake-&lt;br /&gt;
field,&amp;quot; &amp;quot;Vanity Fair,&amp;quot; and &amp;quot;Sartor Resartus &amp;quot;?&lt;br /&gt;
The other day a highly popular and (it must be&lt;br /&gt;
concluded) able author, who made his name two or&lt;br /&gt;
three decades since, told me that &amp;quot; every publisher&lt;br /&gt;
wants a good work, and would not refuse one.&amp;quot;&lt;br /&gt;
He subjoined&mdash;as if he were making an unexpected&lt;br /&gt;
and handsome concession&mdash;&amp;quot; Of course a publisher&amp;#039;s&lt;br /&gt;
judgment is not infallible.&amp;quot; We are told on&lt;br /&gt;
good authority that there is nothing either good&lt;br /&gt;
or Imd but thinking makes it so, and we may be&lt;br /&gt;
sure that in most cases the non-accepting publisher&lt;br /&gt;
thinks he is doing right. The fallacy which I&lt;br /&gt;
have defined and denounced is bolstered up in&lt;br /&gt;
other quarters. One example: A certain pub-&lt;br /&gt;
lishing house in London issues a printed circular&lt;br /&gt;
for the guidance, or rather misguidance, of&lt;br /&gt;
uninitiated writers, wherein the latter are treated&lt;br /&gt;
to the statement (in effect) that if he, the publisher,&lt;br /&gt;
does not entertain a work, it is practically useless&lt;br /&gt;
to try it elsewhere. Of course, every author who&lt;br /&gt;
has a right to the name merely chuckles at such&lt;br /&gt;
audacious irrelevancies. Then as for the printing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 151 (#555) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
one&amp;#039;s book at one&amp;#039;s own expense, when publishers&lt;br /&gt;
will not take the risk, a course which is uniformly&lt;br /&gt;
discouraged by this Society (of which I have the&lt;br /&gt;
honour to l&amp;gt;e a Member, and in regard to which I&lt;br /&gt;
hope and predict great things). This position implies&lt;br /&gt;
that if (say) half-a-dozen publishers decline your&lt;br /&gt;
book the book is probably worthless, and had&lt;br /&gt;
letter therefore be left unpublished. In the&lt;br /&gt;
majority of cases this may Ik- the fact; in certain&lt;br /&gt;
others it is quite otherwise. The writer of con-&lt;br /&gt;
scious individuality and power will not have his&lt;br /&gt;
faculty explained away thus lightly, and small&lt;br /&gt;
wonder if, despite probable loss, he prints and&lt;br /&gt;
pays for it. The weakling or pretender, on the&lt;br /&gt;
other hand, is easily discouraged&mdash;and very pro-&lt;br /&gt;
perly so. If the man who, in English creative&lt;br /&gt;
and realistic art, stands next to Shakespeare, had&lt;br /&gt;
not possessed both the courage and the money&lt;br /&gt;
to print at his own cost, in the teeth of at least&lt;br /&gt;
20 head-shaking publishers, the world might this&lt;br /&gt;
day l&amp;gt;e without &amp;quot;Vanity Fair.&amp;quot; Here we may&lt;br /&gt;
pause and tremble. This ease may be claimed as&lt;br /&gt;
exceptional. I do not think it is. I think&mdash;I&lt;br /&gt;
fear&mdash;that masterpieces have been lost to us owing&lt;br /&gt;
to the pecuniary helplessness of their producers.&lt;br /&gt;
We cannot too much insist on the hard-and-fast&lt;br /&gt;
distinction between intrinsic value and marketable&lt;br /&gt;
value. The two are sometimes associated&mdash;not&lt;br /&gt;
always. Every true man of letters will seek (at&lt;br /&gt;
least so far as his own work is concerned) to make&lt;br /&gt;
the two identical. But there seems to linger some&lt;br /&gt;
little doubt or confusion on this point in the public&lt;br /&gt;
head, unless it is that the idea that the successful&lt;br /&gt;
book is the good book&mdash;an idea which, strange? to&lt;br /&gt;
say, even successful authors will not very warmly&lt;br /&gt;
combat&mdash;is fixed immovably there.&lt;br /&gt;
C. Davenport Jones.&lt;br /&gt;
[Our correspondent is perfectly right in his&lt;br /&gt;
position that a good book may be refused by pub-&lt;br /&gt;
lishers, and that the refusal is not in itself a&lt;br /&gt;
sufficient condemnation. At the same time, our&lt;br /&gt;
contention was, and is, that publishers are always&lt;br /&gt;
on the look out for go&amp;lt;xl work&mdash;especially saleable&lt;br /&gt;
work&mdash;and that no publisher will let good work&mdash;&lt;br /&gt;
i.e., saleable work&mdash;leave his house if he can keep&lt;br /&gt;
it there. This is equivalent to saying that pub-&lt;br /&gt;
lishers are men of business, and that they do not&lt;br /&gt;
go to their offices for the sake of fooling away their&lt;br /&gt;
money. To argue that good l&amp;gt;ooks &mdash;i.e., saleable&lt;br /&gt;
l&amp;gt;ooks&mdash;are often refused is to argue that publishers&lt;br /&gt;
do not know their own business, and that their&lt;br /&gt;
readers are incompetent. Does not our correspon-&lt;br /&gt;
dent confuse two things, good literary work and&lt;br /&gt;
good saleable work? It is quite possible that a&lt;br /&gt;
very good liook indeed might be produced&mdash;good&lt;br /&gt;
from the literary point of view&mdash;which would, be&lt;br /&gt;
quite unsaleable for some defects, or from its length,&lt;br /&gt;
or from its subject? For instance, a mathematical&lt;br /&gt;
treatise on elasticity, such as is announced, would&lt;br /&gt;
not l&amp;gt;e sold on the bookstalls. If Browning&lt;br /&gt;
were an unknown person offering a MS. called&lt;br /&gt;
&amp;quot;The King and the Book,&amp;quot; nobody, certainly, would&lt;br /&gt;
publish it for him, and it has been suggested that&lt;br /&gt;
the reason why &amp;quot;Vanity Fair &amp;quot; was sent round to&lt;br /&gt;
so many houses was its very great length, twice the&lt;br /&gt;
length of an ordinary novel. To be sure it was&lt;br /&gt;
not an ordinary novel. The advice persistently&lt;br /&gt;
given by the Society to an author, not to publish at&lt;br /&gt;
his own expense a work refused by publishers, is&lt;br /&gt;
based on the assumption that the latter know their&lt;br /&gt;
business, and that the work is commercially&lt;br /&gt;
worthless. It may not lie artistically worthless, but&lt;br /&gt;
that is a very different thing. We seek to protect&lt;br /&gt;
our profession in all questions that have to do with&lt;br /&gt;
their property. If they believe that their work&lt;br /&gt;
ought to appear, without consideration of its&lt;br /&gt;
commercial value, we can still protect them by&lt;br /&gt;
keeping them in honest hands.&mdash;Editor.]&lt;br /&gt;
+~~~*&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
1.&lt;br /&gt;
The Statute of Limitations.&lt;br /&gt;
IN 1886 I suggested a subject for an article to a&lt;br /&gt;
magazine editor. The article was ordered and&lt;br /&gt;
written, delivery being made in November 1886.&lt;br /&gt;
After a long delay and some correspondence a proof&lt;br /&gt;
wits submitted, corrected, and returned; the article&lt;br /&gt;
has not yet appeared, and of course has not been&lt;br /&gt;
