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450	https://historysoa.com/items/show/450	The Author, Vol. 03 Issue 12 (May 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+12+%28May+1893%29"><em>The Author</em>, Vol. 03 Issue 12 (May 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-05-01-The-Author-3-12					425–464																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-05-01">1893-05-01</a>							12			18930501	Che<br /> <br /> Fluthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. III.—No. 12.]<br /> <br /> Agreements<br /> <br /> Warnings ves ee<br /> How to Use the Society<br /> The Authors’ Syndicate<br /> Notices... oe cs<br /> Literary Property—<br /> <br /> MAY 1, 1893.<br /> <br /> [PRICE SIXPENCE.<br /> <br /> CONTENTS.<br /> <br /> PAGE. PAGE<br /> wee 427 Libraries—New and Old... ak os os ce eee .-. 444<br /> we 427 An Author&#039;s Experiences ... ec oe ae aes ae .. 446<br /> --» 428 Correspondence—<br /> <br /> . 428 1.—New Writers Re ee eae se ou is .. 449<br /> . 429 : Attack and Defence Sey en Se See Me ae 450<br /> <br /> <br /> <br /> 3.—A Coincidence ca oe Ge a is nay wee 450<br /> 4.—Prompt Payment<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 1<br /> i<br /> |<br /> |<br /> }<br /> <br /> <br /> <br /> 1.—Magazines and Copyright : ee ae<br /> 2.—On Stamping Agreements 5.—Value of Criticism to Beginners : see a 3 451<br /> 3.—The Right of Translation 6.—How to Help Young Writers... es ie te ae<br /> <br /> 4.—Half Price and Half Royalty 7.—Dreams a ee ge fe 451<br /> <br /> 5.—A Fair Agreement ... From the Fapers—<br /> <br /> 6—Titles. =... ae ee 1.—Literature at the Chicago Exhibition. From the Chicago<br /> The Cost of Production aes can ee ox Dial and the New York Critic oe ee Se are sce 452 i<br /> Omnium Gatherum for May. By J. M. Lély ... 2.—The Rolled MS. From the New York Critic a i AOS |<br /> The Royal Literary Fund Dinner wa 3.—An American Paternoster Row... as cy oe 488 ie<br /> ‘The Theft.” By F. B. Doveton... 4.—Dedications ... ote gis ise See ee ae 5. 454<br /> Notes and News. By the Editor... sea oe 5.—Filing Copyright ... ao aS oes aes ae ... 454<br /> + Augustine.” By the Rev. Canon Bell, D.D.... he pea ae 6.—The Current Adjective... ous Ne a ea a abs<br /> Feuilleton.—The People of the Pages .By the Countess Galletti... 7.—Alas! Poor Yorick! a &lt;n ae os See se D8<br /> Goodbye to April. By Lewis Brockman fe ae Ga “ At the Sign of the Author&#039;s Head” ... cae ea ee = 4b5<br /> Psychological Sentiments ... ane ies ee The Book Exchange... ul ous oie xe a ie on SBT<br /> Reminiscences of Taine. By Winifrede Wyse | New Books and New Editions Bs ne ae ae oe -.. 468<br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> a<br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary. tH<br /> <br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of ‘Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4 Literature and the Pension List. By W. Morris CoLLes, Barrister-at-Law. (Henry Glaisher,<br /> gs, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Sociéte des Gens de Lettres.<br /> the Society. 1s.<br /> <br /> 6. The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> 7. The Various Methods of Publication. By S. Squire Spriace. In this work, compiled from the<br /> <br /> pepers in the Society’s offices, the various forms of agreements proposed by Publishers to MI<br /> <br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 35.<br /> <br /> : Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix i<br /> <br /> | containing the Berne Convention and the American Copyright Bill. By J. M. Levy. Hyre a<br /> <br /> i and Spottiswoode. Is. 6d. &#039;<br /> <br /> By S§. Squire SpriageE, late Secretary to<br /> <br /> <br /> <br /> o<br /> <br /> a ad<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 426 ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> The Society of Authors (Sncorporated),<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHEORGHE MEREDITEH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin Arno, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barris.<br /> <br /> A. W. A Broxerv.<br /> <br /> Rogert Bateman.<br /> <br /> Sir Henry Berenz, K.C.M.G.<br /> WALTER BEsAnrt.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BLackmoreE.<br /> <br /> Rev. Pror. Bonney, F.B.S.<br /> Lord BRABOURNE.<br /> <br /> James Bryce, M.P.<br /> <br /> Haut Carne.<br /> <br /> P. W. CLaypen.<br /> <br /> Epwakp CLopp.<br /> <br /> W. Morris Couugs.<br /> <br /> Hon. JoHn Courier.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dogson.<br /> A. W. Dusoura.<br /> <br /> Epmunp Gossz.<br /> <br /> THomas Harpy.<br /> <br /> J. M. Leny.<br /> <br /> <br /> <br /> OswaLp CRAWFURD, C.M.G.<br /> Tue Earu or Desart.<br /> <br /> J. Eric Ericusen, F.R.S.<br /> Pror. MicHaEL Foster, F.R.S.<br /> HERBERT GARDNER, M.-P.<br /> RicHarp Garnett, LL.D.<br /> <br /> H. Riper Haaaarp.<br /> <br /> JERomE K. Jerome.<br /> Rupyarp Kiprina.<br /> Pror. E. Ray Lanxester, F.R.S.<br /> <br /> Rey. W. J. Lorri, F.S.A.<br /> <br /> Pror. J. M. D. Mrrxugsoun.<br /> Herman C. MEeRIvane.<br /> <br /> Rev. C. H. Mippteton-Waxe F.L.S.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max Miuuer.<br /> <br /> J. C. ParKInsoNn.<br /> <br /> THE Ear. or PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Srz FREDERICK Pottock, Bart., LL.D.<br /> <br /> WALTER Herrizs Pouuock.<br /> <br /> A. G. Ross.<br /> <br /> GEoRGE AuGusTus SALA.<br /> <br /> W. Bapriste Scoonsgs.<br /> <br /> G. R. Sums.<br /> <br /> S. Squrre Spriaar.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Wiui1am Moy Tuomas.<br /> <br /> H. D. Trarut, D.C.L.<br /> <br /> Baron HENRY DE Worms, M.P.,<br /> E.R.S.<br /> <br /> Epmunp Yates.<br /> <br /> <br /> <br /> Hon. Cownsel—K. M. UnpERpown, Q.C.<br /> Solicitors—Messrs Frenp, Roscor, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HeRBERT Turina, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, Portugat Street, Lincoun’s Inn Freips, W.C.<br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY<br /> <br /> CoMPILED FRoM AUTHENTIC SOURCES BY<br /> <br /> GHORGEH HRNRY JRNNiNnGs<br /> CONTENTS.<br /> <br /> Part I.—Rise and Progress of Parliamentary Institutions.<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> elnsion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> APpPENDIXx.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> - 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> ‘“‘ The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ”—Scotsman.<br /> <br /> ‘It is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.”&quot;—Globe.<br /> <br /> who may have occasion to assist as Speakers during the electoral<br /> vempaign, is incumparable.”—Sala’s Journal,<br /> <br /> “Tt is a work that possesses both a practical and an historica<br /> <br /> | value. and is altogether unique in character.”—Kentish Observer.<br /> <br /> ‘* We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—Northern Echo. =o<br /> ‘‘Here we have the whole company of Parliamentary celebrities,<br /> <br /> | past and present, reduced to puppets, so to speak, and made to<br /> ‘Its advantage to those who are seeking seats in Parliament, or |<br /> <br /> repeat their best and most approved rhetorical performances for our<br /> <br /> | leisurely entertainment, which is not less enjoyable from being allied<br /> | with edifleation.”—Ziverpool Courier.<br /> <br /> <br /> <br /> &quot;2 Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> <br /> <br /> ecm<br /> <br /> a<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The Huthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IT1.—No. 12.]<br /> <br /> MAY 1, 1893.<br /> <br /> [PRricz SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or parda-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, sec.<br /> <br /> <br /> <br /> notice that all remittances are acknow-<br /> <br /> ledged by return of post, and requests<br /> that all members not receiving an answer to<br /> important communications within two days will<br /> write to him without delay. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only.<br /> <br /> é Secretary of the Society begs to give<br /> <br /> <br /> <br /> ee<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> as the vendor, has the absolute right of<br /> <br /> drafting the agreement upon whatever<br /> terms the transaction is to be carried out.<br /> Authors are strongly advised to stipulate for that<br /> right, and to exercise it. In every other form of<br /> business, the right of drawing the agreement<br /> rests with him who sells, leases, or has the ¢ ntrol<br /> in the property. Landowners draw the convey-<br /> ance upon a sale of their property. Landlords<br /> draw the lease when they let a house.<br /> <br /> 7 is not generally understood that the author,<br /> <br /> <br /> <br /> <br /> <br /> os<br /> <br /> WARNINGS.<br /> <br /> ie: of the Author and members of<br /> the Society are earnestly desired to make<br /> the following warnings as widely known<br /> <br /> as possible. They are based on the experience<br /> <br /> of eight years’ work by which the dangers to<br /> VOL. III.<br /> <br /> <br /> <br /> which literary property is especially exposed have<br /> been discovered :—<br /> <br /> 1. Serra, Rieuts.—In selling Serial Rights<br /> stipulate that you are selling the Serial Right for<br /> one paper at a certain time, a simultaneous Serial<br /> Right only, otherwise you may find your work<br /> serialized for years, to the detriment of your<br /> volume form.<br /> <br /> 2. Stamp your AGREEmMENTS.—Readers are<br /> most URGENTLY warned not to neglect stamping<br /> their agreements immediately after signature. If<br /> this precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be used<br /> asa legal document. In almost every case brought<br /> to the secretary the agreement, or the letter which<br /> serves for one, is forwarded without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution. The stamp duty varies from 6d. up to<br /> Ios. or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br /> Remember that an arrangement as to a joint<br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> 4. Lirerary Acents.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as your agent. Remember that you place<br /> your property almost unreservedly in his hands.<br /> Your only safety is in consulting the Socicty, or<br /> some friend who has had personal experience of<br /> the agent. Do not trust advertisements alone.<br /> <br /> <br /> <br /> 5. Cost OF Propucrion.—Never sign any<br /> agreement of which the alleged cost of pro-<br /> duction forms an integral part, until you have<br /> proved the figures.<br /> <br /> KK 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> 428<br /> <br /> <br /> <br /> 6. Cuorcr oF PuBLisuERs.—Never enter into<br /> any correspondence with publishers, especially<br /> with those who advertise for MSS., who are<br /> not recommended by experienced friends or by this<br /> Society.<br /> <br /> 7. Futur—E Worx.—Never, on any account<br /> whatever, bind yourself down for future work<br /> to anyone.<br /> <br /> 8. Royaury.—Never accept any proposal of<br /> royalty until you have ascertained what the<br /> agreement, worked out on both a small and a<br /> large sale, will give to the author and what to the<br /> publisher.<br /> <br /> g. Personat Risx.—Never accept any pecu-<br /> niary risk or responsibility whatever without<br /> advice.<br /> <br /> 10. Resectep MSS.—Never, when a MS. has<br /> been refused by respectable houses, pay others,<br /> whatever promises they may put forward, for the<br /> production of the work.<br /> <br /> 11. American Ricurs.— Never sign away<br /> American rights. Keep them by special clause.<br /> Refuse to sign any agreement containing a clause<br /> which reserves them for the publisher, unless for<br /> a substantial consideration. If the publisher<br /> insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. Cession or Copyrieur.—Never sign any<br /> paper, either agreement or receipt, which gives<br /> away copyright, without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the<br /> advertisements, if they affect your returns, by a<br /> clause in the agreement. Reserve a veto. If you<br /> are yourself ignorant of the subject, make the<br /> Society your adviser.<br /> <br /> 14. Never forget that publishing is a business,<br /> like any other business, totally unconnected with<br /> philanthropy, charity, or pure love of literature.<br /> You have to do with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :—<br /> 4, Portuean Street, Lincotn’s Inn Freips.<br /> <br /> OO<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> <br /> THE AUTHOR.<br /> <br /> Society’s solicitors. If the case is such that<br /> Counsel’s opinion is desirable, the Committee will<br /> obtain for him Counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> z. Remember that questions connected with<br /> copyright and publishers’ agreements do not<br /> generally fall within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have .<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as toa change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed document to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> oc<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> SPECIAL report of the Authors’ Syndi-<br /> <br /> cate has been prepared and issued to<br /> <br /> those members of the Society for whom<br /> the Syndicate has transacted business.<br /> <br /> Members are informed:<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With,<br /> <br /> when necessary, the assistance of the legal advisers<br /> of the Society, it concludes agreements, collects<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 429<br /> <br /> royalties, examines and passes accounts, and<br /> generally relieves members of the trouble of<br /> managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndi-<br /> cate are defrayed entirely out of the commission<br /> charged on rights placed through its intervention.<br /> This charge is reduced to the lowest possible<br /> amount compatible with efficiency. Meanwhile<br /> members will please accept this intimation that<br /> they are not entitled to the services of the Syndi-<br /> cate gratis, a misapprehension which appears to<br /> widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none<br /> but those members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That the business of the Syndicate is not to<br /> advise members of the Society, but to manage<br /> their affairs for them.<br /> <br /> 5. That the Syndicate can only undertake<br /> arrangements of any character on the distinct<br /> understanding that those arrangements are placed<br /> exclusively in its hands, and that all negotiations<br /> relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by<br /> appointment, and that, when possible, at least<br /> four days’ notice should be given. The work of<br /> the Syndicate is now so heavy, that only a limited<br /> number of interviews can be arranged.<br /> <br /> 7. That every attempt is made to deal with the<br /> correspondence promptly, but that owing to the<br /> enormous number of letters received, some delay<br /> is inevitable. That stamps should, in all cases,<br /> be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite<br /> MSS. without previous correspondence, and does<br /> not hold itself responsible for MSS. forwarded<br /> without notice.<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> De<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short<br /> papers and communications on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to nid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in its new<br /> premises, at 3, Whitehall-court, Charing Cross.<br /> ‘Address the Secretary for information, rules of<br /> admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount, if still unpaid, or a banker’s order, it will<br /> greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years ?<br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of ‘doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> <br /> are as near the exact truth as can be procured :<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br />  <br /> <br /> 430<br /> <br /> Some remarks have been made upon the amvunt<br /> charged in the “Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> — ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> MaGaZINES AND COPYRIGHT.