paid for. If I allow the matter to remain another&lt;br /&gt;
12 months, shall I be barred, by the Statute of&lt;br /&gt;
Limitations, of power to recover at law? If I&lt;br /&gt;
am to be so barred, is it possible to recover now,&lt;br /&gt;
i.e., prior to the publication of the article, by taking&lt;br /&gt;
out a county court summons, or by any other means?&lt;br /&gt;
G. W.&lt;br /&gt;
II.&lt;br /&gt;
Fiction and Reality.&lt;br /&gt;
Some years ago a well-known novelist described,&lt;br /&gt;
let us say, a Polish Count as occupying rooms&lt;br /&gt;
in the Grand Hotel in London. The other day&lt;br /&gt;
two less well-known writers of fiction described&lt;br /&gt;
another noble Pole as occupying rooms in the same&lt;br /&gt;
hotel. Then comes a critic who wisely says,&lt;br /&gt;
&amp;quot;This is shocking; it is a mixture of fiction and&lt;br /&gt;
reality.&amp;quot; Query: Which of the two Polish Counts&lt;br /&gt;
is the live man?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 152 (#556) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
in.&lt;br /&gt;
Slating.&lt;br /&gt;
One must hesitate before challenging Professor&lt;br /&gt;
Skeat on a point of etymology. But may I call&lt;br /&gt;
attention to the fact that in &amp;quot;Books and Bookmen&amp;quot;&lt;br /&gt;
Mr. Andrew Lang, in a note to his &amp;quot; Ballads of the&lt;br /&gt;
Ileal and Ideal,&amp;quot; says:&mdash;&amp;quot; Slate is a professional&lt;br /&gt;
term for a severe criticism. Clearly the word is&lt;br /&gt;
originally &amp;#039;slat,&amp;#039; a narrow board of wood with&lt;br /&gt;
which a person might Ik; l&amp;gt;eaten.&amp;quot; Webster gives&lt;br /&gt;
the verb &amp;quot; slat,&amp;quot; and the quotation from Marston :&mdash;&lt;br /&gt;
&amp;quot;How did you kill him?&lt;br /&gt;
Slat[t]ed his brains out.&amp;quot;&lt;br /&gt;
Surely this &amp;quot;will serve.&amp;quot;&lt;br /&gt;
Jamks Nias.&lt;br /&gt;
IV.&lt;br /&gt;
Words and Biucks.&lt;br /&gt;
The writer of the following letter is evidently of&lt;br /&gt;
opinion that &amp;quot;the Editor&amp;quot; should recognise his&lt;br /&gt;
initials, and arrive at his subject by intuition. He&lt;br /&gt;
also seems to think that words, like bricks, arc sold&lt;br /&gt;
by the thousand, and that one man&amp;#039;s word is as good&lt;br /&gt;
as another&amp;#039;s.&lt;br /&gt;
Andrew W. Tukr.&lt;br /&gt;
The Leadenhall Press, E.C.&lt;br /&gt;
[Copy.]&lt;br /&gt;
To the Editor of the Leadenhall Press.&lt;br /&gt;
Dear Sir,&lt;br /&gt;
I shoold feel obliged if you would inform&lt;br /&gt;
mc whether you have any opening for a MS.&lt;br /&gt;
consisting of 11,000 words, the Copyright of which&lt;br /&gt;
I am desirous of selling. I want an early reply.&lt;br /&gt;
Yours truly,&lt;br /&gt;
P. 11. R.&lt;br /&gt;
V.&lt;br /&gt;
A Provident Society.&lt;br /&gt;
Whether or not Mr. Andrew Lang believes in&lt;br /&gt;
the existence of a New &amp;#039;Grub Street, it is certain&lt;br /&gt;
that some of us writing-people have a perpetual&lt;br /&gt;
struggle to keep above water. May I suggest to&lt;br /&gt;
you the possibility of forming an &amp;quot;Authors&amp;#039;&lt;br /&gt;
Provident Society?&amp;quot; What I propose is this. A&lt;br /&gt;
graduated scale of subscriptions varying according&lt;br /&gt;
to the income of the writer, aud entitling him to a&lt;br /&gt;
weekly amount in time of sickness or nou-employ-&lt;br /&gt;
ment. I do not think you would find a single poor&lt;br /&gt;
author who would be so foolish or so reckless as&lt;br /&gt;
not to take advantage of a club of this kind. The&lt;br /&gt;
fees might lie as low as is. 6d. a week, and the&lt;br /&gt;
scheme be started on precisely the same lines as&lt;br /&gt;
working men&amp;#039;s sick benefit clubs. As to the rich&lt;br /&gt;
authors, let them subserilK&amp;#039;, and be entitled to some&lt;br /&gt;
advantage; in the way of recommending a poorer&lt;br /&gt;
brother for the club&amp;#039;s aid.&lt;br /&gt;
Quill Driver.&lt;br /&gt;
VI.&lt;br /&gt;
An Honourable Action.&lt;br /&gt;
When so many unjust editors and publishers are&lt;br /&gt;
pilloried in the Author, it is only fair to give some-&lt;br /&gt;
times an opposite instance.&lt;br /&gt;
I lately sent a book to certain publishers, and in&lt;br /&gt;
time received a letter stating they were willing to&lt;br /&gt;
give me so much&mdash;about three-quarters of what I&lt;br /&gt;
expected&mdash;as the book would make a certain size&mdash;&lt;br /&gt;
which, like the sum offered, was about a quarter&lt;br /&gt;
less than I bad calculated. Greatly puzzled tliat&lt;br /&gt;
my MS. should prove so short, I still thought that&lt;br /&gt;
they must be able lxjst to judge the length it&lt;br /&gt;
would make in print, and so I accepted the sum&lt;br /&gt;
offered, and signed the agreement of copyright.&lt;br /&gt;
But when the proof came, I found I had l&amp;gt;ecn&lt;br /&gt;
right. The book was even longer than I expected.&lt;br /&gt;
When I pointed this out to the publishers, they&lt;br /&gt;
honourably gave me the remainder of the price&lt;br /&gt;
without a question.&lt;br /&gt;
But this is a hint to me&mdash;and may be to others&mdash;&lt;br /&gt;
in future to notice very carefully the length of&lt;br /&gt;
my MS. Other publishers might not be so just to&lt;br /&gt;
the unwary writer.&lt;br /&gt;
RossiGNOL.&lt;br /&gt;
VII.&lt;br /&gt;
Reviews and Newspapers.&lt;br /&gt;
Your note in reply to my letter printed in the&lt;br /&gt;
Author this month, does not seem to me to contain&lt;br /&gt;
such a strong objection to what I propose as at&lt;br /&gt;
first sight appears.&lt;br /&gt;
I do not for a moment advocate that copies of&lt;br /&gt;
new books should not be supplied to newspaper&lt;br /&gt;
proprietors or editors by the publishers, but that,&lt;br /&gt;
after the books have been sent, the bill for them&lt;br /&gt;
should follow. The reviewer would be at no more&lt;br /&gt;
trouble than now in getting his copy, for it would&lt;br /&gt;
l&amp;gt;e supplied to him either by the publisher direct,&lt;br /&gt;
or by the editor.&lt;br /&gt;
It is only just that the books should be paid for&lt;br /&gt;
by the newspaper proprietors, for it is primarily&lt;br /&gt;
for the benefit of the papers that reviews are&lt;br /&gt;
inserted therein.&lt;br /&gt;
H. Haes.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 153 (#557) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
PAGES CUT OR UNCUT?&lt;br /&gt;
SHALL we have our books and magazines cut&lt;br /&gt;
or uncut?&lt;br /&gt;
For the cutting of the pages the following&lt;br /&gt;
advantages are claimed :&mdash;&lt;br /&gt;
1. The convenience.&lt;br /&gt;
One receives the book ready for reading, as it&lt;br /&gt;
ought to be. A book whose pages have to be cut&lt;br /&gt;
is not ready for the reader. It still lacks some-&lt;br /&gt;
thing which must be done to it. Suppose the&lt;br /&gt;
reader had to number the pages before he could&lt;br /&gt;