<br /> <br /> AM pleased that my letter, signed ‘ P.,”<br /> inserted in December, has been thought of<br /> sufficient interest and importance to call<br /> <br /> forth valuable remarks in every subsequent num-<br /> ber, and I may now try to sum up the knowledge<br /> we have gained thereby.<br /> <br /> The essence of the provision in the Act is as<br /> follows :—<br /> <br /> When any proprietor shall employ any person to compose<br /> articles on the terms that the copyright therein shall belong<br /> to such proprietor, and such articles shall be paid for by<br /> such proprietor, the copyright shall be the property of<br /> such proprietor.<br /> <br /> Here, as Mr. Harold Hardy (p. 313) points<br /> out, in order that the proprietor shall be entitled<br /> to the copyright, three conditions must be<br /> fulfilled :—<br /> <br /> (1) Employment.—The writer must have been employed<br /> to write the article.<br /> <br /> (2) Terms.—The article must be written on the terms<br /> that the copyright therein shall belong to the proprietor.<br /> <br /> (3) Payment.—The writer of the article must be paid for<br /> it by the proprietor.<br /> <br /> Now let us put a few cases to see how this will<br /> work,<br /> <br /> A.—Suppose I write an article according to my<br /> own fancy, and send it to a magazine. It is<br /> inserted and paid for, but nothing is said about<br /> copyright by either party.<br /> <br /> There clearly the conditions 1 and 2 are absent,<br /> and the copyright, by the general Act, should be<br /> wholly mine.<br /> <br /> Mr. Armstrong (p. 277) mentions an obiter<br /> dictum of the Vice-Chancellor to this effect, that<br /> “the payment is evidence of a thing at least<br /> tantamount to the employment,” but this cannot<br /> <br /> THE AUTHOR.<br /> <br /> reasonably apply here, as the Act is so very<br /> explicit in requiring not only payment, but<br /> distinct and positive employment under specified<br /> terms.<br /> <br /> B.—But suppose the proprietor or editor of a<br /> cyclopedia or review sequests me to write an<br /> article for him on a given subject; this is after-<br /> wards paid for, but still nothing has been said<br /> about copyright.<br /> <br /> Here we have distinct employment, and there-<br /> fore conditions 1 and 3 are fulfilled. But how<br /> about condition 2? By the hypothesis it is<br /> assumed to be wanting, but it may be argued<br /> that my acceptance of the duty involves my con-<br /> forming to the usual practice of the periodical,<br /> which may be to retain the copyrights. And<br /> here, I fancy, the case of Sweet v. Benning, cited<br /> by Mr. Hardy and Mr. Charteris, might come in,<br /> it being held that an express contract was not<br /> necessary, if the “terms” might primd facie be<br /> implied.<br /> <br /> It would seem, therefore, that here the owner-<br /> ship of the copyright may depend on the special<br /> circumstances of the case.<br /> <br /> C.—Finally, suppose that in the first instance<br /> I write to the editor, and ask him if he would<br /> like me to send him an article on a subject<br /> named? He answers me in the affirmative, and<br /> the article is sent, inserted, and paid for.<br /> <br /> Does this constitute “ employment?” I should<br /> think not; for the position of the author is<br /> essentially different. In case B., he is a servant,<br /> paid for his work ; here he is a volunteer, and his<br /> work may be thrown away by the rejection of what<br /> he sends.<br /> <br /> All these three cases are of frequent occur-<br /> rence—in A. and C., the author&#039;s ownership<br /> seems clear, in B. it may be uncertain.<br /> <br /> There is, I believe, a common impression that<br /> the copyright in magazine articles belongs jointly<br /> to the proprietor and the author, and, as“ J.”<br /> has said, it is frequently assumed, as a matter of<br /> courtesy, that both parties should concur in<br /> allowing a reprint. But such an impression can-<br /> not over-ride the Act of Parliament, when the<br /> latter clearly gives the property to the author.<br /> <br /> It is also worthy of notice that, even when the<br /> copyright rests with the proprietor, he cannot<br /> publish the article separately without the<br /> author’s consent; and after twenty-eight years<br /> the full right of such separate publication<br /> “reverts”? to the author. So that, unless the full<br /> copyright is specially transterred, an important<br /> control by him over the publication is always<br /> maintained.<br /> <br /> Witiiam Pote.<br /> <br /> Atheneum Club.<br /> <br /> April 17, 1893.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 431<br /> <br /> EL<br /> On Srampinec AGREEMENTS.<br /> <br /> Readers are constantly warned, in _ these<br /> columns, not to neglect the stamping of their<br /> agreements. An ordinary agreement, under hand,<br /> for the publication of a book is liable to the duty<br /> of 6d. If the contract is im duplicate, one part<br /> to be held by the publisher, the other by the<br /> author, both must be stamped with 6d. Ifa 6d.<br /> adhesive stamp—the ordinary 6d. postage stamp<br /> —is used, it should be affixed to the document<br /> before signing, and the signature written across it,<br /> and the date, say 1-4-93, should also be written on<br /> <br /> the stamp, thus:<br /> |<br /> <br /> J 3. Jone&#039;s.<br /> 1-4-93<br /> <br /> You will then have complied with the strict<br /> requirements of the law as to stamping and can-<br /> cellation of the stamp. Remember that it is useless<br /> to stick a 6d. adhesive stamp on to the agreement<br /> after it has been signed by the party who first<br /> signs it; the law requires that the adhesive<br /> stamp shall be cancelled by the person who first<br /> executes the agreement.<br /> <br /> If the contract is contained in a_ series of<br /> letters, a stamp on any one of them will suffice ;<br /> but it will be most convenient to stamp the letter<br /> from the publisher containing the acceptance of<br /> terms, and in that case the stamp should be a 6d.<br /> impressed stamp, obtainable at Somerset House<br /> within fourteen days from the date of the letter.<br /> <br /> If the agreement inter partes has been signed<br /> without a stamp, take your part to Somerset<br /> House (No. 25, Inland Revenue), or send it to<br /> the Comptroller of Stamps and Stores, with six-<br /> pence in stamps, and a request to get it stamped,<br /> so that it may be stamped with an impressive 6d.<br /> stamp within fourteen days from the date ; the<br /> actual date not counting as one of the fourteen<br /> days. But Sundays and holidays count, @.e., if<br /> the fourteenth day falls on a Sunday, you will be<br /> “out of time’? onthe Monday.<br /> <br /> The maximum penalty for stamping an agree-<br /> ment under hand after the fourteen days is £10.<br /> But the authorities usually mitigate this consi-<br /> derably, unless stamping 1s sought in contempla-<br /> tion of legal proceedings, or in the course of pro-<br /> ceedings already commenced. If the document<br /> is produced unstamped in court you will have to<br /> pay £11 os. 6d. (£10 penalty, &amp; fee, 6d. duty)<br /> before it can be used in evidence. Anagreement<br /> of this kind under seal, which is rare, is liable to<br /> a duty of at least 10s. as a “deed” at least, and<br /> may be liable to further duty according to its terms.<br /> <br /> The time for stamping a deed is thirty days from<br /> date of first execution. Other remarks apply.<br /> <br /> ——<br /> <br /> EL<br /> Tur Riegut oF TRANSLATION.<br /> <br /> Under Article V. of the Berne Convention, it<br /> is provided that an author shall have the exclu-<br /> sive right of translation until the expiration of<br /> ten years from publication of the original work ;<br /> but when we turn to the International Copyright<br /> Act, 1886, we find it provided (clause 5 (1) ) that<br /> he shall have the same right of preventing un-<br /> authorised translations which he has of prevent-<br /> ing piracy of the original work. The only lmi-<br /> tation I can find is that, in the next sub-division<br /> of the clause, it is provided that, if after ten<br /> years no authorised translation has been produced,<br /> the author&#039;s right to forbid unauthorised trans-<br /> lations shall cease.<br /> <br /> In other words, the author’s right in respect of<br /> translation appears, by the Berne Convention, to<br /> be absolute for ten years; whereas by the Inter-<br /> national Copyright Act it seems to be extended<br /> to the full term of literary copyright on the sole<br /> condition that an authorised translation shall be<br /> published within ten years.<br /> <br /> T observe that the Order in Council (Nov. 28,<br /> 1887), by which Great Britain was made a party<br /> to the Berne Convention, provides (sect. 8), that<br /> this order shall be construed as if it formed part<br /> of the International Copyright Act, 1886.<br /> <br /> I should be glad if someone more learned in<br /> these matters would explain to me how these<br /> different provisions can be reconciled. F. T.<br /> <br /> <br /> <br /> TY.<br /> Tur “Har Price” CLavse.<br /> <br /> We have spoken already of a certain “ half<br /> price ”’ clause, and what it means. As our obser-<br /> vations were not quite understood, the following<br /> figures will help to explain. The clause, in sub-<br /> stance, though the wording is sometimes different,<br /> runs as follows: ‘ But if the publisher thinks fit<br /> to sell the book under half the advertised price<br /> the above royalty of so much per cent. shall be<br /> reduced by one half.”<br /> <br /> This seems plausible. The author ignorantly<br /> thinks that if the publisher halves his price the<br /> royalty ought also in justice to be halved, so he<br /> signs.<br /> <br /> Let us illustrate the clause by taking a two-<br /> volume novel, nominally 21s. price, subject to a<br /> royalty of 15 per cent. It is really sold at about<br /> irs. to the libraries (sometimes for less), t.€., S1X-<br /> pence over half price. It costs about 4s. a copy<br /> for an edition of 500.<br /> <br /> os<br /> <br /> <br />  <br /> <br /> 432<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> If the bovk is sold at its. the case stands<br /> thus : s. d.<br /> Author gets for each copy sold... 3 «14<br /> Publisher gets’<br /> Less cost Se<br /> Author ... 3 414 7 14<br /> oe 77 3 105<br /> But if he sells at 1os., which is just under half<br /> price. s. dd.<br /> The author gets only per copy... I 625<br /> Publisher... 4, 4, 10 6<br /> Less cost re<br /> Author ... ro 68.<br /> 5 8%<br /> 4 570<br /> <br /> So that it is to the publisher’s interest, by<br /> 6%d., per volume to sell at ros. rather than rts.<br /> That is to say he pockets close upon 7d. a copy<br /> more by the second arrangement than by the<br /> first. This was pointed out to a certain publisher<br /> in a certain case. He explained that he did not<br /> know that such would be the result.<br /> <br /> <br /> <br /> V.<br /> A Farr AGREEMENT.<br /> <br /> A pleasing agreement has been brought to light<br /> in which the author agreed to cede the whole of his<br /> rights ina book, whatever they should prove to<br /> be, not for half profits, or for two-thirds profits ;<br /> not for a royalty of 20 per cent., or 25 per cent.<br /> on the advertised price, but for 124 per cent. on the<br /> amount realised by the sale of the work. To<br /> make it look pretty it was called a “ royalty ”—a<br /> royalty of 124 per cent. on the amount realised<br /> by the sale of the work. Suppose, to put this<br /> neat little job into figures, the whole edition of<br /> 1000 copies of a book under such an agreement<br /> —taking, as usual, a 6s. book—had gone off, the<br /> net proceeds would have been £175. (See “ Cost<br /> of Production.”) The author’s share would have<br /> been £23. The publisher’s profit would have<br /> been £52. Suppose another edition of 3000<br /> copies had gone, the proceeds would have been<br /> £575. The author’s share would have been<br /> £72. The profits would be £355, and the pub-<br /> lisher’s share £283. Now this is no invention of<br /> something that might have happened. It is an<br /> agreement actually drawn up and signed.<br /> <br /> <br /> <br /> VI.<br /> TITLEs.<br /> <br /> Such a newspaper title as The Journal is<br /> of so general a class as scarcely to afford pro-<br /> mise of a leading case, if dispute arose. How-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> ever, the company which has since July, 1892,<br /> run the large Paris daily sheet called Le Journal<br /> has recently had to defend an action brought (for<br /> £2000 damages and a penalty of £8 a day) by<br /> one Gregori, who on Feb, 4th, 1886, had regis-<br /> tered the title, and who, between then and April,<br /> 1892, had published at irregular dates five<br /> numbers of his paper. Then, when the other<br /> Journal was announced, he made a spurt with a<br /> few more numbers.<br /> <br /> The Commercial Court has now decided that<br /> Gregori’s publication was neither daily, weekly,<br /> monthly, nor in any sense periodical; ani,<br /> further, that the mere registration of a title (in<br /> this dog-in-the-manger fashion, as one might say)<br /> without giving practical and current effect and<br /> consequence to the act, does not in equity confer<br /> an exclusive right to the title. And so Gregori<br /> has “carried coals” for nothing, and may now<br /> “bite his thumb.”<br /> <br /> THE COST OF PRODUCTION.<br /> <br /> <br /> <br /> HE statement lately made by Mr. Heinemann,<br /> that he could not get work done at the<br /> same terms as those quoted in the “Cost<br /> <br /> of Production ”’ has made it desirable, despite the<br /> great care with which those figures were obtained<br /> and published, to submit, once more, the figures<br /> there given to other printers. The firm to whom<br /> they have been referred is one which is certainly<br /> above all suspicion of being a sweating house ; at<br /> the same time, its work is quite in the first line,<br /> as would be acknowledged by anyone, were it<br /> possible to give their name.<br /> <br /> It appears, from an examination made by this<br /> firm, that the figures-are perfectly trustworthy,<br /> viz., that, although a printer’s estimate is<br /> necessarily an elastic document, work offered on<br /> our terms would be accepted not only by that<br /> firm, but, as the manager frankly stated, by<br /> dozens of other firms.<br /> <br /> Note, however, that th figures represent net<br /> prices, not the prices off which heavy discounts<br /> are taken.<br /> <br /> On page 19 of the ‘‘ Cost of Production ”’ there is<br /> an estimate for an edition—5oo copies only—of a<br /> one-volume novel. “The total,” said the printer,<br /> “of £166 10s. is about what we should charge,<br /> deducting the amount set down for binding and<br /> advertising ; but instead of 5s. 6d. for printing,<br /> we should want 6s. 6d.” That is a trifling<br /> <br /> difference, because few respectable publishers<br /> would care to produce a one-volume novel of which<br /> only 500 copies would be printed, the number not<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 433<br /> <br /> being sufficient to pay the initial cost. This<br /> estimate, in fact, might as well be struck out,<br /> unless we consider the case of a writer paying to<br /> produce his own work regardless of pecuniary<br /> success. Again, the figures; given for very small<br /> editions of three-volume novels could only be<br /> accepted, according to this authority, in cases<br /> where the publisher gives a good deal of work to<br /> a printing firm. But, then, respectable firms do<br /> not often bring out a three-volume novel in an<br /> edition of 350 copies and no more. Such a book<br /> is not worth bringing out. Again, this estimate<br /> is practically useful only to those who pay for their<br /> own work. They ought not to be encouraged in<br /> so foolish a practice, and the estimates might very<br /> well disappear. Yet, in the case of a firm sending<br /> in a great deal of work, the figures would stand.