begin the book. Yet to cut them is no more&lt;br /&gt;
trouble.&lt;br /&gt;
2. The neatness.&lt;br /&gt;
Very few men can cut abook properly. They grow&lt;br /&gt;
impatient; they slip the paper-knife and carve into&lt;br /&gt;
the page; they hold it loosely and tear the page;&lt;br /&gt;
the only way to get a neat edge is to cut the pages&lt;br /&gt;
with a machine.&lt;br /&gt;
3. The saving of time.&lt;br /&gt;
To cut the pages of a thick octavo takes at least&lt;br /&gt;
half-an-hour of valuable time. We do not waste&lt;br /&gt;
half-an-hour in sweeping the floor, dusting the&lt;br /&gt;
table, or laying the tire. Why should we waste&lt;br /&gt;
our time in doing any other perfectly menial act,&lt;br /&gt;
such as cutting the leaves of our books?&lt;br /&gt;
4. Its cheapness.&lt;br /&gt;
The cost of cutting the leaves is estimated at&lt;br /&gt;
something under io&laquo;. per 1,000 volumes. This&lt;br /&gt;
is nothing.&lt;br /&gt;
Against these arguments it is urged that the&lt;br /&gt;
fashion of collectors is the book with rough and&lt;br /&gt;
uncut leaves; that a book which has been cut will&lt;br /&gt;
not sell so well as an uncut book.&lt;br /&gt;
But we are considering the general convenience&lt;br /&gt;
of readers, not the hobbies of collectors; and the&lt;br /&gt;
the interest of readers, we think, will be best served&lt;br /&gt;
by giving them their books ready cut.&lt;br /&gt;
- &bull;&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&amp;quot;&lt;br /&gt;
AMONG the announcements of the season, we&lt;br /&gt;
can pick out an edition de luxe of a volume&lt;br /&gt;
of Essays by Professor Huxley; the &amp;quot; Vision&lt;br /&gt;
of Saints,&amp;quot; by Lewis Moris; a novel by J. M.&lt;br /&gt;
Barrie&mdash;&amp;quot; The Little Minister &amp;quot;; a &amp;quot; Dictionary of&lt;br /&gt;
Religion,&amp;quot; by the Rev. AVilliam Benham; Dr.&lt;br /&gt;
Cunningham Geikie on the Holy Land, with&lt;br /&gt;
illustrations by that most charming artist, Mi-.&lt;br /&gt;
Henry A. Harper; a cheap illustrated Edition of&lt;br /&gt;
Farrar&amp;#039;s &amp;quot; Life of Christ&amp;quot;; the eighth volume of&lt;br /&gt;
Professor Morley&amp;#039;s &amp;quot;English Writers&amp;quot;; Sidney&lt;br /&gt;
Colvin&amp;#039;s&amp;quot; Letters of Keats&amp;quot; ; Buchheim&amp;#039;s &amp;quot;Balladen&lt;br /&gt;
mid Romanzen &amp;quot;; the publication of Mr. Henry&lt;br /&gt;
A. Jones&amp;#039;s &amp;quot;Saints and Sinners&amp;quot;; new tales by&lt;br /&gt;
Marion Crawford, Rudvard Kipling, and Rolf&lt;br /&gt;
Boldrewood; a book on the Elements of Polities&lt;br /&gt;
by Henry Sedgwick; Sir William Muir&amp;#039;s &amp;quot;History&lt;br /&gt;
of the Caliphate &amp;quot;; new novels by George Manville&lt;br /&gt;
Fenn and Algernon Gissing; verses by George&lt;br /&gt;
Sand; &amp;quot;Hone Sabbatiea&amp;#039;,&amp;quot; a collection of essays&lt;br /&gt;
contributed to the Saturday lieview by Sir James&lt;br /&gt;
F. Stephen; essays by E. A. Freeman; a novel by&lt;br /&gt;
Mr. J. H. Shorthouse; a novel by Mrs. Oliphant;&lt;br /&gt;
essays by Bishop Lightfoot; sermons by the late&lt;br /&gt;
Dean of St. Paul&amp;#039;s, by F. Denison Maurice, by&lt;br /&gt;
Archdeacon Farrar, by Professor Kirkpatrick;&lt;br /&gt;
two new volumes of &amp;quot; Men of Action &amp;quot;; &amp;quot;Rodney,&amp;quot;&lt;br /&gt;
by Mr. Hannay; and &amp;quot; Montrose,&amp;quot; by Mr. Mowbray&lt;br /&gt;
Morris; two new volumes of &amp;quot; English Statesmen &amp;quot;;&lt;br /&gt;
Mr. Churton Collins 011 the Study of English Lite-&lt;br /&gt;
rature; a posthumous work of Gifford Palgrave;&lt;br /&gt;
novels by Clark Russell, Miss Doudney, C. J.&lt;br /&gt;
Wills, Florence Marryat, Norris, Rider Haggard,&lt;br /&gt;
Baring Gould, L. T. Meade, Hall Caine, Jessie&lt;br /&gt;
Fothergill, Robert Buchanan, Tasma, Maarten&lt;br /&gt;
Maartens, Mrs. Chandler Moulton, and many&lt;br /&gt;
others. It is, as said elsewhere, a truly wonderful&lt;br /&gt;
list; but then it is addressed to a hundred millions&lt;br /&gt;
of readers.&lt;br /&gt;
An example of the growing curiosity on the&lt;br /&gt;
continent about English contemporary literature is&lt;br /&gt;
a translation of Mr. Swinburne&amp;#039;s &amp;quot;Poems and&lt;br /&gt;
Ballads,&amp;quot; 1st Series, into French by Gabriel&lt;br /&gt;
Mourey, with an introduction by M. Guv de Mau-&lt;br /&gt;
passant, the greatest, perhaps, of living French&lt;br /&gt;
novelists. As in all translations, the magic of Un-&lt;br /&gt;
original has disappeared, but admirers of Mr.&lt;br /&gt;
Swinburne (that is to say, all competent judges of&lt;br /&gt;
poetry) should get this work, if only for the intro-&lt;br /&gt;
duction. The &amp;quot;Poems and Ballads,&amp;quot; though Mr.&lt;br /&gt;
Swinburne calls them &amp;quot;Peches de Jennesse,&amp;quot; are&lt;br /&gt;
after all one of the milestones in our life of literary&lt;br /&gt;
appreciation. Nothing can ever quite take their&lt;br /&gt;
place, thoHgh we have become old, good, anil&lt;br /&gt;
respectable.&lt;br /&gt;
Everyone will have read with interest Mr.&lt;br /&gt;
Archer&amp;#039;s article on Maeterlinck, the new Belgian&lt;br /&gt;
dramatist, in the September number of the&lt;br /&gt;
Fortnightly Review. This is, however, by 110&lt;br /&gt;
means the first account of his marvellous dramas&lt;br /&gt;
that have been written in England. A review of&lt;br /&gt;
&amp;quot;La Princesse Maleinc&amp;quot; appeared in the St.&lt;br /&gt;
James&amp;#039; Gazette a long while ago, and in the June&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 154 (#558) ############################################&lt;br /&gt;
&lt;br /&gt;
154&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
number of the Author there was a critical estimate&lt;br /&gt;
of Maeterlinck&amp;#039;s dramatic and literary methods in&lt;br /&gt;
&amp;quot;Les Avengles&amp;quot; anil &amp;quot;LTntruse.&amp;quot; Mr. Archer&lt;br /&gt;
writes as if he were the first in the field. Mr.&lt;br /&gt;
Heinemann is about to publish a translation of &amp;quot;La&lt;br /&gt;
Princesse Maleine,&amp;quot; with an introduction by Mr.&lt;br /&gt;
Oscar Wilde, and then everyone will have an&lt;br /&gt;
opportunity of judging the merits of the Flemish&lt;br /&gt;
Shakespeare.&lt;br /&gt;
In the next Author there will be something&lt;br /&gt;
more, it is hoped, about the i st issue of the Oriental&lt;br /&gt;
Translation Fund (new series), edited bv Dr. F. F.&lt;br /&gt;
Arbuthnot, M.R.A.S., printed and published under&lt;br /&gt;
the auspices of the Royal Asiatic Society. The&lt;br /&gt;
undertaking is due to the energetic and untiring&lt;br /&gt;
efforts of the editor, who is a well-known expert&lt;br /&gt;
in Oriental literature. Uninitiated readers should&lt;br /&gt;
not be frightened by the name &amp;quot;Rawsat-Safa, or&lt;br /&gt;
the Garden of Purity.&amp;quot; Some of the Persian&lt;br /&gt;
versions of the old familiar Biblical stories are&lt;br /&gt;