<br /> <br /> The sum of the matter is this :—<br /> <br /> Under modifications of numbers, work can be<br /> done by a firm of first-class printers at the prices<br /> quoted for printing in the “ Cost of Production.”<br /> <br /> In other words, private persons and small<br /> publishers, who have little work to give out,<br /> would probably have to pay somewhat higher<br /> rates. But the “Cost of Production” does not<br /> pretend to represent either private persons or<br /> small publishers.<br /> <br /> It may be added to the above that a private<br /> person, publishing a short time ago a book at his<br /> own expense and risk, took it, by the advice of<br /> the secretary, to a certain London firm—a very<br /> high-class firm—and that their estimate and their<br /> bill proved to be actually less than the estimate<br /> given in the “ Cost of Production” for the same<br /> form of book.<br /> <br /> The following may also be added. It is a story<br /> now four or five years old. A. B., bringing out a<br /> little book on commission, was informed by the<br /> publisher to whom he offered it that it would<br /> cost £120 to print and bind. He then obtained<br /> an estimate for himself from a firm of c&gt;untry<br /> printers whom he knew, and found that it would<br /> cost no more than £60. He informed the pub-<br /> lisher of the difference, but was told that if the<br /> house did not have the conduct of the printing they<br /> could not publish the book. In other words,<br /> <br /> <br /> <br /> OMNIUM GATHERUM FOR MAY.<br /> <br /> <br /> <br /> Suggestions for Books or Articles.—The dangers<br /> to every combination from the rivalry of its<br /> leaders ;—The extension of the principle of the<br /> Directors’ Liability Act of 1890 to unpaid presi-<br /> dents of distinction, and to directors Jaineant ;<br /> _Jreland as a holiday resort, with special refe-<br /> <br /> VOL. III.<br /> <br /> rence to the attractions of Portrush, Bray,<br /> Killarney, and Maam ;— Altruism in railway<br /> travelling ;—The functions of an Editor (by<br /> one);—The cultivation of the Quince ; — The<br /> legitimation of children born before marriage,<br /> with special reference to the Scotch and Conti-<br /> nental law of the subject, the “nolunt leges<br /> Angliz mutare” of the Lords at Merton when the<br /> Bishops ‘ instanted ” them, and Mr. McLaren’s<br /> Bill now before Parliament ;—The use and abuse<br /> of Patent Medicines (with a few words on the<br /> dangers and expense of rouge and other cos-<br /> metics) ;—Librarianship as a profession.<br /> <br /> Demurrage.—It is submitted as possible that<br /> demurrage might be contracted for in respect of<br /> MSS. held over for more than a reasonable time,<br /> and not used.<br /> <br /> Index.—It is submitted as possible that a short<br /> table of contents, printed on a paper or cloth<br /> label, pasted on the back of a binding, may<br /> serve many of the purposes of an index in the<br /> case of thick books of reference.<br /> <br /> Prefaces. — Prefaces should be always two<br /> pages long, neither more nor less; more being<br /> tiresome, and less being uncomplimentary.<br /> There should be a careful division into para-<br /> graphs, and the last paragraph of the first page<br /> should run over into the second, otherwise the<br /> reader may lose your best bits.<br /> <br /> Dedications.—These, which I touched on in<br /> March, are exhaustively dealt with in the Lite-<br /> rary World column of the St. James’s Gazette of<br /> April 8, at p. 12. As to quality, the two best of<br /> recent times—that of Tennyson’s Idylls, and that<br /> of Mill on Liberty—were to memories of the<br /> dead. As to quantity, I counted seven in a row<br /> of twenty-six quite new books the other day, but<br /> T think I must then have hit upon a dedicated lot,<br /> for in another similar row of about forty, I could<br /> only find four ; and, looking to the difficulties of<br /> the thing, perhaps the lesser average may be the<br /> more desirable one.<br /> <br /> Interview with the Printer.—If it be possible,<br /> have an interview with the head printer in charge<br /> of your book as soon as you have read through<br /> the first proof. See that each proof and proof<br /> duplicate is dated, and ascertain generally to what<br /> extent corrections may be made without “ running<br /> over.” I believe the expense of marginal notes<br /> has caused their disuse across the Atlantic. In<br /> many cases, but not all, the cheaper “ inlet ”’<br /> will serve the purpose of the marginal note<br /> <br /> equally well.<br /> <br /> <br /> <br /> Reviewing. — A reviewer should always be<br /> anonymous ; a review should never be solicited ;<br /> the desirability of universal machine-cutting of<br /> <br /> it<br /> <br /> eee<br /> <br /> en<br /> <br /> aa<br /> <br /> <br />  <br /> <br /> 434 THE<br /> <br /> <br /> <br /> pages is in no ease so self-evident as in the case<br /> of a book sent for review.<br /> <br /> Advertisements—The disguise of advertise-<br /> ments as literary matter, and the interfusion of<br /> advertisements with magazine stories, are surely<br /> being carried too far. The object of the advertiser<br /> is no doubt to force the advertisement upon the<br /> notice of the reader, who, however, is more<br /> likely to be repelled than not from the pills of X<br /> by their ill-judged intrusion into the novelette of Z.<br /> <br /> Copyright.—The 18th section of the Copyright<br /> Act of 1842 is a disgrace to civilisation.<br /> <br /> J. M. Lety.<br /> <br /> THE ROYAL LITERARY FUND DINNER.<br /> <br /> <br /> <br /> HIS dinner was held on April 25, the chair<br /> being taken by Mr. Arthur Balfour,<br /> Among the men of letters present were<br /> <br /> Sir Frederick Pollock, Sir Theodore Martin,<br /> Professor Jebb, Canon Ainger, Mr. F. Locker<br /> Lampson, Mr, Austin Dobson, Mr. Thomas<br /> Hardy, Mr. J. M. Barrie, Mr. W. J. Courthope,<br /> Mr. Edward Dicey, Mr. Edmund Yates, Mr. J.<br /> C. Parkinson, Mr. Henry Arthur Jones, and<br /> Professor Norman Lockyer. The following, as<br /> reported in the Times, is that part of Mr.<br /> Balfour’s address which was concerned with<br /> literature :—<br /> <br /> “But I fear that on the present occasion I<br /> have dealt too long with this special topic.<br /> My business is rather to talk to you, not of the<br /> political future of the country, but of matters<br /> connected with literature—of matters, in other<br /> words, which those who belong to this Society<br /> may be supposed to take an especial interest<br /> in and have especially under their charge. I do<br /> not know that I have anything to say which<br /> may interest you on this topic. We have all felt<br /> that the great names which rendered illustrious<br /> the early years of the great Victorian epoch are<br /> one by one dropping away, and now perhaps but<br /> few are left. I do not know that any of us can<br /> see around us the men springing up who are to<br /> occupy the thrones thus left vacant. I should<br /> not venture to say—and indeed I do not think—<br /> that we live in an age barren of literature. But<br /> none of us will deny that, at all events at the<br /> present moment, we do not seea rising generation<br /> of men of letters likely to rival those of old<br /> times. (Hear, hear.) I was born, I suppose, too<br /> late to join in the full enthusiasm which I have<br /> known expressed for the writers whose best works<br /> were produced before 1860 or 1870. Pergon-<br /> ally I have known many who found in the<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> writings of —whom shall I say? — Carlyle,<br /> Tennyson, Browning, and George Eliot every-<br /> thing that they could imagine or desire, either in<br /> the way of artistic excellence, or ethical instruc.<br /> tion, or literary delight. I have not myself ever<br /> been able to surrender myself so absolutely to<br /> the charm and the greatness of these great and<br /> charming writers. I have sometimes thought<br /> that the age of which [ speak may perhaps have<br /> been inclined unduly to exalt itself in comparison<br /> with that despised century, the eighteenth.<br /> (Cheers.) Whoever may be right or wrong in<br /> these matters, at all events the fact remains that<br /> the authors to whom I have alluded would have<br /> rendered any reign illustrious; that they have<br /> departed ; and that we do not at present see<br /> among us their successors. (Hear, hear.) It is<br /> a most interesting situation, because I am not<br /> prepared to admit that we live in an age which<br /> bears upon it the marks of decadence. (Hear,<br /> hear.) Undoubtedly there is more knowledge of<br /> literature, more command of literary technique,<br /> both in prose and poetry, at the present moment,<br /> than has been often the case, or perhaps ever the<br /> case before. You will find a true literary instinct<br /> pervading the whole enormous and even over-<br /> whelming mass of contemporary literature.<br /> Therefore it certainly is not from ignorance nor<br /> indifference that the present age fails, if, indeed,<br /> I am right in thinking that it does fail. Neither<br /> has the present age another mark which has been<br /> characteristic of previous ages of decadence. There<br /> have been periods when the love of literature was<br /> very widely spread through the community, when<br /> a knowledge of literature and a command of<br /> literary forms was prevalent among the educated<br /> classes ; but when, at the same time, the admira-<br /> tion of past works of genius was so overwhelming<br /> that it seemed almost impossible to bring forth<br /> new works of genius in competition with them.<br /> The old forms, in fact, commanded and mastered<br /> whatever imaginative and original genius there<br /> may have been at the time of which I am<br /> speaking. I do not believe that that is the case<br /> now. My own conviction is that at this moment,<br /> not only is there no dislike of novelty, not only is<br /> there no prejudice in favour of ancient models,<br /> but any new thing of any merit whatever is likely<br /> to be accepted and welcomed at least at its true<br /> value. (Hear, hear.) I recollect an artist friend<br /> of mine, who had studied for some time in the<br /> cosmopolitan studios of Paris, saying that in his<br /> Opinion we were on the very verge of a great<br /> artistic revival. He said that he found among<br /> the students with whom he associated such a zeal<br /> for art and such a knowledge of art, so great a<br /> desire to bring forth some new thing which should<br /> be worthy of the everlasting admiration of man-<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> kind, that in his judgment it was absolutely<br /> impossible that so much talent, so much zeal, and<br /> so much readiness to accept new ideas, should not<br /> ultimately issue in the formation of a great and<br /> original school of painting. (Hear, hear.) What<br /> he said of painting we may surely say at the<br /> present day of literature. (Hear, hear.) It only<br /> requires the rise of some great man of genius to<br /> mould the forces which exist in plenty around us,<br /> to utilise the instruction which we have almost in<br /> superabundance, and to make the coming age of<br /> literature as glorious or even more glorious than<br /> any of those which have preceded it. (Cheers. )<br /> Whether that genius will arise or not I cannot<br /> say. ‘The wind bloweth where it listeth, and no<br /> man knoweth whence it cometh or whither it<br /> goeth.” So it is with genius; and no man can<br /> prophesy what is to be the literary future of the<br /> world. “My friend Lord Kelvin has often talked<br /> to me of the future of science, and he has said<br /> words to me about the future of science, which are<br /> parallel with the words I have quoted to you<br /> about the future of art and with the hope which<br /> I have expressed to you with respect to literature.<br /> He has told me that, to the men of science of to-<br /> day, it appears as if we were trembling upon the<br /> brink of some great scientific discovery which<br /> should give to us a new view of the great forces<br /> of nature among which and in the midst of which<br /> we move. If this prophecy be right, and if the<br /> other forecasts to which I have alluded be right,<br /> then, indeed, it is true that we live in an<br /> interesting age; then, indeed, it is true that we<br /> may look forward to a time full of fruit for the<br /> human race—to an age which cannot be sterilised<br /> or rendered barren even by politics.<br /> <br /> THE THEFT.<br /> <br /> <br /> <br /> The Little God upon a day was sleeping<br /> Among the roses in a garden fair,<br /> <br /> The wand’ring winds of June were softly sweeping<br /> The tangled mazes of his golden hair ;<br /> <br /> Beside him lay his quiver and his bow,<br /> <br /> But he was dreaming in the noontide summer glow.<br /> <br /> Then, Friendship came from roaming by the river,<br /> And, gently creeping to the sleeper’s side,<br /> Stole his bright bow, and eke his dainty quiver,<br /> And like the wind to Flora’s bower hied !<br /> There, through the leaves that hid her place of rest,<br /> He lodged an arrow in her milk-white breast.<br /> <br /> The maiden woke, her bosom newly riven,<br /> But, after all, it was delicious pain,<br /> Whilst the old wound the Rosy God had given<br /> Full well she knew would never smart again.<br /> The birds—the blooms—the cloudless skies above,<br /> All knew that Friendship had been turned to Love.<br /> <br /> Easter. F, B, DovEeron.<br /> <br /> VOL. IIl.<br /> <br /> AUTHOR. aes<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> T will be seen, by reference to p. 452, that<br /> the Congress of Authors fixed for next<br /> July, at Chicago, is assuming an impor-<br /> <br /> tance which may produce very serious results.<br /> The head of the Chicago Committee is Mr. F. F.<br /> Browne, editor of the Chicago Dial. A com-<br /> mittee of co-operation has been formed in New<br /> York, whose chairman is Oliver Wendell Holmes,<br /> and its members are Edmund C. Stedman,<br /> Charles Eliot Norton, Charles Dudley Warner,<br /> William Dean Howells, Colonel Higginson, H. H.<br /> Furness, Richard Watson Gilder, Thomas Bailey<br /> Aldrich, George W. Cable, Maurice Thompson,<br /> Thomas Nelson Page, Frank Sherman, and<br /> Hjalmar Boryesen. That is to say, most of the<br /> leading American writers are lending their<br /> active co-operation to the Congress.<br /> <br /> <br /> <br /> The topics for discussion are announced gene-<br /> rally in the preliminary circular.. To this has<br /> since been added a section on American Litera-<br /> ture. Under the head of “ Aspects of Literature”<br /> are now included new sub-divisions, such as<br /> “Standards of Literary Criticism,” ‘ Moral<br /> Purpose in Literature,” ‘“ Realism,” &amp;c. I hope<br /> to be entrusted with a sheaf of papers and<br /> opinions to take out with me. Mr, Sprigge will<br /> read a paper on the “ Methods of Publishing ”—<br /> no one is more competent or has had greater<br /> opportunities of studying the subject. Mr.<br /> Hodges, Hon. Sec. of our Copyright Comunittee,<br /> will send a paper on the present condition of<br /> Copyright. There will be, I believe, a paper on<br /> the History of Publishing, another on the<br /> History of Copyright in Literary Property, one<br /> on the present and the future relations of Author<br /> and Publisher. Mr. Gosse will send a paper on<br /> the Present Position and Prospects of Poetry.<br /> I have ready, and will send out, at once, a short<br /> paper stating the points under discussion as<br /> regards the relations of Author and Publisher.<br /> As regards the points mentioned above, and other<br /> points connected with the Pursuit or Calling of<br /> Letters which may suggest themselves, I invite<br /> our members to consider them. It may be, if the<br /> response to this invitation proves as real and as<br /> wide as I hope, that our contributions to the<br /> Congress may amount to a volume of far reaching<br /> and lasting importance.