delightful, being no less interesting to Christians&lt;br /&gt;
than Moslems.&lt;br /&gt;
Miss Frances Younghusband, the able trans-&lt;br /&gt;
lator of the &amp;quot;Myths of Hellas&amp;quot; has again used her&lt;br /&gt;
talents by a version of Witt&amp;#039;s &amp;quot;Retreat of the&lt;br /&gt;
Ten Thousand,&amp;quot; which is based on Xenophon&amp;#039;s&lt;br /&gt;
&amp;quot;Anabasis.&amp;quot; Xothing could possibly be better&lt;br /&gt;
done, though Miss Younghusband might give us&lt;br /&gt;
some original work for which she is so thoroughly&lt;br /&gt;
capable. The illustrations are artistic and in-&lt;br /&gt;
structive, and go far to enhance the value of this&lt;br /&gt;
work. Many schoolboys would like to confine&lt;br /&gt;
their knowledge of Xenophon to Miss Young-&lt;br /&gt;
husband&amp;#039;s version, but let us hope that it will&lt;br /&gt;
regenerate them rather than spoil them for their&lt;br /&gt;
Greek studies. The book is published by Messrs.&lt;br /&gt;
Longman.&lt;br /&gt;
&amp;quot;The Critic&amp;#039;s exposure of the young man who&lt;br /&gt;
passed himself off on credulous Americans as a&lt;br /&gt;
brother of Mr. Walter Besant had the effect of&lt;br /&gt;
stopping his depredations upon the literary guild,&lt;br /&gt;
and turning him off to prey upon the represen-&lt;br /&gt;
tatives of other professions. Sir Morell Mackenzie&lt;br /&gt;
has receive:! a letter from Mr. A. P. Gordon&lt;br /&gt;
Gumming, in which the latter informs the eminent&lt;br /&gt;
&amp;#039;medicine man&amp;#039; of his son&amp;#039;s appearance at&lt;br /&gt;
Sykesville, en route to Xew York, after a disastrous&lt;br /&gt;
experience on the stage in Australia. And one of&lt;br /&gt;
Sir Morell&amp;#039;s veritable sons, who is an actor and&lt;br /&gt;
manager, and calls himself H. H. Morell, without&lt;br /&gt;
the Mackenzie, writes to the Spirit of the Times&lt;br /&gt;
from London that he himself is the only son of his&lt;br /&gt;
father who is connected with the theatrical pro-&lt;br /&gt;
fession, and that his only brother is a physician.&lt;br /&gt;
Mr. Morell is Miss Fortescue&amp;#039;s manager. The&lt;br /&gt;
Dramatic Jfirror also has exposed his swindling&lt;br /&gt;
double.&amp;quot;&mdash;Xew York Critic.&lt;br /&gt;
Miss Frances Armstrong, author of &amp;quot;Her Own&lt;br /&gt;
Way,&amp;quot; &amp;amp;c. has brought out a new novel called&lt;br /&gt;
&amp;quot;Changed Lots.&amp;quot; Griffith and Farran. 5*.&lt;br /&gt;
Dr. L. A. Buchheim sends a copy of his&lt;br /&gt;
&amp;quot;Balladen und Romanzen&amp;quot; (Macmillan &amp;amp; Co.).&lt;br /&gt;
It is a selection of German ballads uniform with&lt;br /&gt;
the &amp;quot;Golden Treasury,&amp;quot; and belonging to the&lt;br /&gt;
series so-called. It is a very beautiful collection,&lt;br /&gt;
and ought most certainly to be in the jwssession of&lt;br /&gt;
all who read and love German poetry. A portrait&lt;br /&gt;
of Uhland adorns the title page. It is a pity&lt;br /&gt;
that it was not taken before the poet&amp;#039;s hair fell off.&lt;br /&gt;
A lady sends me a little volume of verse called,&lt;br /&gt;
simply, &amp;quot; Poems,&amp;quot; bearing the initials &amp;quot;D. M. B.&amp;quot;&lt;br /&gt;
and with the names of &amp;quot;Young and Cooper,&lt;br /&gt;
Maidstone,&amp;quot; on the title page. It is a very little&lt;br /&gt;
volume, and there are in it verses which are quite&lt;br /&gt;
too simple for publication. On the other hand,&lt;br /&gt;
there are sonnets which seem to have the true&lt;br /&gt;
ring, and we may very well imagine this writer&lt;br /&gt;
soaring high above these early rhymes, and be-&lt;br /&gt;
coming ashamed of them. Then this copy in my&lt;br /&gt;
hands would become rare and priceless. May this&lt;br /&gt;
be so!&lt;br /&gt;
William Westall is writing Christmas stories for&lt;br /&gt;
the Manchester Weekly Times and the Glasgmc&lt;br /&gt;
Herald. He has also written a short serial for the&lt;br /&gt;
Traveller, a new magazine which is to appear&lt;br /&gt;
in December, and a novel which is being syndicated&lt;br /&gt;
by the Authors&amp;#039; Syndicate, and will &amp;quot;run&amp;quot; in&lt;br /&gt;
sundry English and American newspapers next&lt;br /&gt;
year.&lt;br /&gt;
&amp;quot;It is said that there are three million volumes&lt;br /&gt;
of unsold novels lying on the shelves of the Paris&lt;br /&gt;
publishers, and that the number increases every&lt;br /&gt;
dav. What to do with these unsold and apparently&lt;br /&gt;
unsaleable b &amp;gt;oks is a problem. It was proposed by&lt;br /&gt;
someone that they should be distributed at country&lt;br /&gt;
fairs as prizes for children, instead of gingerbread&lt;br /&gt;
or Scripture texts. The innocent country people&lt;br /&gt;
were greatly pleased with this proposition, and&lt;br /&gt;
quite e.iger to accept it; but the more knowing&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 155 (#559) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
i55&lt;br /&gt;
prefect of police interfered and stopped the dis-&lt;br /&gt;
tribution; not, however, until some volumes had&lt;br /&gt;
been given away. It is hoped that the local&lt;br /&gt;
Sunday schools will put in their best work in this&lt;br /&gt;
neighbourhood l&amp;gt;efore the seed already sown has&lt;br /&gt;
bourgeoned ami born fruit.&amp;quot;&mdash;New York Critic.&lt;br /&gt;
Miss Elizabeth Bisland is said to be now engaged&lt;br /&gt;
on a romance and play in collaboration with Bhoda&lt;br /&gt;
Broughton.&lt;br /&gt;
Mrs. Bernhard Whishnw has disposed of the&lt;br /&gt;
American rights of &amp;quot;Zephyr,&amp;quot; and it will be produced&lt;br /&gt;
before long in New York with Miss Loie Fuller in&lt;br /&gt;
the title part. It will be remembered that this&lt;br /&gt;
young actress made a decided hit its &amp;quot; Zephyrina&amp;quot;&lt;br /&gt;
when the play was performed at the Opera Comique&lt;br /&gt;
last May.&lt;br /&gt;
A new volume by Mr. J. E. Gore, F.B.A.S.,&lt;br /&gt;
entitled, &amp;quot; Star Groups: a Students Guide to the&lt;br /&gt;
Constellations,&amp;quot; is in the press, and will be published&lt;br /&gt;
immediately by Messrs. Crosby, Lockwood, and&lt;br /&gt;
Son, Stationers&amp;#039; Hall Court.&lt;br /&gt;
The following books are about to be issued by&lt;br /&gt;
Miss Bramstou, author of &amp;quot; Apples of Sodom &amp;quot; :&mdash;&lt;br /&gt;
&amp;quot;Abby&amp;#039;s Discoveries.&amp;quot; Tale of child-life 5o years&lt;br /&gt;
ago. National Society.&lt;br /&gt;
&amp;quot;A Village Genius.&amp;quot; Story of the Composer of&lt;br /&gt;
the Passions music still sung at Ober&lt;br /&gt;
Ammergau. National Society.&lt;br /&gt;
&amp;quot;Neal Russell.&amp;quot; One-volume tale, suitable for&lt;br /&gt;
free and parish libraries. Swan, Sonnenschein&lt;br /&gt;
Miss Jessie M. Barker&amp;#039;s &amp;quot;Daisy&amp;#039;s Dream: a&lt;br /&gt;
Story of the Earth and its Sculptors,&amp;quot; is to appear&lt;br /&gt;
in the October, November, anil December parts of&lt;br /&gt;
the Girls&amp;#039; Own Paper.&lt;br /&gt;
&amp;quot;In Two Moods,&amp;quot; by Stepniak and Westall,&lt;br /&gt;
from the Russian of Korolenko, was published on&lt;br /&gt;
September 18, in New York, by the American&lt;br /&gt;
Book Company; and in London by Ward and&lt;br /&gt;
Downey.&lt;br /&gt;
Mrs. Alfred Baldwin has a one-volume novel in&lt;br /&gt;
the press called &amp;quot;Where Town and Country meet.&amp;quot;&lt;br /&gt;
It will be published by Longmans and Co.&lt;br /&gt;
Mr. Bertram Milford will publish in the middle&lt;br /&gt;
of October a novel called &amp;quot;Golden Fan : A Tale of&lt;br /&gt;
the Wild AVest.&amp;quot; (Trischler and Co.)&lt;br /&gt;
A new edition of &amp;quot;The Sandcliff Mystery,&amp;quot; by&lt;br /&gt;
Scott Graham, author of &amp;quot; The Golden Milestone,&amp;quot;&lt;br /&gt;
&amp;quot;A Bolt from the Blue,&amp;quot; &amp;amp;c, is published at 2s.&lt;br /&gt;
and 2*. 6d. by Messrs. Oliphant, Anderson, and&lt;br /&gt;
Ferrier.&lt;br /&gt;
Mrs. Jenner&amp;#039;s novel &amp;quot;Love or Money,&amp;quot; which&lt;br /&gt;
has been running in Temple Bar, will be issued in&lt;br /&gt;
volume form on October the 19th. Bentley and&lt;br /&gt;
Son are the publishers.&lt;br /&gt;
Miss Selina Gaye&amp;#039;s new book &amp;quot;From Advent to&lt;br /&gt;
Advent &amp;quot; was published in the summer by Messrs.&lt;br /&gt;
Griffith and Farran. 2i3pp. Price 3-v. bd.&lt;br /&gt;
The forthcoming memoir of the late Watts&lt;br /&gt;
Phillips, which is to be issued by Messrs. Cassell&lt;br /&gt;
and Co., is written by Miss Emma Watts Phillips,&lt;br /&gt;
the sister, not the daughter, of the subject.&lt;br /&gt;
Mr. Walts Phillips had one daughter only, who is&lt;br /&gt;
now in Australia.&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Drivf.u, S. R., I).I). An Introduction to the Literature of&lt;br /&gt;
tlie (Jlil Testament. Clark, George Street, Edinburgh.&lt;br /&gt;
Vol. of the International Theological Library. 12*.&lt;br /&gt;
McEvilly, Most Rev. J., 1).I&amp;gt;. An Exposition of the&lt;br /&gt;
Epistles of St. l&amp;#039;uul anil of the Catholic Epistles.&lt;br /&gt;
With introductions, analyses, a paraphrase of the text,&lt;br /&gt;
and a commentary, interspersed with moral reflections.&lt;br /&gt;
Two vols. Fourth Edition, revised. Dublin: M. II.&lt;br /&gt;
Gill.&lt;br /&gt;
PiiKi-rs, Austin, LL.D., D.I). My Note Hook. Frag-&lt;br /&gt;
mentary studies in theology and subjects adjacent&lt;br /&gt;
thereto. With portrait. Fisher 1&amp;#039;uwiu. 6s.&lt;br /&gt;
Thk Powkb of thk Phkskxck of God. Hy the Author of&lt;br /&gt;
&amp;quot;Prayers and Responses for the Household.&amp;quot; Skeffing-&lt;br /&gt;
tou. Paper covers.&lt;br /&gt;
Stkwart, Pkof. Alkxandkb. Handbook of Christian&lt;br /&gt;
Evidences. A. and C. Black, (xl.&lt;br /&gt;
Tkmperaxtia. Ity the Kev. H. H. Gowen. Six Short&lt;br /&gt;
Sermons on the Apostles Creed. By the Kev. J. J.&lt;br /&gt;
Soden, M.A. Short Sermons for Children. By the&lt;br /&gt;
Kev. H. J. Wilmot Buxton, M.A. Third Edition. On&lt;br /&gt;
the Way Home. Sixty Short Sermons for Life&amp;#039;s&lt;br /&gt;
Travellers. By the Kev. W. H. Jones. Sermon Out-&lt;br /&gt;
&lt;br /&gt;
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## p. 156 (#560) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
lines. By the Bev. V. St. John Corbett, M.A. The&lt;br /&gt;
Master&amp;#039;s Message. A Series of Plain Sermons, By&lt;br /&gt;
the Rev. H. .1. Wilmot Buxton, M.A. Sermons for the&lt;br /&gt;
Christian Year. Two vols. By the Rev. A. Noel&lt;br /&gt;
Hunt, B.A. Skeffington, Piccadilly.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Belcher, T. W., D.l). Robert Brett (of Stoke Newington),&lt;br /&gt;
his Life and Work. Griffith, Furruii. 3s. bd.&lt;br /&gt;
Brown, James. The History of Sanquhar. Burgh Asses-&lt;br /&gt;
sor. To which is added the Flora and Fauna of the&lt;br /&gt;
district. By Dr. Anatruthcr Davidson. Anderson,&lt;br /&gt;
Dumfries.&lt;br /&gt;
Crump, C. G. Imaginary Conversations. By Walter&lt;br /&gt;
Savage Landor. With biographical and explanatory&lt;br /&gt;
notes. In Six vols. Vol. II. J. M. Dent, Great&lt;br /&gt;
Kastern Street. 3s. bd. net.&lt;br /&gt;
Dictionary of National Biography. Kdited by Sidney&lt;br /&gt;
Lee. Vol. XXVIII. Howard&mdash;Inglethorp. Smith,&lt;br /&gt;
Elder.&lt;br /&gt;
Evkbard, Major H. History of the 29th (Worcestershire)&lt;br /&gt;
Foot, Thos. Farrington&amp;#039;s Regiment. (1694 to 1891.)&lt;br /&gt;
Worcester: Littlebury &amp;amp; Co.&lt;br /&gt;
Fitzgerald, Percy, F.S.A. Life of James Boswcll (of&lt;br /&gt;
Auchinleck), with an account of his sayings, doings,&lt;br /&gt;
and writings. Two vols., with four portraits. Chatto&lt;br /&gt;
and Windus.&lt;br /&gt;
Historic Houses ok the United Kingdom. Descriptive,&lt;br /&gt;
Historical, Pictorial. Part I. Cassell. Paper, jd.&lt;br /&gt;
Hoddkr, Kdwin. George Fife Angas, Father and Founder&lt;br /&gt;
of South Australia. With portrait. Hodder and&lt;br /&gt;
Stoughton. 11 at.&lt;br /&gt;
Hume, Martin A. S. Chronicle of King Henry VIII. of&lt;br /&gt;
England: being a Contemporary Record of some of&lt;br /&gt;
the Principal Events of the Reigns of Henry VIII. and&lt;br /&gt;
Edward VI. Written in Spanish by an unknown&lt;br /&gt;
hand. Translated, with notes and introduction, by.&lt;br /&gt;
George Bell. is. bd.&lt;br /&gt;
Law, George, B.A. History of Hampton Court Palace.&lt;br /&gt;
Vol. III. Orange and Guelph times. George Bell.&lt;br /&gt;
Lewis, J. G. Christopher Marlowe: Outlines of his Life&lt;br /&gt;
and Works. Gibbings, Bury Street, W.C.&lt;br /&gt;
Muir, Sir W. The Caliphate, its Rise, Decline, and Fall.&lt;br /&gt;
8vo. 1 os. 6&amp;#039;/., cloth.&lt;br /&gt;
Sydney, W. Connor. England and the English in the 18th&lt;br /&gt;
Century; Chapters in the Social History of the Times.&lt;br /&gt;
Two vols. Ward and Downey.&lt;br /&gt;
Educational.&lt;br /&gt;
Bebesford-Webb, H. S. German Military and Naval&lt;br /&gt;
Reading Book: For the use of Candidates for Army&lt;br /&gt;
and other Examinations. Percival, Covent Garden.&lt;br /&gt;
Ss.&lt;br /&gt;
Fletcher, Banister. Dilapidations; A Text-book for&lt;br /&gt;
Architects and Surveyors, in tabulated form, corrected&lt;br /&gt;
to the present Time, with all the most recent legal&lt;br /&gt;
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Fourth Edition. B. T. Batsford, 5z, High Holboru.&lt;br /&gt;
6s. 6d.&lt;br /&gt;
Kingsbury, G. C, M.A., M.D. The practice of Hypnotic&lt;br /&gt;
Suggestion, an Elementary Handbook for the use of&lt;br /&gt;
the Medical Profession. Siutpkiu.&lt;br /&gt;
Marshall, A. Milnes, M.D. The Frog: An Introduction&lt;br /&gt;
to Anatomy, Histology, and Embryology. Fourth&lt;br /&gt;
Edition, revised and illustrated. Smith, Elder.&lt;br /&gt;