<br /> <br /> <br /> <br /> Elsewhere will be found part of Mr. Balfour’s<br /> speech at the Royal Literary Fund Dinner—that<br /> part which concerns Literature. It was not in<br /> <br /> nn 2<br /> <br /> pecans<br /> <br /> <br />  <br /> <br /> 436<br /> <br /> his happiest vein; nor did it show much know-<br /> ledge of, or sympathy with, modern literature<br /> It is a commonplace in every age to say that it<br /> has no great men in this branch or in that. Yet<br /> the speaker would not admit the outward signs<br /> of decadence, especially the continual com-<br /> parison with the past, and he congratulated<br /> his hearers on the fact that our living writers<br /> are not overburdened with the past. It is a<br /> mark—a sign of the vitality—of English litera-<br /> ture, that we have never been burdened with<br /> the past; that we leave it behind us, and that<br /> we turn to it when we will, but do not live<br /> in it; that we still press on. The ideas that<br /> were new when Tennyson and Carlyle first gave<br /> them utterance are commonplace now—hence Mr.<br /> Balfour—who had inherited them, not received<br /> them—spoke of these great men failing wholly to<br /> satisfy him. As for the Art of the present day,<br /> in whatever form expressed, it seems to lack<br /> greatness. | When an artist draws a picture<br /> charged with the strong passions which formerly<br /> appealed to everybody, he is too often hooted—<br /> eg., Hardy with Tess, the strength and truth<br /> of which made the ordinary reader angry. Our<br /> poetry is lovely work, without much meaning ;<br /> it is little work; and so with every other kind<br /> of work. It must not be strong if it would wish<br /> to win the popularity of the cultured class. And<br /> there is every sign that it will become more and<br /> more beautiful and less and less human. And<br /> then? Perhaps there has already risen and is<br /> growing up beside it, and is going to overshadow<br /> and kill it—the Art that has once more gone back<br /> to Earth and once more represents humanity.<br /> <br /> <br /> <br /> <br /> <br /> Professor Jebb, who also spoke, is reported to<br /> have said that English literature had always been<br /> free from the trammels of an Academy, and that<br /> he had but one wish for its future—that it should<br /> always remain free from those trammels. I con-<br /> fess that my principal reason for desiring an<br /> English Academy—not a slavish copy of the<br /> French—is (1) a desire for the national recog-<br /> nition of literature as a thing worthy of all the<br /> honour that the country can give. At present<br /> literature has no such recognition. And (2) a<br /> desire that men of letters should have a recog-<br /> nised centre, and recognised distinctions. This<br /> does not mean—as it has been assumed to mean—<br /> a desire that all good writers should be made<br /> knights bachelor. Not at all; such a distinction<br /> should neither be offered to them, nor accepted<br /> by them. But an Academy seems to me such an<br /> institution as might serve the purpose. I must<br /> <br /> not argue the question here; but I desire to place<br /> my Opinion once more on record.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Question. How far was Professor Jebb justi-<br /> fied in using the word ‘“trammels?’’ How far<br /> has French literature been “trammelled ” by the<br /> French Academy? What influence has the<br /> Academy had on the great French writers—say,<br /> Voltaire, Diderot, Béranger, Alfred de Musset,<br /> Victor Hugo?<br /> <br /> An American correspondent presents me with<br /> <br /> <br /> <br /> . a pretty little volume well printed in a pale green<br /> <br /> wrapper, with a lovely picture of a cavalier temp.<br /> Charles II., and a maiden—nay, a goddess—<br /> dressed in fourteenth century costume. On<br /> turning over the pages I become aware that the<br /> work is a translation from the French, a novel<br /> by one of those foreigners who always, as we are<br /> so often told, beat the English novelists out of the<br /> field. The title-page, however, says that it is<br /> called “The Chaplain’s Secret,” and that it is my<br /> work—* by Walter Besant.” The firm which<br /> issues this work is called the “N. C. Smith Pub-<br /> lishing Company” of Chicago. I wonder how<br /> many more works have been published over my<br /> name by this enterprising firm. I wonder how<br /> many are published over other names. The foreign<br /> field is large. I expect, if I go to Chicago, to<br /> find something like the following, all in a series :—<br /> “The Sorrows of Werther,” by Rudyard Kipling.<br /> “The Count of Monte Christo,” by Rider Haggard.<br /> “The Miserables,’ by Louis Stevenson. ‘ Tar-<br /> tarin of Tarascon,” by J. M. Barrie. “The<br /> Wandering Jew,” by Charlotte Young. “ Miss de<br /> Maupin,” by George Macdonald. “ Sa’ammbo,”’<br /> by Thomas Hardy. ‘Telemachus,” by Conan<br /> Doyle. There is, in short, going to be, Iam pretty<br /> certain, a splendid boom in Chicago for English<br /> novelists.<br /> <br /> The ‘Decay of Fiction”? appeared as usual<br /> among the “thoughtful” papers of April. This<br /> time it is the work of Mr. Frederic Harrison. There<br /> is no necessity to argue with Mr. Harrison. I<br /> maintain that, while we have certain distinguished<br /> novelists living amongst us, it is absurd to speak<br /> of} English fiction as otherwise than in a most<br /> vigorous and healthy condition. But it is too<br /> true that to all of us there comes a time when we<br /> no longer care so much for the newer forms of<br /> fiction as we did for those which were practised<br /> is our youth. Hence the complaint that the<br /> characters of the present day are not so vivid as<br /> they were, the fault being in the decay of our<br /> own imagination. It is pleasant, however, to<br /> find that the condition of modern fiction is a sub-<br /> ject of such deep concern to men whom the world<br /> is accustomed to consider as intellectual leaders.<br /> <br /> oes<br /> <br /> As a general rule, one should inquire before<br /> reading any paper by anybody on the Condition<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE. AUTHOR. 437<br /> <br /> of Fiction, (1) Is the writer old? (2) Is the<br /> writer young ?—in the first case he has probably<br /> read too much; in the second he has probably<br /> read too little; (3) Has he essayed the Art of<br /> Fiction, and, if so, with what success? and<br /> lastly, what proofs he has given by previous<br /> critical papers or otherwise that he understands<br /> any theory of the Art of Fiction ?<br /> <br /> <br /> <br /> The sketch portrait of Washington Irving is<br /> reproduced from the New York Critic, which<br /> found it at a print<br /> shop some years<br /> ago. Mr. Chirles<br /> Dudley Warner<br /> has been lectur-<br /> ing on Washing-<br /> ton Irving at the<br /> Brooklyn — Insti-<br /> tute. It is strange<br /> that a personalty<br /> so distinct and<br /> attractive has not<br /> drawn English<br /> lecturers and<br /> writers. The<br /> popularity of the<br /> author of “ Knick-<br /> erbocker’s New<br /> York” and the<br /> “ Sketch - book ”<br /> cannot surely be<br /> on the wane in<br /> this country any<br /> more than in<br /> America.<br /> <br /> <br /> <br /> The following<br /> is an advertise-<br /> ment from the<br /> Times :—<br /> <br /> TO BEGINNING<br /> NOVEL WRITERS<br /> and others. A suc-<br /> cessful novelist and author can take a few more PUPILS<br /> to train. References to a successful lady pupil. Advice on,<br /> and revision of, MSS.—Address Aleph, ——<br /> <br /> The conventional mind which cannot be got out<br /> of grooves, and must think as it is accustomed,<br /> and has been told to think, makes such an advertise-<br /> ment as this the occasion for elephantine wit.<br /> Now, I do not advise anybody to answer<br /> “ Aleph’s” advertisement. ‘“ Aleph ” may be a<br /> most judicious coach, or “ Aleph ” may be a most<br /> arrant quack—one does not know, The point to<br /> remark is this. It has been at last found out, (1)<br /> <br /> <br /> <br /> that a good deal may be taught to the aspirant in<br /> the Art of Fiction, just as a good deal may be<br /> taught to the aspirant in the Art of Painting ; and<br /> (2) that money may be made by teaching these<br /> elements. Givena really good teacher, the imme-<br /> diate result would be a great lessening of the<br /> output, because the pupil would be speedily made<br /> to understand whether he “had it” in hin or<br /> not, and because he would understand the paying<br /> for the cost of publication. As for the com-<br /> petence of the teacher, that must be proved by<br /> success, and as only about one in a hundred<br /> candidates can<br /> achieve success,<br /> it will be a very<br /> difficult thing<br /> indeed to prove<br /> competence.<br /> <br /> Some months<br /> ago there ap-<br /> peared in these<br /> columns an esti-<br /> mate of the pro-<br /> portion occupied<br /> by purely literary<br /> papers compared<br /> with others on all<br /> other subjects in<br /> the magazines.<br /> An examination<br /> by means of the<br /> Review of Re-<br /> views which pub-<br /> lishes lists of the<br /> contents of all the<br /> principal maga-<br /> zines, yields re-<br /> sults of some<br /> interest. In the<br /> April number<br /> there are enume-<br /> rated rather over<br /> 400 titles of arti-<br /> cles. These are<br /> taken from the English and American magazines,<br /> not including those devoted to special objects in<br /> which literary articles could not find a place. There<br /> are 400 articles to be provided every month for<br /> these open mouths! A great many of these are, as<br /> would be expected, by known wr.ters, many are<br /> anonymous, many record a single experience, and<br /> are written by “outsiders.” In order to find<br /> these 400 papers every month, or 4800 every year,<br /> isit too much to estimate the number of writers<br /> at 10,000? That is to say, there are 10,000<br /> people at this moment in Great Britain and Ire-<br /> <br /> nae mE<br /> <br /> eee ae<br /> <br /> sais<br /> <br /> <br />  <br /> <br /> 438<br /> <br /> <br /> <br /> land and the States and the Colonies who are able<br /> to reach the standard of writing in the magazines.<br /> The standard varies, it is true, but the average is<br /> pretty high. To this consideration add that men-<br /> tioned in last month’s Author of the number of<br /> books published during the last five or six years,<br /> and it will not seem too much to estimate the<br /> number of living writers in English on all sub-<br /> jects as 40,000, not counting journalists. Not<br /> that these are all dependent on their pen. The<br /> vast majority, fortunately, write on professional,<br /> scientific, and theological subjects. To these their<br /> pen is either a help or perhaps no help at all.<br /> <br /> As regards the subjects treated in the month<br /> of April, there are 50, i.e., one in every eight,<br /> devoted to criticism or literary biography. That<br /> is a very fair proportion out of all the subjects<br /> which occupy man’s mind. There are, for instance,<br /> more lawyers than writers, hut how many papers<br /> are devoted to them? None at all. There are<br /> musicians, artists, preachers—for all of them an<br /> article or two. But for literature, fifty articles.<br /> The subjects are enumerated below, and some are<br /> treated in more than one paper. Thus, there are<br /> three on Tennyson and six or seven on Taine,<br /> Brooks, Phillips. Moulton, Louise Chandler.<br /> Carlyle. Novel, The Historical.<br /> Colonna Vittoria. Novelists, Women.<br /> <br /> Daudet, Alphonse. Pater, Walter.<br /> <br /> Doyle, Conan. Paton, Sir Noel.<br /> Dilke, Lady. Poets, Architecture among<br /> <br /> Fiction, the Decadence of. the.<br /> » EnglishCharactersin Poets, Five English.<br /> French. Plato.<br /> Fuller, Margaret. Plays, Some.<br /> Fairchild Family, The. Podenoskeff,<br /> Hazlitt, Reading of the Working<br /> Ibsen. Classes.<br /> Kemble, Frances. Sand, George.<br /> Lamb, Charles. Sappho.<br /> Literary London. Shakespeare.<br /> &amp; Some Literary Folk ‘Son of the Marshes,” A.<br /> in. Spinoza.<br /> ny Forgeries. Taine.<br /> Marx, Karl. Tennyson.<br /> Meredith, George. Wives of well-known men.<br /> Milton’s Cottage. Whittier.<br /> <br /> The death of John Addington Symonds leaves<br /> vacant a place in modern literature that it will<br /> be difficult to fill up. Crowded as are all the<br /> ranks of scholarship and all the avenues to dis-<br /> tinction, one knows not any scholar and writer<br /> capable of taking his place and carrying on his<br /> work. Various and many-sided as he was, he<br /> will be remembered—and studied—chiefly for his<br /> Renaissance work, the seven volumes of which<br /> form his real monument. Other men of the time<br /> have written finer verse; other men, perhaps,<br /> have written finer essays ; but no English writer<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> is his rival in the rich and previously little<br /> explored field of the Renaissance. Those who<br /> were privileged to call themselves his friends can<br /> bear testimony to the charm of his manner, the<br /> kindliness of his heart, and the vivacity of his<br /> conversation, That such a man was one of our<br /> Society goes without saying.<br /> <br /> + =—- +.<br /> <br /> The book of the month is Mr. Dykes Camp-<br /> bell’s new edition of Coleridge (Macmillan and<br /> Co.). It is not only important as containing a<br /> considerable number of poems hitherto unknown<br /> and unpublished, but as being enriched by a<br /> so-called Introduction, which is, in reality, the<br /> most complete biography of Coleridge which has<br /> hitherto been written. Although modestly ap-<br /> pearing only as an Introduction, it is a great<br /> deal longer than, for instance, many of the books<br /> in Maecmillan’s Red Series. It is a work, indeed,<br /> which ought to be—which must be—issued sepa-<br /> rately. To the accumulation of the materials alone<br /> necessary for its production, a vast amount of<br /> industry and patience must have been bestowed.<br /> <br /> eae<br /> <br /> The book is a happy illustration of our con-<br /> tention that it is impossible to measure literature<br /> by money. Here is a work which will place its<br /> author as the greatest authority on Coleridge for<br /> the rest of his life; yet it appears only as an<br /> Introduction ; it is only part of a cheap series;<br /> Again, it represents years of research and reading ;<br /> before it could be commenced books had to be<br /> accumulated, journeys taken, inquiries prose-<br /> cuted. Yet it is absolutely certain that whatever<br /> honorarium will come to the author it has,<br /> like Panurge’s harvests, been spent long before<br /> it was due. And while all this trouble was being<br /> taken, a popular novelist would be making<br /> thousands. This is not asneer. For why not ?<br /> A good novel is good literature as well as<br /> a good biography. But literature and its com-<br /> mercial value are not commensurate. Let no<br /> man hold up his hands in disgust because a good<br /> writer in one branch gets half a crown while a<br /> good, or evena bad writer in another branch makes<br /> a million. The former has his reward and the latter<br /> has, in addition, his vogue. But there is no con-<br /> nection between the former and the latter; nor is<br /> the latter a rival of the former; nor should his<br /> success cause the former the least jealousy. Let<br /> us never say that such and such a writer gets<br /> more or less than he deserves. In Literature<br /> there is no such thing as commercial desert.<br /> There is commercial value, which represents<br /> popular culture, and the demand of the day,<br /> but not necessarily the literary value of any<br /> work. It seems to me that we cannot too often<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 439<br /> <br /> repeat this truth. Day after day, in almost every<br /> paper, we see the confusion of thought which mixes<br /> literary with commercial value, especially in the<br /> sham indignation of the paragraphist (whose pro-<br /> ductions probably have neither literary nor com-<br /> mercial value) at the commercial success of this<br /> or that book—this or that magazine—which has<br /> somehow attracted the world, and is being read<br /> by everybody.