Martinkau, G. A Village Class for Drawing and&lt;br /&gt;
Wood Carving, is. 6d., cloth.&lt;br /&gt;
Nisbet, H. Lessons in Art. Crown 8vo. is. 6d., cloth.&lt;br /&gt;
Ostwale, W. Solutions. Being the Fourth Book, with&lt;br /&gt;
some additions, of the Second Edition of Ostwald&amp;#039;s&lt;br /&gt;
&amp;quot;Lehrbuch der Allgemeineu Chemie,&amp;quot; translated by&lt;br /&gt;
M. M. Pattison Muir, Fellow of Gouville and Cains&lt;br /&gt;
College, Cambridge. Longmans. 10s. bd.&lt;br /&gt;
Philip&amp;#039;s New Series of Travelling Maps: South Ame-&lt;br /&gt;
rica, with Index. George Philip, Fleet Street.&lt;br /&gt;
Solly, J. Raymond. Acting and the Art of Speech at the&lt;br /&gt;
Paris Conservatoire. Hints on reading, reciting, acting,&lt;br /&gt;
and the cure of stammering. Elliot Stock.&lt;br /&gt;
Solms-Laubach, H. Graf. Fossil Botany, being an Intro-&lt;br /&gt;
duction to Palffophytology from the Standpoint of the&lt;br /&gt;
Botanist. The authorised Kuglish translation by Henry&lt;br /&gt;
E. F. Garnsey, M A., Fellow of Magdalen College,&lt;br /&gt;
Oxford, revised by Isaac Bayley Balfour, M.A., M.D.,&lt;br /&gt;
F. R.S. With illustrations. Clarendon Press. 18s.&lt;br /&gt;
A Text Book of Musical Knowledge. Part II., Inter-&lt;br /&gt;
mediate. Part III., Senior. Also Questions and&lt;br /&gt;
Exercises intended for practical use during the study&lt;br /&gt;
of the foregoing. Prepared for the use of Students,&lt;br /&gt;
more especially for the local examinations in musical&lt;br /&gt;
knowledge of Trinity College, London. Hammond,&lt;br /&gt;
Vigo Street, is. each.&lt;br /&gt;
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Adams, F. John Webb&amp;#039;s End. 2*.&lt;br /&gt;
Alexander, Mrs. A Woman&amp;#039;s Heart. A Novel in 3 vols.&lt;br /&gt;
F. V. White.&lt;br /&gt;
Well Won. In 1 vol. F. V. White. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Bali.axtyne, R. M. The Buffalo Runners. A Tale of the&lt;br /&gt;
Red River Plains. Illustrated by the author. James&lt;br /&gt;
Nisbet. Ss.&lt;br /&gt;
Behnke, Emil. Stammering: its Nature and Treatment.&lt;br /&gt;
Second thousand. Fisher Unwiu.&lt;br /&gt;
Besant, W. Armorel of Lyonesse. 3s. bd.&lt;br /&gt;
Burton, Mina E. Ruling the Planets. 3 vols. Richard&lt;br /&gt;
Bentley.&lt;br /&gt;
Carey, R. N. Our Bessie. 3s.&lt;br /&gt;
Colvills, H. E. Wafted Seeds. Nisbet. is.&lt;br /&gt;
Cook, W. The Horse: its Keep and Management, is.bd.&lt;br /&gt;
Craik, Georoina M. (Mrs. A. W. May). Patience Holt:&lt;br /&gt;
a Novel. 3 vols. Bentley.&lt;br /&gt;
Davenport-Adams, W. With Poet and Player. Essays&lt;br /&gt;
on Literature and the Stage. Elliot Stock,&lt;br /&gt;
Dawson, W. J. The Redemption of Edward Stratum: a&lt;br /&gt;
Social Story. Hodder and Stoughton. 3s. bd.&lt;br /&gt;
Donovan, Dick. A Detective&amp;#039;s Triumphs. Chatto and&lt;br /&gt;
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and War&mdash;i8o5-i8i5&mdash;being the Ridout Letters, with&lt;br /&gt;
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Fenn, G. M. Mahine Nousie. 2 vols. 21s.&lt;br /&gt;
&lt;br /&gt;
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## p. 157 (#561) ############################################&lt;br /&gt;
&lt;br /&gt;
THE A&lt;br /&gt;
UTHOR.&lt;br /&gt;
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Fotheroill, Jessie. Aldyth: or, Let the Knd Try the&lt;br /&gt;
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Gaskell, Mrs. Mary Barton. With biographical intro-&lt;br /&gt;
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the Little Hand. Illustrated. Longmans. is.&lt;br /&gt;
Henty, G. A. Tliose Other Animals. With portrait of&lt;br /&gt;
the author, and illustrations by Harrison Weir. Volume&lt;br /&gt;
of the Whitefriars Library of Wit and Humour.&lt;br /&gt;
Henry, Bouverie Street. 3s. 6&amp;lt;/.&lt;br /&gt;
Herman, Henry. Scarlet Fortune: a Story of the New&lt;br /&gt;
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Huefher, F. H. Madox. The Brown Owl: a Fairy&lt;br /&gt;
Story. With two illustrations by F. Madox Browne.&lt;br /&gt;
Volume of the Children&amp;#039;s Library. Fisher I&amp;#039;nwin.&lt;br /&gt;
is. 6d.&lt;br /&gt;
Hughes, Josiah. Australia Revisited in 1890: being&lt;br /&gt;
Kxtracts from the Diary of a Trip Bound the World.&lt;br /&gt;
Simpkin, Marshall.&lt;br /&gt;
Johnston, H. H., C.B., &amp;amp;c. Livingstone and the Explora-&lt;br /&gt;
tion of Central Africa. With illustrations and maps&lt;br /&gt;
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4*. 6d.&lt;br /&gt;
Kenton, F. G., M.A. Classical Texts from Papyri in the&lt;br /&gt;
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K.NEirp, Sebastian. My Water Cure, as tested through&lt;br /&gt;
more than 30 years. With illustrations. Translated&lt;br /&gt;
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5*.&lt;br /&gt;
Marshall, Emma. Those Three: or, Little Wings. A&lt;br /&gt;
Story for Girls. James Nisbet. 5&raquo;.&lt;br /&gt;
Born in the Purple: a Story. James Nisbet,&lt;br /&gt;
is. M.&lt;br /&gt;
Mathers, Helen. My Jo, John: a Novel. F. V.&lt;br /&gt;
White. Paper covers, is.&lt;br /&gt;
Maude, F. W. A Merciful Divorce: a Story of Society,&lt;br /&gt;
its sports, functions, and failings. Second thousand.&lt;br /&gt;
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Maurier, G. du. Society Pictures. Drawn by. Selected&lt;br /&gt;
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President Balmaceda, which caused the Civil War in&lt;br /&gt;
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the Royal National Pension Fund for Nurses. The&lt;br /&gt;
Hospital, i4o, Strand.&lt;br /&gt;
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Serrano, Mary J. Letters of Marie Bashkirtseff. Trans-&lt;br /&gt;
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original Drama of Modern English Middle-class Life,&lt;br /&gt;
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Griffith, Farran. is.&lt;br /&gt;
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THE AUTHOR.&lt;br /&gt;
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a Play in Four Acts; as produced at the St. James&amp;#039;s&lt;br /&gt;
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is.&lt;br /&gt;
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Statutes relating to Arbitration. Seventh edition, by&lt;br /&gt;
the author and Herbert Russell, B.A., of the Inner&lt;br /&gt;
Temple. Stevens, Chancery Lane. 3o.s.; for cash, 24s.&lt;br /&gt;
Science.&lt;br /&gt;
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Watkrdalk&amp;#039;s Fresh Light on the Dynamite Action and&lt;br /&gt;
Ponderosity. 3&raquo;. id.&lt;br /&gt;
Watts, W. Marshall. A Practical Introduction of the&lt;br /&gt;
Elements of Chemistry. James Xisbet. IS.&lt;br /&gt;
Parliamentary Papers.&lt;br /&gt;
Keturn as to Alien Immigration during August, \d. Com-&lt;br /&gt;
parative Statement of Pauperism, June 1891, id. Re-&lt;br /&gt;