<br /> <br /> <br /> <br /> What Mr. Dykes Campbell has done for<br /> Coleridge, Mr. John Underhill has done for Gay :<br /> with the difference that the latter subject is less<br /> important, and the poems collected are far less<br /> worth preservation. The Life, however, tells us<br /> everything that we want to know about Gay—<br /> everything there is to tell about him. The notes<br /> are useful, and not too long. It must also be<br /> observed that the dress and outward appearance<br /> of the Gay book are very far superior to those of<br /> the Coleridge. The design and the binding are<br /> beautiful, and the paper and type are excellent.<br /> The publishers — Lawrence and Bullen — are<br /> setting an example in beauty and carefulness of<br /> binding and designs which is highly to be com-<br /> mended, and should produce its effect in the<br /> appearance of new books issued by old publishers.<br /> <br /> ———<br /> <br /> The following has been sent to me, taken from<br /> I know not where. I wonder if it is an invention,<br /> or whether women in Germany, or in any other<br /> country, are so credulous :—<br /> <br /> The publishers of a German novel recently did a neat<br /> thing in the way of advertising. They caused to be inserted<br /> in most of the newspapers a notice to the effect that a<br /> certain nobleman of wealth and high position, desirous of<br /> finding a wife, wanted one who resembled the heroine in the<br /> novel named. Thereupon every marriageable woman who<br /> saw the notice bought the book in order to see what the<br /> heroine was like, and the work had an immense sale.<br /> <br /> <br /> <br /> In the Notes and News of last month’s Author<br /> was a paragraph from the Law Quarterly Review<br /> which was reprinted by inadvertence, without the<br /> proper acknowledgment. We hasten to acknow-<br /> ledge our obligati n. The paragraph was the last<br /> on p. 407.<br /> <br /> <br /> <br /> The following lines are found in Mr. William<br /> Watson’s “ Vita Nuova,” a poem in the Spectator<br /> of April 15. The hosts of friends of the poet<br /> are all re‘oicing at bis rest ration to health.<br /> <br /> Lo, I too<br /> With yours would mingle somewhat of glad song.<br /> I too have come through wintry terrors,—yea,<br /> Through tempest and through cataclysm of soul<br /> Have come, and am delivered. Me the Spring,<br /> Me also, dimly with new life hath touched,<br /> And with regenerate hope. the salt, of life.<br /> <br /> “How far,’ writes C. C., “is it moral and<br /> fair for an author to write for any magazine<br /> furthering objects in which he is interested<br /> under the price which he can elsewhere com-<br /> mand? ”<br /> <br /> <br /> <br /> The following very bad lines appeared in a<br /> journal of 1773, “occasioned,” we are informed,<br /> “ by a Gentleman’s lamenting that Want of<br /> Candour which unhappily prevails among men of<br /> letters” :<br /> <br /> Authors, like wives, are jealous and il-natured,<br /> ‘All faces but their own are strangely featured :<br /> Genius and beauty hurt their peace of mind;<br /> And thus both live at variance with mankind.<br /> <br /> <br /> <br /> We are requested by Mr. H. Anthony Salmoné<br /> (21, Furnival-street, E.C.) to state that the story<br /> called “The Painter’s Daughter,” referred to in<br /> the last number of the Author, did not appear in<br /> the Eastern and Western Gazette, but in the<br /> Eastern and Western Review, of which he is the<br /> editor. Water Besant.<br /> <br /> ec<br /> <br /> AUGUSTINE.<br /> <br /> (From “ Poems Old and New,” by Charles D. Bell, DD.,<br /> Rector of Cheltenham.)<br /> Augustine, Scholar, Father, holy Saint,<br /> Walked by the sounding ocean on the shore,<br /> Turning in thought grave problems o’er and o’er,<br /> To which he gave his soul without restraint,<br /> Until it grew with musing sick and faint,<br /> And as his baffled heart fell sad and sore,<br /> A child he saw that rose-lipped sea-shell bore,<br /> And filled it from the sea with motion quaint.<br /> Then, taking it when full into his hand,<br /> He carried it in happy childish bliss,<br /> And emptied it in hole scooped in the sand.<br /> “J mean,” he said, “to pour the deep in this,”<br /> “Thus,” thought the Saint, “ God, infinite and grand,<br /> My finite mind would hold and understand.”<br /> <br /> —— ee<br /> <br /> FEUILLETON.<br /> <br /> sou<br /> Tur PEOPLE OF THE PAGEs.<br /> <br /> HE old bookseller’s shop was in the most<br /> crowded part of the most crowded and the<br /> noisiest street in the whole of the City. It<br /> <br /> consisted of an outer and an inner shop. In the<br /> outer shop sat the assistant, always making cata-<br /> logues. It was also his duty to watch the cus-<br /> tomers, for those who buy secondhand books are<br /> known to practise tricks; when no one is looking<br /> a book may be slipped into a greatcoat pocket ; or<br /> a “ wanted” volume may be purloined by substi-<br /> <br /> <br />  <br /> <br /> 440<br /> <br /> <br /> <br /> tuting another like it in appearance; or a picture<br /> may be torn out. Oh! the craft and subtlety of<br /> those who haunt the second hand booksellers’<br /> shops are beyond all telling! Every assistant<br /> could make an honest man’s hair stand on end<br /> only by relating the half of what he knows.<br /> Respectable elderly gentlemen even—whisper—<br /> Divines—even N-bl-m-n—will come into a shop,<br /> and with the most inn: cent look »n the world<br /> ‘ and presently you find your shop ruined,<br /> The bookseller himself sat in the smaller shop<br /> behind; the window looked out on a cheerful<br /> churchyard planted with limes; books covered<br /> the walls and the table. The bookseller sat all<br /> day long, working among his books; he called<br /> it working, but it was mostly reading. He read<br /> everything. No one knew more than this<br /> omnivorous old reader about the in-ides of books,<br /> On the shelves in his own room stood the authors<br /> which he loved ; he could not bear them to be in the<br /> other shop—that did very well for the small fry,<br /> but the great writers— the leaders—he must<br /> have them under his own eye.<br /> <br /> He hardly ever went outside his shop, except,<br /> sometimes, to call upon some other brother of the<br /> craft to see how his business was conducted. He<br /> wore an old frock coat, shiny and seamy, which had<br /> now assumed the figure of the old man, following<br /> the curves of him as he sat in his armchair.<br /> <br /> A clock ticked on the mantelshelf, standing<br /> among a heap of books. There was a bust of<br /> Shakespeare on a pile of books, and over the<br /> clock was a portrait of Carlyle. Outside, the<br /> waggons rumbled, the carts and the cabs clattered<br /> past, the people talked; there was always the<br /> roll and the roar of the City. But none of it<br /> came into the shop; the sunshine—for it had a<br /> southern aspect—lay on it whenever there was any<br /> sun, and the motes danced in the sunshine; but<br /> there was never any noise. Neither the bookseller<br /> nor his assistant spoke much to each other; and<br /> when any customers came they spoke in a whisper.<br /> Why? Idonot know. But if you were to go<br /> into that shop you would instinctively close the<br /> door very softly behind you, and take off your<br /> hat, and, catching a glimpse of the grey-headed<br /> old man in the room behind, you would whisper<br /> your wants to the assistant.<br /> <br /> If it was quiet here in the daytime, it was still<br /> more quiet in the evening after the shop was<br /> closed. Then the old man sat alone, secure of<br /> interruption. After supper he came back to his<br /> chair, having a pipe and a glass of something<br /> wrong with wat r, and here he sat, a book before<br /> 7 till midnight. when he got up and went to<br /> <br /> ed.<br /> <br /> Now he had done this every night, Sunday in-<br /> cluded, for thirty years. He desired nothing<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> better than to spend his evenings in this fashion.<br /> Nobody ever invited him to spend an evening in<br /> any other way; for a bookish man is rarely a<br /> clubable man He had done this, I say, every<br /> night for thirty years at least. Supper at nine,<br /> after the shop was shut; a pipe and the cup of<br /> wickedness among his books till twelve ; and then<br /> to bed. Anda very good way, too, of spending<br /> the evening !<br /> <br /> One evening, however, contrary to his usual<br /> custom of feeling sleepy at midnight and going<br /> to bed at that hour, the old man found himself<br /> quite wakeful and even restless. He laid down<br /> his book, wondering what had happened to him—<br /> men at seventy-five do not like anything unusual<br /> because Well — everybody knows<br /> why. So he sat up and waited. Presently he<br /> grew so restless that he was fain to get up and<br /> pace the little room. But he only became more<br /> wakeful every moment. The intense silence of<br /> the hour, instead of soothing him, made him more<br /> restless still, until his restlessness became anxiety,<br /> and anxiety became a kind of terror. Words of<br /> dead writers called to him from his own brain, but<br /> aloud. Snatches of verse were quoted aloud by<br /> his own brain. ‘“ My days among the dead are<br /> past. . . . . My thoughts are with the dead.<br /> <br /> With them I live in long past years.<br /> ; My hopes are with the dead, anon<br /> my place with them will be;” and so on. The<br /> library steps were standing against the shelves.<br /> Mechanically he mounted them and took down<br /> a book at random. Then he sat down on the<br /> top step and began mechanically to read. It<br /> was the “Seven Champions of Christendom.”<br /> I do not know how long he continued to read<br /> —say an hour or two hours. It mattered<br /> nothing, because he read on and on without think-<br /> iny or noting or remembering the words. After a<br /> while he lifted his head. What had happened ?<br /> The room, with all its shelves, books, pamphlets,<br /> papers, everything, had vanished. He himself was<br /> sitting under the shade of a tree in a vast garden,<br /> with lawns, riding grounds, flowers, sundialy,<br /> streams, fountains, swans, doves, and peacocks.<br /> On the grass were walking about crowds of people:<br /> He knew everyone; they nodded and smiled<br /> when he looked up. Oh! it was wonderful.<br /> There were knights—George, Denys, James,<br /> Amadis, Paladin, Lancelot, Galahad, and all of<br /> them in splendid armour; and there were kings<br /> and heroes, Arthur, Karl, Frederick, also in gilt<br /> armour, with crowns of gold. There were fair<br /> ladies—queens and princesses—in robes of silk<br /> and white samite, mystic, wonderful ; and besides<br /> all these there were plenty of people not so<br /> beautifully dressed, but much happier to look at.<br /> Why, there was Mr. Pickwick laughing and<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &#039; f 7 ¥e<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 441<br /> <br /> talking to Colonel Newcome; and Tess of the<br /> Durbervilles was conversing on an equal footing<br /> with Clarissa Harlowe, and they were both gay<br /> and merry, though so unfortunate ; and Sam<br /> Weller was taking a pot of half-and-half with the<br /> Soldiers Three. The old gentleman rubbed his<br /> eyes; his brain reeled; he thought he must be<br /> dreaming. Yet there were all the people, and<br /> there was the garden—and—and—<br /> <br /> “Where am I?” he asked aloud, ‘‘ And what<br /> are you all doing here? ”<br /> <br /> One of them—a lady—stepped forward. Who<br /> was it? Ah! he recognised the speaker. It was<br /> none other than Diana Vernon.<br /> <br /> “ir,” she said, courteously, ‘‘ know that life<br /> is dull on those shelves of yours. We want<br /> society. If we areread, that satisfies all our wants.<br /> The most desirable form of society is to be read<br /> often. We cannot, in fact, be read too much. We<br /> confess that we are greedy of admiration. We<br /> only live for praise. You must confess, how-<br /> ever, that you give us very little of that kind of<br /> society. We therefore sometimes adjourn to<br /> this garden, this ancient medieval garden, the<br /> Jardin de Déduit, after you have gone to bed,<br /> in order to dissipate the ennuis of loneliness and<br /> neglect.”<br /> <br /> The looker-on was a kindly man, but he had<br /> his little limitations. He was, after all, only a<br /> second-hand bookseller; he understood none of<br /> the natural longings, either of gentlefolk or the<br /> others for intercourse and conversation. Henever<br /> wanted any society, why should they? Besides<br /> and here a horrid and an unworthy suspicion<br /> crossed his mind—they were his property—his<br /> own. They belonged to his shelves. What busi-<br /> ness had they to run away? Why, they might<br /> never return; they might be kidnapped; he<br /> might lose them all.<br /> <br /> He jumped up. ‘Come back, all of you,” he<br /> cried roughly, “ Come back, I say, every man—<br /> come back to your own books. And at once.<br /> How dare you leave my shelves r”<br /> <br /> Instantly the garden vanished; the room<br /> reappeared with all the shelves, and the books in<br /> their bindings upon the shelves. And the figures<br /> he had seen in the garden were now climbing,<br /> scampering, hurrying, rushing back, head over<br /> heels, trampling on each other, to their own<br /> places — kings and knights and_ lords and<br /> ladies, in confusion and undignified scramble.<br /> Who would have though that Rowena—the<br /> stately Rowena—could climb the bookshelves in<br /> such unseemly haste ?<br /> <br /> “Stop! he cried again, wringing his hands,<br /> “Stop! for Heaven’s sake stop! You are all<br /> getting into the wrong books! Stop! Stop! 1<br /> say.”<br /> <br /> vou. III.<br /> <br /> <br /> <br /> But it was too late. They had all scurried back<br /> again somewhere or other, all safely hid within<br /> some binding, right or wrong. Then the silence of<br /> mid-night fell upon him again. Nothing left, not<br /> a single solitary figure; all gone back again, and<br /> all to the wrong books. And once more the<br /> words arose in his brain ‘‘My days among the<br /> dead are past—my thoughts are with the deac a<br /> <br /> When the clock struck seven he found himself<br /> in his armchair. Apparently he had been asleep<br /> all night in his back shop, and that morning he<br /> sat upright without reading, but gazed about<br /> him with troubled brain and anxious eyes.<br /> <br /> In the afternoon one of his oldest customers<br /> called. “I have thought over,” he said, “ what<br /> we were talking about the other day—that first<br /> edition of the Pickwick Papers, you know. It is<br /> a stiffish price, but I have made up my mind to<br /> give it.”<br /> <br /> The bookseller shook his head. ‘I am afraid,”<br /> he whispered, “that I can’t sell it. Yesterday it<br /> was a flawless copy. Now, I fear, you&#039;d find it<br /> all gone wrong.”<br /> <br /> «How can it be wrong? ”’<br /> <br /> “The characters are mixed up. In all these<br /> shelves they are hopelessly mixed. Sir, I am a<br /> ruined bookseller. My reputation is ruined.<br /> Last night I saw King Arthur, St. George, and<br /> St. Denys, and Peregrine Pickle, and Barry<br /> Lyndon, and Mr. Barlow, and Mrs. Keith with<br /> her child, and the Daughter of Heth, and Elsie<br /> Venner, and Roxana, and Rebecca, all rushing<br /> into the Pickwick Papers together. What became<br /> of the proper set of people I don’t know. But I<br /> fear that Mr. Pickwick has got into Sir Charles<br /> Grandison, and Alfred Jingle, 1 know, has run<br /> into the Heir of Redclyffe. I am afraid to look<br /> into any of the books. Oh! it’s a terrible<br /> disaster.”<br /> <br /> “[ don’t understand one word. But you look<br /> disturbed.”<br /> <br /> The bookseller sat down and groaned.<br /> <br /> He sold no more books. He said he could<br /> not, as a Christian man, sell books with the<br /> characters mixed up in such confusion. No one<br /> could tell how they would act. Things quite<br /> terrible might happen. There they were together,<br /> with no one to control them. Oh! it would be<br /> a fraud on his customers. Therefore he sat up<br /> every night, waiting for them to come down<br /> again. He thought that if he could meet them<br /> all together again in the garden he might repre-<br /> sent, gently, the confusion caused by their panic,<br /> and for their own good persuade them to return<br /> each to his own book:<br /> <br /> Strange to say, he has never seen that garden<br /> since. 1 think he must have frightened the<br /> people of his books. That harsh voice—that<br /> <br /> MM<br /> <br /> <br />  <br /> <br /> 442<br /> <br /> threatening command—was more than they could<br /> bear. We must remember that all their lives had<br /> been spent in an atmosphere of pride and kind-<br /> liness and affection and praise. This arbitrary<br /> language was too much for them, But nobody<br /> ever explained to the bookseller that he had<br /> brought everything on himself,<br /> <br /> Marcaret GAnuertt,<br /> <br /> aes<br /> <br /> GOODBYE TO APRIL.<br /> <br /> <br /> <br /> Goodbye, sweet Mistress, and then shed a tear,<br /> Thy tear, good sooth, unto a smile is nigh ;<br /> For it distilleth from a laughing eye.<br /> <br /> I shall not weep, my maid, tho’ time be near<br /> <br /> To leave thee; yea, for tho’ thy love be dear,<br /> Light laughter trips behind thy softest sigh.<br /> I doff my bonnet ; “ Moppet, go!” I cry;<br /> <br /> “For, lo! my new love standeth laughing here.”<br /> <br /> Goodbye, fair April; can I mourn thy fall<br /> Now May is mine? in parting, say, what pain<br /> Since thy best blooms must deck her festival ?<br /> Nay, weep thy last, sweetheart; for of the twain<br /> The fairer she ; perchance, when she and all<br /> The rest are gone, I’ll sue to thee again.<br /> Lewis Brockman.<br /> <br /> eee<br /> <br /> PSYCHOLOGICAL SENTIMENTS,<br /> <br /> <br /> <br /> 1. There need be no more mystery in evil than<br /> in gravity.<br /> <br /> 2. The ideal man has sufficient self-reliance,<br /> self-respect, self-restraint.<br /> <br /> 3. When the body is bad, the mind is mad.<br /> <br /> 4. The manliest and the womanliest never lose<br /> their temper.<br /> <br /> 5. Heat of temper is too easily mistaken for<br /> warmth of heart.<br /> <br /> 6. Obstinacy and pliability are both phases of<br /> similar weakness.<br /> <br /> 7. The highest animals can suffer most, and<br /> will endure best.<br /> <br /> 8. Anger differs from fear, in phase rather than<br /> principle.<br /> <br /> g. Memory is a clear consciousness of the<br /> presence of the past.<br /> <br /> 10. The senile mind loves to live in the past.<br /> <br /> 11. The virile soul lives and loves in the<br /> present.<br /> <br /> 12. The hopeful live in the future, the helpful<br /> live in the present.<br /> <br /> 13. The insanity of jealousy may be cured by<br /> the imbecility of indifference.<br /> <br /> 14. The sane feel and see truth, the strong will<br /> it, the virile work it out.<br /> <br /> THE AUTHOR.<br /> <br /> 15. Genius and madness have one principle in<br /> common—uncommonness,<br /> <br /> 16. The main difference between liberty and<br /> licence is selfishness.<br /> <br /> 17. Reliability is far rarer than responsibility,<br /> <br /> 18, The sane soul is strong, sure, sympathetic,<br /> <br /> 19. Genius seems often odd, but is never mad.<br /> <br /> 20 Man persistently demarcates, while nature<br /> perpetually differentiates.<br /> <br /> 21. The mind of man daily dies and lives<br /> again.<br /> <br /> 22. In dreams lies insanity ; in dreamlessness,<br /> imbecility,<br /> <br /> 23. The unconscious humorist is a mystical<br /> personage.<br /> <br /> 24. Next to wisdom, humour is essential to<br /> just judgment.<br /> <br /> 25. A bad man makes a bad judge, for virtue<br /> is the soul of wisdom.<br /> <br /> 26. Self conceit readily does duty for self-<br /> respect. :<br /> <br /> 27. Jealousy is a phase of vanity, where the<br /> animal defeats the angel.<br /> <br /> 28. Nobility lies in silent suffering ; rises in<br /> soundly working,<br /> <br /> 29. Ignobility and immaturity feel least and<br /> endure worst.<br /> <br /> 30. Divorced from opportunity, capacity is<br /> childless.<br /> <br /> 31. That phase of head called “heart” makes<br /> the best part of all art.<br /> <br /> 32. Science saves shells; sympathy saves<br /> souls, PHINLAY GLENELG.<br /> <br /> — ae<br /> <br /> REMINISCENCES OF TAINE.<br /> <br /> <br /> <br /> HE biographical notices of M. Taine, which<br /> <br /> ‘Ty allude to his resentment against M.<br /> <br /> Edmond Scherer, the celebrated writer,<br /> <br /> and at one time his dear friend, on account of<br /> <br /> some severe criticisms on “Les Origines de la<br /> <br /> France Contemporaine,” reminds me of an inci-<br /> dent I witnessed illustrative of this assertion.<br /> <br /> In 1878 it was my good fortune to pass some<br /> months in Paris, on a visit to my old friend<br /> Madame Mohl, once so famous for her salon.<br /> Taine’s “ Revolution ”—the 2nd volume of “Les<br /> Origines ”—had just appeared, the 1st volume on<br /> “PAncien Régime” having previously been<br /> <br /> severely handled in the Temps—M. Scherer’s<br /> paper—though greatly praised in others. Reading<br /> them on the spot made both works doubly inte-<br /> resting, and, to give me a rare treat, Madame<br /> Mohl offered to make me acquainted with their<br /> renowned author. She was then about eighty-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> t<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> a<br /> a<br /> <br /> <br /> <br /> THE AUTHOR. 443<br /> <br /> eight, but singularly fresh, and keen to all her<br /> lifelong interests, showing her salon talent in a<br /> thousand subtle ways. Moreover, the numberless<br /> literary and scientific men who had been devoted<br /> to her and M. Mohl for half a century and<br /> upwards, gladly responded to her invitations.<br /> Hence, whenever she chose, they came, to large or<br /> small dinners, all through that summer, and her<br /> fortunate visitors thus saw noted celebrities in<br /> intimacy, and, usually, at their best. But, beside<br /> her patriarchal age, grief for her husband, who<br /> died soon after the Franco-Prussian war, occa-<br /> sionally dimmed her memory as to recent events.<br /> <br /> On the day in question, M. and Madame Taine<br /> promised to come and dine, “en tout petit comité.”<br /> A young Englishman was also invited ; and then,<br /> mindful of the old friendship, Madame Mohl like-<br /> wise asked M. Scherer. To none, however, did<br /> she mention the other guests, though, from the<br /> excited party feelings of France, she had almost<br /> invariably made a rule of so doing. The Taines<br /> arrived first, on foot, coming from the Rue Cas-<br /> sette hard by, where he has now died, and I well<br /> remember the overshoes, cloaks, and mufflers<br /> deposited, Carlyle-like, in the small hall. M.<br /> Taine was a tall, bulky man, dogmatic, and<br /> evidently aware of his own importance. Next<br /> came the young Englishman, who ruffled Madame<br /> Mohl by wearing his morning coat, probably sup-<br /> posing he would meet no one but us two ladies.<br /> Tt was one of her most “ fixed ideas” that, ‘“ even<br /> if a man had to live on herrings, he should<br /> possess a tail-coat, and never appear in the<br /> presence of ladies otherwise dressed of an<br /> evening.” It had been the rule at Madame<br /> Récamier’s, her oldest friend, and she often<br /> expatiated on the advantages to young men of<br /> keeping to these habits, and thus frequenting<br /> the society of ladies—a word she understood in<br /> the strict, old-fashioned sense. She had not<br /> recovered her annoyance when M. Scherer<br /> appeared—the exact opposite of M. Taine, slight, of<br /> medium height, quiet, and unassertive. I thought<br /> it strange these “old friends” did not seem to<br /> recognise each other, but Madame Mohl’s face at<br /> once fixed my gaze. Like a flash she had recol-<br /> lected the recent enmity, realised the situation,<br /> and somehow communicated it to me. What<br /> could be done? Positively nothing. It was<br /> irremediable.<br /> <br /> Our “petit diner” can easily be imagined.<br /> The number was too small for anything but<br /> general conversation, therefore here were the two<br /> antagonists face to face, we ladies alone acting as<br /> a sort of buffers, for the young Englishman spoke<br /> little, and that badly. Indeed, poor Madame Mohl<br /> did not count either, for her presence of mind<br /> completely forsook her, and she could scarcely<br /> <br /> utter a word. It certainly was a dreadful predica-<br /> ment—to have thus planted two enemies opposite<br /> each other at what was intended to have been<br /> such a hospitable board, and to have them so con-<br /> fronted for many hours. Most certainly in olden<br /> days she was the last person who could have com-<br /> mitted such a mistake, or, had it occurred, she<br /> would quickly have risen to the occasion. M.<br /> Scherer seemed at once to understand this, and<br /> to be willing to help her. But, after all, he was<br /> the offender—the caustic author of the reviews.<br /> M. Taine sulked, talked “away from” M.<br /> Scherer, and, finally, neither looked at the other.<br /> However, Frenchmen cannot be silent long, and<br /> by degrees, without becoming disputatious, a<br /> certain amount of interesting talk went on,<br /> though languidly, nevertheless, from the awkward-<br /> ness of the position, which we all felt acutely.<br /> Nothing of it remains on my mind, save a never-<br /> ceasing refrain on “les nouvelles couches<br /> sociales,” that M. Taine then had more or less<br /> “on the brain,” and frequently brought forward,<br /> as if throwing down a gauntlet to his adversary,<br /> though the latter prudently did not take it up,<br /> pretending not to see it.<br /> <br /> Never cau I forget our relief when M. Scherer<br /> beat his retreat early, pleading the necessity of<br /> catching a train to Versailles, where he then<br /> resided, leaving us to enjoy the historian’s con-<br /> versation, which instantly rose to the brillant<br /> level of his reputation. But the “incident” had<br /> not ended, for when the overshoes, cloaks, and.<br /> mufflers were resumed, M. Taine’s hat could no-<br /> where be found. Another was there, it is true,<br /> but not his. At last, rushing back to the sitting-<br /> room, he angrily and most contemptuously ex-<br /> claimed, “ Ce monsieur has taken it, and left his<br /> own worn out old one in its stead! It could not<br /> have been in mistake. No! no!” And nothing<br /> would pacify him. No! not even when poor M.<br /> Scherer returned the “ stolen goods”’ next morn-<br /> ing, explaining how, in the hurry for his train<br /> and the dark, he had run off with the wrong hat.<br /> In one sense it proved a happy mistake, as it<br /> brought a comic element to the drama, and made<br /> us moralise on the susceptibilities of great and<br /> learned minds. They are now all gone to their<br /> long home, but the memory of the “rencontre”<br /> still lingers behind them.<br /> <br /> WINIFREDE M. WYSE.<br /> <br /> ee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 444<br /> <br /> <br /> <br /> LIBRARIES—NEW AND OLD.<br /> <br /> <br /> <br /> HE Encyclopedia Britannica gives a list of<br /> TT all the public libraries in Great Britain<br /> and Ireland up to the year when the<br /> article ‘“TLibraries”: appearea. Mr. Thomas<br /> Greenwood’s book on Public Libraries (Cassell :<br /> 1891) gives a list of all the libraries which have<br /> been opened under the Acts provided. Some<br /> have been added since that book appeared.<br /> <br /> These lists, considered with reference to the<br /> demand for good literature, will be found rather<br /> surprising. The Encyclopedia gives a total of<br /> 402 libraries in the three kingdoms. Of these<br /> some are college libraries, e.g., most of the<br /> colleges at Oxford and Cambridge have their own<br /> libraries, which may be neglected ; there are<br /> libraries—they are not generally growing collec-<br /> tions—at all the medical, legal, and theological<br /> institutions. Some are cathedral libraries which<br /> seem to have stopped growing for 200 years at<br /> least. Some are technical libraries, as that of<br /> the telegraph engineers,<br /> <br /> Since the Encyclopedia article appeared there<br /> are shown in Mr. Greenwood’s book to be 1 52<br /> new libraries under the Act up to 1891. It is<br /> not unreasonable to suppose that there are now<br /> 50 more started, and the number is increasing<br /> every year.<br /> <br /> There are therefore 604 libraries, including the<br /> technical, special, and dead libraries, in this<br /> country.<br /> <br /> But there is another consideration. Many of<br /> these libraries have affiliated to them branches.<br /> Thus Leeds is entered in the list as having one<br /> library ; but there are 33 branches. At Notting-<br /> ham there are 8; at Birmingham 6. Taking<br /> all the libraries together there are altogether<br /> 118 branches, so that the total number of<br /> libraries at the present moment is 722, or deduct-<br /> ing the dead libraries and the technical libraries<br /> —say, 150—there remain 572 public libraries<br /> of books which are called general literature, new<br /> and old. There are, again, the school libraries,<br /> many of them large and growing collections ;<br /> Polytechnic libraries, also large and growing ;<br /> village libraries, generally small and too often<br /> controlled by the clergy; and there are the<br /> small collections found on board steamers,<br /> Still more remarkable are the returns from<br /> Australia and New Zealand. In the colony of<br /> Victoria alone there is one public library for<br /> every 4800 of population as against one in<br /> every 277,000 in the United Kingdom. Thus<br /> there are—<br /> <br /> In Victoria 314 public libraries, athenzeums,<br /> and mechanics’ institutes; in South Australia,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 135; in New South Wales, 150; in New Zealand,<br /> 303; in Tasmania, 33; in South Africa, 64.<br /> <br /> In India there appear to be about six public<br /> libraries.<br /> <br /> In Canada there are six large public libraries, one<br /> with five branches, and a great number of small<br /> collections. That is, there are 1o11 public<br /> libraries in our colonies, without counting the<br /> small collections.<br /> <br /> But, if we include, as we must, the libraries of<br /> the United States of America, we must add 1686<br /> to our list.<br /> <br /> These libraries, deductions made as estimated<br /> above, are all growing, and all increasing their col-<br /> lections by yearly subsidies or rates. They are also<br /> yearly increasing in number, and in the number<br /> of their branches, and in activity. If, as seems<br /> probable, we shall before long equal Victoria in<br /> our proportion of libraries to population, or<br /> even if we get no nearer than to have one library<br /> for every 10,000 people, there will be 3700<br /> libraries in Great Britain and Ireland alone.<br /> To repeat, at the present moment there are<br /> in this country 722 libraries; in the colonies,<br /> IOII; or 1733 libraries in the British Empire.<br /> Taking in all the English-speaking countries, we<br /> have 3419 libraries, and the number is yearly and<br /> rapidly increasing.<br /> <br /> I said, speaking five or six years ago, that in<br /> fifty years’ time a popular edition in the English<br /> language would have such an audience as no<br /> writer in the world has ever before been able to<br /> command. A good deal of derision was poured<br /> upon this statement, which I have since repeated at<br /> every possible opportunity. The chief reasons of<br /> this derision are (1) the total ignorance in which<br /> many people live as to the extent—the vast<br /> extent—of the English-speaking race; (2) their<br /> inability to understand that London—the club<br /> end of London—is not the Empire, nor does it<br /> cover the whole area of the English-speaking race ;<br /> and (3) the mystery which has been kept up by<br /> interested persons as to the extent and nature of<br /> literary property. That extension of popularity<br /> which I predieted would come in fifty years has<br /> actually come upon us. If there exists at this<br /> moment a single man whose works are wanted by<br /> all the English-speaking people, there are more<br /> than 3400 libraries, all of whom will take his<br /> books, and many of them will take his books by<br /> the dozen.