port from the Select Committee on Railway Servants&amp;#039;&lt;br /&gt;
Hours of Labour, with Proceedings of the Committee&lt;br /&gt;
and Minutes of Evidence, 5.&raquo;. i\d. Standing Order of&lt;br /&gt;
the House of Commons relating to Public and Private&lt;br /&gt;
Business, it. id. Eyre and Spottiswoode.&lt;br /&gt;
Railway Statistics of Canada for 1890. Annual Report of&lt;br /&gt;
the Department of Fisheries, Dominion of Canada, for&lt;br /&gt;
1890 ; and Fisheries Statements and Inspectors&amp;#039; Reports&lt;br /&gt;
for 1890. Brown Chamberlen, Ottawa.&lt;br /&gt;
34th Report of the Commissioners of the Inland Revenue&lt;br /&gt;
for the year ended March 3i last, 6d. Return of Ships&lt;br /&gt;
ordered by the Board of Trade to be provisionally&lt;br /&gt;
detained as unsafe from July 1, 1890, to June 3o,&lt;br /&gt;
1891, i\d. Report of the Hoard of Trade&amp;#039;s Pro-&lt;br /&gt;
ceedings during last Session under the Tramways Act,&lt;br /&gt;
1870, and the Gas and Water Works Facilities Act,&lt;br /&gt;
1870, ir/. Special Report from the Select Committee&lt;br /&gt;
on Teachers&amp;#039; Registration and Organization Bill, 3 s. 3rf.&lt;br /&gt;
Report from the Select Committee on Town Holdings,&lt;br /&gt;
3s. Sd. Department of Science and Art Directory,&lt;br /&gt;
revised up to June 1891, with Regulations for esta-&lt;br /&gt;
blishing and conducting Science and Art Schools and&lt;br /&gt;
Classes, (id. Return as to the Salaries of Attorneys&lt;br /&gt;
and Solicitors General, \d. Return showing the&lt;br /&gt;
Annual Output of Principal Minerals of Great Britain&lt;br /&gt;
and Ireland from i860 to 1890, ijrf. Return as to&lt;br /&gt;
persons suffering sentences for Treason-Felony, \d.&lt;br /&gt;
Return of Information as to the detention of prisoners&lt;br /&gt;
before trial in England and Wales during 1890, z\d.&lt;br /&gt;
General Report to the Board of Trade on the capital,&lt;br /&gt;
traffic,expenditure,and profits of the Railway Companies&lt;br /&gt;
of the United Kingdom for 1890, ikd. Abstracts of&lt;br /&gt;
Returns to the Board of Trade on Shipping Casualties&lt;br /&gt;
from July 1, 1889, to June 30, 1890, 4&raquo;. 6&amp;lt;f. Report&lt;br /&gt;
of the Committee of Council on Education in Scotland,&lt;br /&gt;
2.v. Hoard of Trade Reports on the classification of&lt;br /&gt;
Merchandise Traffic and Schedule of Maximum Rates&lt;br /&gt;
in respect of the Abbotsbury, Aylesbury, and Bucking-&lt;br /&gt;
ham, Ballycastle, and certain other railway companies,&lt;br /&gt;
6d. Report of the Committee of Council on Education&lt;br /&gt;
(England and Wales), with Appendix, 1890-91, 3&raquo;. id.&lt;br /&gt;
23rd Report on the Judicial Statistics of Scotland for&lt;br /&gt;
1890, I*, id. Accounts relating to Trade and Navi-&lt;br /&gt;
gation of the United Kingdom for August, 6rf. Board&lt;br /&gt;
of Agriculture Report on the Distribution of Grants to&lt;br /&gt;
Agricultural and Dairy Schools in Great Britain for the&lt;br /&gt;
Financial Year, 1890-91, Sd. Annual Colonial Re-&lt;br /&gt;
ports.&mdash;Reports for 1890: No. 12.&mdash;Turks and Caicos&lt;br /&gt;
Islands, id. No. i3.&mdash;Gibraltar, id. No. 14.&mdash;Zulu-&lt;br /&gt;
land, irf. No. i5.&mdash;Sierra Leone, i\d. Government&lt;br /&gt;
Departments Securities: Return of the Amounts of&lt;br /&gt;
British Government Securities held by the several&lt;br /&gt;
Government Departments and other Public Offices on&lt;br /&gt;
the 31st of March 1891, specifying whether held in&lt;br /&gt;
England or Ireland (in continuation of Parliamentary-&lt;br /&gt;
Paper No. 263, of Session 1890), id. Return : Savings&lt;br /&gt;
Bank-. &amp;lt;)\d. Australasian Federation : Official Record&lt;br /&gt;
of the Proceedings and Debates of the National&lt;br /&gt;
Australasian Convention, held in the Parliament House,&lt;br /&gt;
Sydney, New South Wales, in the months of March&lt;br /&gt;
and April, 1891, 4*. 3d. Eyre and Spottiswoode.&lt;br /&gt;
Agricultural Statistics, Ireland: General Abstract, showing&lt;br /&gt;
the acreage under crops, also the number and de-&lt;br /&gt;
scription of live stock in each county and province,&lt;br /&gt;
1890-91. Banking, Railway, and Shipping Statistics,&lt;br /&gt;
Ireland, June 1891, id. Alexander Thorn and Co.,&lt;br /&gt;
Dublin.&lt;br /&gt;
Electrical Standards: Report of the Committee appointed&lt;br /&gt;
by the Board of Trade on New Denominations of&lt;br /&gt;
Standards for the Measurement of Electricity, lid.&lt;br /&gt;
Board of Agriculture: Report on the Distribution of&lt;br /&gt;
Grants to Agricultural and Dairy Schools in Great&lt;br /&gt;
Britain for the Financial Year 1890-91, with an Ap-&lt;br /&gt;
pendix, Sd. Public Accounts: Third Report from the&lt;br /&gt;
Committee of Public Accounts, with proceedings of&lt;br /&gt;
the Committee and Minutes of Evidence, is. Town&lt;br /&gt;
Holdings: Report from the Select Committee, with&lt;br /&gt;
proceedings of the Committee and Minutes of Evidence,&lt;br /&gt;
3&raquo;. Sd. Railway Returns for England and Wales,&lt;br /&gt;
Scotland, and Ireland, for the year 1890, with Sum-&lt;br /&gt;
mary Tables for I&amp;#039;nited Kingdom for each year from&lt;br /&gt;
1854 to 1890, 11 J. Department of Science and Art&lt;br /&gt;
Directory, with regulations for establishing and con-&lt;br /&gt;
ducting science and art schools and classes, 6rf. Re-&lt;br /&gt;
turn of Episcopal Fees and Charges paid by every&lt;br /&gt;
Archbishop and Bishop since January 1, i885,&lt;br /&gt;
Reports by Board of Trade on the Classification of&lt;br /&gt;
Merchandise Traffic and Schedule of Minimum Rates,&lt;br /&gt;
determined in respect of the East London Railway&lt;br /&gt;
Joint Committee, and the Loudon and North-Western&lt;br /&gt;
and Lancashire and Yorkshire Railway Companies,&lt;br /&gt;
and the Corporation of Preston, Ribble Branch, Joint&lt;br /&gt;
Railway, 6d. each. Reports by the Board of Trade on&lt;br /&gt;
the Classification of Merchandise Traffic and Schedule&lt;br /&gt;
of Maximum Rates determined in respect of Barry&lt;br /&gt;
Docks and Railway Company (3s. 3d.), the Fe.stiniog&lt;br /&gt;
Railway Company (6&amp;lt;/.), and certain other companies.&lt;br /&gt;
Reports by the Board of Trade on the Classification&lt;br /&gt;
of Merchandise Traffic and Schedule of Maximum&lt;br /&gt;
Rates, determined in respect of the Ely Valley, Brecon&lt;br /&gt;
and Merthyr Tydfil Junction, and Golden Valley&lt;br /&gt;
Railway Companies, 6rf. each. Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 159 (#563) ############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
159&lt;br /&gt;
THE CENTRAL TYPE-WRITING OFFICE,&lt;br /&gt;
(ESTABLISHED 1887,)&lt;br /&gt;
57 &amp;amp; 58, Chancery Lane, W.C.&lt;br /&gt;
Principals :&lt;br /&gt;
Miss M. E. DUCK and Miss I. B. LOOKER.&lt;br /&gt;
CITY TYPE-WRITING &amp;amp; SHORTHAND OFFICES,&lt;br /&gt;
MANSION HOUSE CHAMBERS,&lt;br /&gt;
20, Bucklersbury, London, E.C.&lt;br /&gt;