<br /> <br /> But it will be said, these are all novels. Not<br /> so. The following one day’s list is given by Mr.<br /> Greenwood—* Public Libraries,” p. 307 :—<br /> <br /> Taking the books somewhat in the order in which they<br /> are classified in the library, we find that in the department<br /> of philosophy, Spencer’s “ First Principles ” had been asked<br /> for three times on that particular day, while the same<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 445<br /> <br /> author’s “Ecclesiastical Institutions” had been consulted<br /> twice, and Aristotle’s “Moral Philosophy,” Spinoza’s<br /> Works, Martineau’s “Types of Ethical Theory,” and<br /> Lenormant’s “ Chaldean Magic ” were given out to students<br /> once.<br /> <br /> In religion, the only book consulted was Sayce’s “ Fresh<br /> Lights from the Ancient Monuments,” but this perhaps<br /> should be classed with Keighley’s “ Mythology of Ancient<br /> Greece’’ as antiquities.<br /> <br /> In politics and sociology, the books consulted were very<br /> varied. Sir C. Dilke’s ‘Present Position of European<br /> Politics” and the second volume of the same author’s<br /> “Problems of Greater Britain” were applied for, as well as<br /> Blount’s “‘ Ancient Tenures of Land,” Birkbeck’s “ Distribu-<br /> tion of Land in England,’ Smith’s “ Wealth of Nations,”<br /> and “ Five Years’ Penal Servitude, by one who endured it.”<br /> <br /> Books treating on languages, and educational works, were<br /> also sought after, as the following list will show—Craik’s<br /> “Manual of the English Language,” Hewitt’s “ Our Mother<br /> Tongue,’ Smith’s “French Principia,” Cassell’s ‘“ New<br /> Popular Educator ”’ (vol. 3), Colenso’s “ Arithmetic,” Tod-<br /> hunter’s “ Elements of Euclid” (twice), Pitman’s ‘‘ Manual of<br /> Phonography,”’ and Kingston’s “ Phonography in the Office.”<br /> <br /> The scientific works perused included Ganot’s “ Physics,”<br /> Quain’s “ Dictionary of Medicine,” Flower’s ‘‘ Nerves of the<br /> Human Body,’ Hospitalier’s “ Electricity,’ Urbanitzky’s<br /> “ Blectricity,”’ and “ Domestic Electricity for Amateurs.”<br /> <br /> The books dealing with useful arts consulted, were “ Notes<br /> on Building Construction ” (3 vols.), Tredgold’s “ Carpentry,”<br /> Barter’s “ Engineers’ Sketch Book,’ lLeno’s “ Boot and<br /> Shoemaking,” Cassell’s “Household Guide,” ‘‘ Amateur<br /> Work ” (2 vols.), and a volume of Cassell’s “ Work.”<br /> <br /> Only three art books were asked for on the day, these being<br /> Ruskin’s “ Stones of Venice,” Perrot and Chipiez’s “ Art in<br /> Ancient Egypt,” and Bishop’s “ Architecture of Greece and<br /> Italy.”<br /> <br /> The list of books consulted in the department of history<br /> and literature is somewhat longer, and contains Burke&#039;s<br /> Essays, “ Carlyle’s “ Critical Essays,” Adams’ “ Dictionary<br /> of English Literature,” Goethe and Schiller’s “ Correspon-<br /> dence” (2 vols.), Mrs. Browning’s Poems, Thomson’s (B.Y.)<br /> Poems (selections), Carlyle’s “ French Revolution ”’ (vol. 3),<br /> Lecky’s “ England” (vols. 7 and 8), Allen’s “ Battles of the<br /> British Navy,” Russell’s ‘“ Franco-German War.”<br /> <br /> In biography, Carlyle’s “‘ Oliver Cromwell’s Letters and<br /> Speeches,” Froude’s “Carlyle in London,” and Molloy’s<br /> “Peg Woffington”’ were needed.<br /> <br /> In travels, Caine’s ‘ Trip Round the World” and Baker’s<br /> Rifle and Hound in Ceylon” were the only two books asked<br /> for.<br /> <br /> In topography, Rye’s “History of Norfolk,” Philip’s<br /> “ Cyclist’s Map of Essex,” Cape’s “ Churches of London,’<br /> Dickens’s “Dictionary of Paris,’ the Rev. R. H. Davies’<br /> “ Chelsea Old Church,” and G. C. Davies, “ Norfolk Broads ”<br /> were sought after.<br /> <br /> In addition to the above fifty-eight works, the following<br /> were also consulted :—‘‘ Encyclopedia Britannica ” (vol. 24),<br /> “Portnightly Review” (2 vols.), Nineteenth Century ” (2<br /> vols.), ‘“ The Argosy” (2 vols.), Thackeray&#039;s “ Paris Sketch<br /> Book,” Barham’s “ Ingoldsby Legends,” Jackson’s “ History<br /> of the “Pictorial Press,” Reade’s ‘“ Literary Success,”<br /> Horwitz’s “Chess Studies,” and Blakston’s “ Tlustrated<br /> Book of the Canary.”<br /> <br /> I have elsewhere stated as my opinion that<br /> people—the mass of the people—those whom<br /> we regard as having no taste and no cultiva-<br /> tion, will always prefer good literature to<br /> bad. This opinion has also been derided, because<br /> <br /> it is not the conventional position. I have formed<br /> this opinion, however, not by taking other people’s<br /> opinions, but from observation, as close as<br /> possible, of the books asked for and read at a<br /> public library. The people will not read trash. If<br /> they ask for fiction it is good fiction—Marryatt,<br /> Scott, Dickens can hardly be called trash. They<br /> prefer fiction that has a good strong story, and<br /> for the sake of a good strong story they will not<br /> inquire too curiously into style. Still the fact<br /> remains that their favourites are for the most<br /> part the favourites of the more cultured class.<br /> But consider in the above list the books that are<br /> not fiction. Is there one bad book—one rubbishy<br /> book—one book that can be called “‘ trash” in the<br /> whole list? And if such a list is an average and<br /> a representative one, what are we to conclude,<br /> except that the demand of the people—the<br /> common people—for literature shows an eminently<br /> satisfactory standard ?<br /> <br /> Another point presents itself in this connection :<br /> that of the “risk” of which we hear so much.<br /> It is quite certain that every good book on every<br /> subject must find its way, sooner or later, to these<br /> libraries. The list which we have quoted shows<br /> this. Itisa list taken on a day chosen at hap-<br /> hazard in Chelsea Library. Every good book on<br /> every conceivable subject, except, perhaps, the<br /> higher mathematics and certain technical books,<br /> must find its way to these libraries. Every novel<br /> good enough to go into a cheap edition ; every poet<br /> who has made his voice heard and felt; every<br /> historian of any note; every biographer who has<br /> a life of interest to relate; every scientific man<br /> who can treat his science adequately ; writers on<br /> the medicines, art, physics, political and social<br /> economy, archeology, languages, education, every-<br /> thing.<br /> <br /> One branch is conspicuous for its absence<br /> from the list. It is the branch of criticism. The<br /> people do not care for critics. I think that the<br /> field open to the critics will always be small,<br /> because it is essentially occupied by men<br /> of the higher education only. Their work will<br /> also be ephemeral, because the subjects treated<br /> are necessarily themselves for the most part<br /> ephemeral. Therefore, while one does not expect<br /> critics to decrease in numbers, they will not very<br /> largely increase in popularity.<br /> <br /> Meantime, the main point is, that every good<br /> book can now command a circulation which<br /> ought, practically, to prohibit the danger of loss.<br /> Given the good book, there should be no risk.<br /> Given the readers able to distinguish a good<br /> book, there is a certain market open. And it<br /> would seem from the above, that the good reader<br /> is not so hard to find as the good — 2<br /> <br /> <br /> <br /> <br />  <br /> <br /> 446<br /> <br /> <br /> <br /> AN AUTHOR&#039;S EXPERIENCES.<br /> <br /> <br /> <br /> E have received from one of our members,<br /> copies of all the correspondence that has<br /> passed between himself and his pub-<br /> <br /> lishers throughout some half-a-dozen or more<br /> publishing transactions. The papers have been<br /> sent by him to the Society in no complaining<br /> spirit, but in response to our standing invitation<br /> to our members to supply us with information<br /> derived from their own experiences. The more<br /> such information that we receive the more<br /> practically useful we are able to be. If we learn<br /> new things from any cases sent for our-considera-<br /> tion, our gain, as a Society—one of whose chief<br /> aims has always been “to learn the facts ”—is<br /> clear; but, if all the points of importance should<br /> be perfectly familiar to us—and we are proud to be<br /> able to say that this is becoming every day a<br /> more usual occurrence—it still strengthens our<br /> hand to have a multiplicity of evidence to the<br /> correctness of our statements and inferences. May<br /> we again impress on our readers that they will<br /> greatly oblige our executive officers, and greatly<br /> help to render the Society more useful to others<br /> and themselves, if they will take us as fully as<br /> possible into their confidence concerning their<br /> publishing transactions ?<br /> <br /> We propose to briefly narrate this author&#039;s<br /> experiences, as they are revealed in his communi-<br /> cation and his publishers’ letters, and to briefly<br /> comment upon them for the instruction of any<br /> Moe may happen to be in a similar position to<br /> <br /> im.<br /> <br /> (1) In the first place the publishers sent him an<br /> ink-sketch, and asked him to do them a small book,<br /> with the drawing as a text. They had some small<br /> experience of his work, and were not quite in the<br /> dark when they offered him £2 2s. for the MS.<br /> and £5 5s. if it was published. He accepted the<br /> offer and wrote the book, and the result from the<br /> pecuniary point of view should have been satis-<br /> factory to him to this extent, that he received at<br /> one time and another £14 14s., or exactly double<br /> the sum to which he was legally entitled. The<br /> aggregate of £14 14s. was made up in this way :—<br /> <br /> ommission, £2 2s,; cheques on account,<br /> respectively, for £3 3s., £3 38., £5 58., and £1 1s,<br /> There was no formal agreement, further than<br /> what was implied in the letters making and<br /> accepting the offer of £7 7s., and the terms of<br /> this implied contract were, as we see, and much<br /> to the author’s benefit, not kept. This was<br /> unbusinesslike, but perusal of the letters accom-<br /> panying the varions cheques on account reveals<br /> the curious fact that the publishers, who had<br /> <br /> THE AUTHOR.<br /> <br /> offered him commission, believed themselves to<br /> be issuing the book on the half-profit system,<br /> “Should there be any more little profit,” their<br /> manager writes to him, “TI shall, as before, gladly<br /> send you half.” And in another letter he says,<br /> “On ‘ *Isend you £2, and on ‘ ” there<br /> is up to date a final profit of £y, and of this, as<br /> before, I am glad to send you half.” * On the<br /> transaction we have nothing to say that is not<br /> complimentary to the publishers, who clearly<br /> performed a work of supererogation in trans-<br /> mitting the last £7 7s. to their client ; while, if<br /> the original commission was a small one, it was<br /> properly made, before that work was undertaken,<br /> and the author need not have accepted it. But<br /> the matter shows the attitude of both author and ‘<br /> publisher towards a piece of literary property to<br /> be very comic, although the sums concerned are<br /> so small that the comicality of their casual<br /> behaviour hardly appears with proper distinctness.<br /> <br /> (2) The next transaction was a small book,<br /> written at the same publishers’ request, containing<br /> about 30,000 words. For this the author re.<br /> ceived £5 5s. some few months after publication,<br /> because the publishers did “ not like him to go<br /> any longer without any remuneration ” (their own<br /> way of putting it), and rather less than a year<br /> later an intimation was received by the author.<br /> that the sales had closed. It does not exactly<br /> appear that the author knew what sum he was<br /> going to receive, and the publishers’ words almost<br /> imply that they had no very clear idea what they<br /> had intended to give. It turned out to be, as we<br /> have said, £5 5s. This can never be good pay—<br /> can, indeed, never be anything but very bad pay—<br /> for a MS. of 30,000 words, and it seems to us<br /> that the author might have thought twice about<br /> undertaking the work, if he had known exactly<br /> how little he was going to get out of it. That he<br /> knew he was going to be paid a sum for the task<br /> is certain, but the sum does not appear from the<br /> letters ever to have been mentioned. And he<br /> might have reasonably expected more, relying first<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ‘upon the precedent of having previously received<br /> <br /> £14 148. for a book of the same size, and, second,<br /> upon such hopeful words as these which we<br /> extract from the publishers’ letters. “I think<br /> ” will move well, in fact that series is<br /> established in favour at the present; ” and again,<br /> in the same week, “ Up to a certain point they<br /> <br /> <br /> <br /> <br /> <br /> * These references in the publishers’ letters to some<br /> publication on the half-profit system may have reference<br /> not to this book but to one we speak of later [vide infra<br /> paragraph (3)]. In that case, being unable to explain the<br /> generosity of the publishers by the theory that they had<br /> forgotten that their own terms were “ commission,” and<br /> believed themselves to have published on the half-profit<br /> system, we frankly own that the matter is too hard for us,<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 447<br /> <br /> (the books of the series, that is,) will pay their<br /> way simply because they come in this series.”<br /> Here again this treatment of a piece of literary<br /> property by its owner is very comical, and would<br /> appear to all men as very comical if applied to<br /> any more tangible form of goods. The author<br /> simply transferred his book to the publishers to<br /> issue it on what terms they chose, and pay for it<br /> in the same irresponsible manner. Incidentally<br /> we learn, also, that the publishers’ risk in the<br /> matter is slender, as they can count upon a<br /> certain minimum sale. That this is usually the<br /> case is so obvious that we should not mention it,<br /> were it not that denial of the fact constitutes the<br /> chief argument in favour of the theory that the<br /> publishers’ business is nothing if not wildly<br /> speculative.<br /> <br /> (3) The author’s next venture, also, was under-<br /> taken without any definite agreement. His own<br /> words are, “I made no arrangements with the<br /> publishers, because they published on their own<br /> account.” The publishers’ explicit expressions<br /> with regard to their idea of the arrange-<br /> ment are as follows: ‘As the sale of ‘- :<br /> seems practically to have ceased for the present,<br /> I have thought it better to make up the account<br /> for the copies that may fairly be taken as sold<br /> up to date, and I am glad to find that there is a<br /> balance on the right side, the exact amount of<br /> profit being £9 2s. 6d. As this book was not<br /> undertaken for us in any way as a commission,<br /> we had better send you one-half this amount.<br /> So we accordingly inclose a cheque for<br /> £4 11s. 3d.” No compulsion in this matter, be it<br /> observed. They had “better send it” for con-<br /> science sake, or in equity—but there is no contract<br /> and the words would imply no legal obligation to<br /> send anything. Two further cheques arrived in<br /> the course of a twelve-month, for £2 5s. and<br /> £3 1s. 3d. respectively, the latter cheque being<br /> described as half the “up to date profit,’ and<br /> being arrived at by deducting the sum of £1 18s.<br /> from £4 19s. 3d., the admitted half share (to<br /> which little subtraction sum we shall have reason<br /> to refer later).<br /> <br /> This transaction is one that calls for most<br /> uncomplimentary observation, so that it is neces-<br /> sary to point out again that the author has<br /> communicated with us with no animus whatever,<br /> and that we do not for a moment believe, or in<br /> the least insinuate, that he has not received fair<br /> treatment. Our strictures are simply dictated<br /> by our knowledge that such loose methods of<br /> dealing with literary property as this case<br /> exhibits, have been and are the cause of all the<br /> serious troubles between author and publisher.