Type-writing and Copying of every Description under-&lt;br /&gt;
taken for the Literary, Dramatic, Clerical, Legal, and other&lt;br /&gt;
Professions. Type-writing from Dictation a Specialty.&lt;br /&gt;
Highest Testimonials for Excellence of Work and Promp-&lt;br /&gt;
titude from AUTHORS and others.&lt;br /&gt;
PRICE LIST ON APPLICATION-TERMS MODERATE.&lt;br /&gt;
The Department for Lady Pupils has unremitting attention, as&lt;br /&gt;
evidenced by the unqualified Success which has attended its&lt;br /&gt;
management. The Course includes Shorthand, Type-writing,&lt;br /&gt;
Book-keeping, and Commercial Correspondence, and when Pupils&lt;br /&gt;
have acquired proficiency-&lt;br /&gt;
POSITIONS ARE GUARANTEED.&lt;br /&gt;
MISS R. V. GILL,&lt;br /&gt;
TYPE-WRITING OFFICES,&lt;br /&gt;
6, Adam Street, Strand, W.C., and&lt;br /&gt;
5, Air Street, Piccadilly, W.&lt;br /&gt;
Particulars on application to -&lt;br /&gt;
MARY R. DAY.&lt;br /&gt;
MRS. GILL,&lt;br /&gt;
TYPE-WRITING OFFICE,&lt;br /&gt;
| ST. PAUL&amp;#039;S CHAMBERS, 19, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&amp;#039; and Dramatists&amp;#039; Work a Specialty. All kinds&lt;br /&gt;
of MSS. copied with care. Extra attention given to di&iacute;ficult&lt;br /&gt;
hand-writing and to papers or lectures on scientific subjects.&lt;br /&gt;
Type-writing from dictation. Shorthand Notes taken&lt;br /&gt;
and transcribed.&lt;br /&gt;
Author&amp;#039;s MSS. carefully copied from 1s. per&lt;br /&gt;
1,000 words. One additional copy (carbon)&lt;br /&gt;
supplied free of charge.&lt;br /&gt;
References kindly permitted to many well-known&lt;br /&gt;
Authors and Publishers. Further particulars on&lt;br /&gt;
application.&lt;br /&gt;
FURTHER PARTICULARS ON APPLICATION.&lt;br /&gt;
TYPE-WRITING.&lt;br /&gt;
Authors&amp;#039; MSS. carefully Transcribed.&lt;br /&gt;
Writings by Post receive prompt attention.&lt;br /&gt;
Scientific and Medical Papers a Specialty.&lt;br /&gt;
MISSES ERWIN,&lt;br /&gt;
13, DORSET STREET, PORTMAN SQUARE, W.&lt;br /&gt;
MISSES AIRD &amp;amp; WEDDERSPOON,&lt;br /&gt;
SHORTHAND, TRANSLATING, and TYPEWRITING OFFICES,&lt;br /&gt;
4, SUN COURT, CORNHILL, E.C.&lt;br /&gt;
Translations carefully and correctly made. Shorthand&lt;br /&gt;
and Typewriting Clerks sent out on short notice. Type-&lt;br /&gt;
writing of all kinds done with neatness, accuracy, and&lt;br /&gt;
despatch. Special pains taken with Authors&amp;#039; MSS. Pupils&lt;br /&gt;
trained in Pitman&amp;#039;s System of Shorthand, and in Type-&lt;br /&gt;
writing.&lt;br /&gt;
All applications relating to Advertisements&lt;br /&gt;
in this Journal should be addressed to the&lt;br /&gt;
Printers and Publishers,&lt;br /&gt;
MISSES E. &amp;amp; S. ALLEN,&lt;br /&gt;
TYPE AND SHORTHAND WRITERS&lt;br /&gt;
TRANSLATIONS and Scientific Work&lt;br /&gt;
a Special Feature.&lt;br /&gt;
39, LOMBARD STREET, E.C.&lt;br /&gt;
Office No. 59 (close to Lift).&lt;br /&gt;
MISS PATTEN,&lt;br /&gt;
TYPE-WRITER,&lt;br /&gt;
44, Oakley Flats, Oakley Street, Chelsea, S.W.&lt;br /&gt;
Authors&amp;#039; MSS. carefully copied from 1s. per 1,000 Words.&lt;br /&gt;
One additional Copy (Carbon) supplied Free of charge.&lt;br /&gt;
References kindly permitted to George Augustus Sala, Esq.&lt;br /&gt;
Particulars on Application.&lt;br /&gt;
ASHWORTH &amp;amp; Co.,&lt;br /&gt;
4, Abchurch Yard, Cannon Street, E.C.&lt;br /&gt;
Authors&amp;#039; MSS. type-written from 1s. 3d. per&lt;br /&gt;
1,000 words.&lt;br /&gt;
TRANSLATIONS.&lt;br /&gt;
EYRE &amp;amp; SPOTTISWOODE.&lt;br /&gt;
East Harding Street, Fetter Lane,&lt;br /&gt;
London, E.C.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 160 (#564) ############################################&lt;br /&gt;
&lt;br /&gt;
i6o&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
NOPS&amp;#039; ELECTROTYPE AGENCY.&lt;br /&gt;
FINE ART ELECTROS.&lt;br /&gt;
&lt;br /&gt;
&mdash;&raquo;&laquo;:&amp;lt;*&amp;lt;&laquo;&amp;#039;&mdash;&lt;br /&gt;
Wk huvc at our disposal 2,000,000 (Two&lt;br /&gt;
Millions) of Engravings suitable for Illustrating&lt;br /&gt;
Newspapers, Itooks, Circulars, Magazines,&lt;br /&gt;
Pamphlets, Children&amp;#039;s Papers, &amp;amp;c, &amp;amp;e., and have&lt;br /&gt;
Comprehensive Indexes, of Portraits and Views&lt;br /&gt;
always ready for reference.&lt;br /&gt;
We shall be glad to receive a call from any&lt;br /&gt;
one requiring Illustrations of any kind; and if&lt;br /&gt;
clients at a distance will kindly send us u list of&lt;br /&gt;
subjects they require, together with size limit,&lt;br /&gt;
a Selection of suitable Proofs will lw at once&lt;br /&gt;
despatched to them.&lt;br /&gt;
Cuts found to illustrate MS. or Text.&lt;br /&gt;
Agents for the &amp;quot;Illustrated London&lt;br /&gt;
News,&amp;quot; &amp;quot;Graphic,&amp;quot; &amp;quot;Black and White,&amp;quot;&lt;br /&gt;
&amp;quot;Lady&amp;#039;s Pictorial,&amp;quot; &amp;quot;Strand Magazine,&amp;quot;&lt;br /&gt;
&amp;quot;Pictorial World,&amp;quot; &amp;amp;c, and the principal&lt;br /&gt;
Foreign Illustrated Papers.&lt;br /&gt;
Telegraphic Address&mdash;&amp;quot; DENOPS, LONDON.&amp;quot;&lt;br /&gt;
Telephone Number&mdash;1880.&lt;br /&gt;
19, LUDGATE HILL, LONDON, E.C.&lt;br /&gt;
Branches in Paris, New York, Melbourne, Ontario, and Bombay.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER writes in full sight of the&lt;br /&gt;
operator.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER saves the eyesight.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER prevents writer&amp;#039;s cramp.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER prevents round shoulders.&lt;br /&gt;
THE BAR-LOCK TYPE-WRITER enables you to keep pace&lt;br /&gt;
with your thoughts, the operation requires less mental effort&lt;br /&gt;
than the use of a pen, allowing you to concentrate your mind&lt;br /&gt;
more fully on the matter you are writing on.&lt;br /&gt;
The writing of the BAR-LOCK TYPE-WRITER is equal (o a printed proof, and can la1 used as such&lt;br /&gt;
for corrections, thus saving large printer&amp;#039;s charges which are sufficient in many books to defray the&lt;br /&gt;
cost of a Bar-Lock.&lt;br /&gt;
&lt;br /&gt;
Supplied for Cash, or on Our Easy Payment System by Twelve Monthly&lt;br /&gt;
Payments of &pound;119s., or on Hire at &pound;2 2s. per Month.&lt;br /&gt;
CORRESPONDENT AND INSPECTION INVITED.&lt;br /&gt;
THE TYPE-WRITER COMPANY, Limited.&lt;br /&gt;
12 &amp;amp; 14, QUEEN VICTORIA STREET, E.G.&lt;br /&gt;
1, South John Street, Liverpool; 22, Renfield Street, Glasgow; 25, Market Street, Manchester.&lt;br /&gt;
Type-Writing Taught by Experts. Author&amp;#039;s MSS. Copied at Is. 3d. per 1,000 Words at all our Offieet.&lt;br /&gt;
Londos: Printed by Ktrk ami Spothbwoopb, Printers to the (Jneen&amp;#039;s most Excellent Mnjcsty.</td><td>https://historysoa.com/files/original/5/256/1891-10-01-The-Author-2-5.pdf</td><td>publications, The Author</td></tr></table>