<br /> First, why was the book published without some<br /> mutual arrangement as to the system under<br /> <br /> <br /> <br /> which it was to be published ? There can be no<br /> satisfactory answer to this question; but to<br /> reduce the position to its patent absurdity, we<br /> will fall back on the illustration with which<br /> readers of The Author must be familiar. If the<br /> author possessed a house, would he allow some-<br /> one else to occupy it, without inquiring if that<br /> person was going to buy it, or take it on a lease,<br /> or rent it only fora short term. More; would<br /> he not, having made certain of the system under<br /> which someone else was going to enjoy his pro-<br /> perty, ascertain exactly the price that he was to<br /> receive as owner of the property, be it for purchase<br /> of the freehold, for purchase of the lease, or as an<br /> annual consideration? Would he not be con-<br /> sidered culpably careless if he neglected such<br /> obvious procedure? Second, let us suppose that<br /> the author had gone through the form of saying<br /> “ Before I transfer my property, I should like to<br /> know what consideration I am going to obtain,”<br /> and that the publishers had suggested, in answer<br /> to his queries, that the book should be issued on<br /> the half-profit system, instead of assuming, as<br /> they did in this case, that whatever sum good<br /> enough for them was good enough for the author ;<br /> supposing all this, there would still remain the<br /> fact that every objection that can be urged<br /> against the highly objectionable half-profit system<br /> in general, can be urged against the particular<br /> method in which this book was published. The<br /> agreement consists of the publishers’ words<br /> “we had better send you one half,” not “we<br /> owe one half, and so we send it.” How can<br /> the author know that he has received his<br /> share, in consideration for which he has never<br /> contracted to hand over his book? What<br /> did the book cost to produce? How many<br /> copies were printed? How many were bound ?<br /> How many were sold? How many remain<br /> on sale or return? How much did the ad-<br /> vertisements cost? Until the author knows<br /> —knows by the demonstration of vouchers, not<br /> by the assertion of an interested party—all these<br /> things, he cannot know that he has received his<br /> share, for which, as we must again repeat, he has<br /> never offered to hand over his book. It is, we<br /> know, often very difficult for an author to under-<br /> stand these business details, and it is because there<br /> are some few legitimate and many illegitimate<br /> objections, from the publisher’s point of view, to<br /> making them clear to him, that the half-profit<br /> system stands revealed as a bad one, well meriting<br /> the disuse into which it has fallen. Hither it<br /> leaves in the hands of one partner the power to<br /> cheat the other without reserve and without fear<br /> of detection, or it compels the other to double<br /> the part of author and publisher, that he may<br /> know that he has not been cheated. What tittle<br /> <br /> SS<br /> <br /> <br />  <br /> <br /> 448<br /> <br /> <br /> <br /> of proof has the author had, in the transaction<br /> that we are considering, that the net profits were<br /> double, exactly double, and no more than double,<br /> the sum that he has received ? None, of course ;<br /> and there is the fault of the system. But when<br /> the system is thrust upon the author, without his<br /> being invited to say whether he likes it or no, his<br /> self-constituted partners should be very careful<br /> to furnish every proof of their probity.<br /> <br /> (4) Then came a little plunge into verse. It<br /> was a very little plunge, and was taken upon “ the<br /> profit and loss system,’ defined as follows by the<br /> publishers, in a letter :—‘‘ Have you enough faith<br /> in it (your work) to go equal shares, whether<br /> profit or loss? If so, we will with pleasure do the<br /> same,” say they. And they inform him that the<br /> total risk of loss will be limited to £5—£2 ros.<br /> his, and £2 10s. theirs. Incidentally we learn<br /> that the resulting loss was £3 16s.—£1 18s. each,<br /> because, in sending a cheque for the last and<br /> final half of the profit of the book alluded to in<br /> paragraph (3), £1 18s. is deducted from it, for<br /> loss on the production of the verse. Here, again,<br /> though the affair isa very small matter, we are<br /> bound to make severe observations upon it. The<br /> publisher who writes for the firm says: “So far<br /> as my experience goes, I think it extremely pro-<br /> bable that there will be a loss upon the verses,<br /> but I think they ought to appear in print, irre-<br /> spective of pecuniary considerations.” That is<br /> very handsome indeed. The publisher seems to<br /> have known that he was going to lose his money,<br /> yet he advises that the issue shall take place. It<br /> is not usual for business men, for publishers any<br /> more than for others, to voluntarily enter upon a<br /> transaction, believing that it will entail loss; so<br /> that the necessity under which the publisher lies<br /> of proving that he has lost his money is urgent,<br /> not only because his partner ought to be as well<br /> informed as himself of the right to deduct that<br /> £1 18s., but because the publisher’s position<br /> requires explanation before it can be understood<br /> upon ordinary commercial principles. That<br /> explanation should take the following form :—<br /> (a) He must show exactly how much he expended<br /> upon production and advertisement. (6) He<br /> must show exactly how many copies he has sold,<br /> arrived at by deducting the number of copies in<br /> stock from the number originally printed. (c)<br /> . If any copies are out on sale or return, or have<br /> been given away for review purposes, he must<br /> mention the exact number, if he wishes to be<br /> exempted from paying upon them. (d)-It would<br /> strengthen his position if he could show that he<br /> expected to make a large profit on his outlay, if<br /> he made anything at all; for there would be a<br /> good commercial reason for his behaviour. He<br /> <br /> would then become evident as having gone into<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> the matter as a little “ flutter,” risking his 50s. and<br /> expecting to lose it, but seeing his way to make<br /> fifty pounds—say—if he pulled off a twenty-to-one<br /> chance. This point should be made clear by<br /> consideration of the cost of production in relation<br /> to the number of copies printed and their sellin<br /> price; but, so far from being made clear, the<br /> publisher’s account shrouds the affair in mystery.<br /> There are 250 copies only mentioned as having<br /> been composed, worked, pressed, stitched, and<br /> advertised, at a cost of £3 13s. 6d.; the selling<br /> price is put down as 14d., and the loss, sales<br /> being very scanty, at £3 10s. gd. So that we<br /> have this position under the publisher’s state-<br /> ment: If the whole edition printed (less seventeen<br /> copies stated in the account to have been sent to<br /> author and reviews) had sold, it would only haye<br /> realised £1 os. g3d. That is to say—the best<br /> possible result for author and publisher, supposing<br /> the cost of production to have been really<br /> £3 138. 6d., would be a joint loss of £2 12s. 81d.—<br /> the cost of production less the result of a complete<br /> sale. Can these figures be right? If so, we find<br /> a business man investing £1 16s. gd. (and ex-<br /> pressing his belief that he will lose it), on the<br /> chance of only losing £1 6s. 44d., and with no<br /> possible chance of gaining anything whatever!<br /> The author might do this, for he might consider<br /> the sight of his verses in print a fair equivalent<br /> for his outlay, but what is the publisher doing in<br /> such a galley? It is incumbent upon the<br /> publisher to show that £3 13s. 6d was spent<br /> upon producing the verses, and not some much<br /> less sum. For consider the intolerable position<br /> in which his firm is placed, if it should be<br /> suggested that the production only cost them<br /> £1, while they have received £1 18s. as their<br /> share of the joint loss. Also, how can £1 18s.<br /> be due to them? Their own figures give<br /> £3 10s. gd. as the loss, and the half of this is<br /> £1 15s. 43d. We must repeat that the account<br /> is very mysterious.<br /> <br /> The rest of the author’s transactions with these<br /> publishers call for no further comment. They<br /> were all commission work, aud the pay, if small,<br /> seems to have been fairly offered beforehand ‘on<br /> the “ take it or leave it” principle, and the author<br /> elected to take it.<br /> <br /> The next and last of his experiences has also<br /> points worthy of consideration.<br /> <br /> (5}. A new publisher accepted the author’s<br /> MS., offering him at once a royalty of 2d. in the<br /> shilling «n all copies sold,* which, under the<br /> circumstances, was by no means a bad offer. It<br /> <br /> <br /> <br /> * That is to say of a royalty of a little over 16 per cent.<br /> For the real meaning of these terms vide— The Methods<br /> of Publishing,” 2nd edit., p 60, and The Author, vol. IL.,<br /> p. 162.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 449<br /> <br /> was qualified immediately afterwards, however,<br /> to enable the publisher, at less risk to himself, to<br /> “try an experiment with the book and illustrate<br /> it with silhouettes. ‘ What I propose,”<br /> he says, ‘is that I should about pay myself for<br /> the production ot these, before I pay you your<br /> commission. If you agree therefore that I should<br /> have a sale of 3000 before paying anything to you<br /> I shall be quite satisfied.” Two things will strike<br /> everyone at once: First, that as it was the pub-<br /> lisher’s “ experiment,” and was made presumably<br /> from the rational point of view of increasing the<br /> chances of sale, the publisher should have taken<br /> the risk of its failure, and not the author: Second,<br /> that no proof is given of the j ustice of selling<br /> 3000 copies commission free. Why 3000? Why<br /> not 30,000F Why not 3007 3000 copies of a<br /> book selling at the nominal price of one shilling<br /> would bring in £100. Does the publisher mean<br /> that it will cost him £100 to reproduce the<br /> silhouettes? Or that they will cost him the £25<br /> of which he proposes to maulct the author by<br /> suppressing the royalty on 3000 copies? Or does<br /> be mean that £100 will publish the book; be-<br /> cause that is perhaps the truth of the matter.<br /> He says “ about pay myself for the production of<br /> these (meaning the silhouettes),” but in reality<br /> the proposal is to recoup himself entirely for the<br /> production of the whole book before paying the<br /> author anytbing. This principle of deferred<br /> royalties not only spoils the merit of a royalty<br /> offer, but imports into the royalty system all the<br /> evils of the half-profit system, to which we have<br /> alluded above. How can an author judge of the<br /> fairness of a proposal to withhold the commission<br /> until a certain number of copies be sold, unless he<br /> knows the expense to which the publisher is going<br /> to be put—unless, that is, he can double the part<br /> of author and publisher?<br /> <br /> The author, in this particular case, made no<br /> money at all out of the book, which did not sell.<br /> He can comfort himself, if he is a selfish man, by<br /> the thought that the comparative failure of the<br /> book concerns not him chiefly, but the publisher.<br /> He never could have made much money out of the<br /> book, A sale of 3000 copies about marks the<br /> limit of the success to which such a book attains,<br /> and on the first 3000 copies he was, by arrange-<br /> ment, to get nothing. If his book had achieved w<br /> success equivalent to some 30 per cent. higher<br /> than what he could fairly anticipate, and 4000<br /> copies had been sold, he would theu only have got<br /> out of it £8 6s.8d. In this connection we should<br /> much like to know how many copies were printed.<br /> Tt seems to us possible that no more than 3000<br /> were ever prepared, that is, that from the first it<br /> was intended that the author should get nothing<br /> at all<br /> <br /> <br /> <br /> The merits of the half-profit system have<br /> received frequent attention in these pages, and<br /> the advisability of having an agreement before<br /> publishing and of understanding its terms have<br /> been sufficiently insisted upon. We have ex-<br /> plained in the ‘Author and in the Society’s hand-<br /> books the true meaning of a royalty of 2d. in the<br /> shilling; and arithmetic, coupled with the know-<br /> ledge that 3000 copies is a very respectable circu-<br /> lation for a still unknown author, will enable any-<br /> one to see how very uusatisfactory to such man the<br /> result of deferring the payment of his royalties<br /> till 3000 copies have been sold, is likely to be.<br /> We need therefore make but one more comment<br /> upon this author’s experiences. It will be noticed<br /> that in each case the sums involved are very<br /> small. It is probable that this may make our<br /> serious tone towards the irregularities that have<br /> occurred appear misplaced, and possible that it<br /> may have been the cause of the disrespectful<br /> behaviour of both author and publishers towards<br /> the author’s property. But, to judge of the<br /> sanctity of property by its size would not be con-<br /> sidered wise in other walks of life. Does a man<br /> consider his collar-stud less his own than his<br /> watch? Is it permitted to us to remove our<br /> neighbours’ landmark a foot or two and remain<br /> venial offenders? Must we annex an acre before<br /> we fall under the ban of the Commination<br /> Service P<br /> <br /> <br /> <br /> pe<br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> =<br /> <br /> E<br /> New AUTHORS.<br /> <br /> N reply to your remarks on my letter con-<br /> | cerning “the publication of new books by<br /> new and unknown authors,” I meant it to<br /> be inferred from the 8th paragraph of my letter,<br /> that the method would be supported by subscrip-<br /> tions from the publishers, instead of each paying<br /> <br /> his own reader.<br /> <br /> The publisher would in this case have no<br /> reader of his own, so that what you suggest as<br /> possible, at the end of your note, could not<br /> happen.<br /> <br /> T meant also that, under this plan, the author<br /> should pay no fee for having a work read, for 5<br /> had in mind only the getting an admittedly meri-<br /> torious work published—a quick means of a good<br /> work finding a publisher, instead of wandering<br /> round and round after one. a<br /> <br /> Should an author want an instructive opinion,<br /> such as he now obtains from the Society, let him<br /> still have to pay a guinea for it.<br /> <br /> Seat Sa<br /> <br /> ssa eames<br /> <br /> <br />  <br /> <br /> 450 THE<br /> <br /> <br /> <br /> The criticism of an author’s MS. is a depart-<br /> ment of work entirely distinct from that which I<br /> suggested that the Society should initiate, but so<br /> intimately connected with it that I look upon the<br /> reading branch of the Society—because it had its<br /> origin in the Society of Authors—as simply a first<br /> step, which must inevitably lead to the accom-<br /> plishment of the other scheme.<br /> <br /> Husert Hass,<br /> <br /> 28, Bassett-road, North Kensington,<br /> <br /> London, W.<br /> <br /> <br /> <br /> <br /> <br /> I,<br /> ATTACK AND DEFENCE.<br /> <br /> In the dispute under the above heading in the<br /> April number of the Author, the critic certainly<br /> seems to make out the better case ; but I defy the<br /> reviewer of the Academy to justify in the same<br /> fashion most of his remarks on my last book.<br /> <br /> This gentleman says: “A young lady spends<br /> the night on a snowy mountain top in company<br /> with an injured gentleman. The heroism she<br /> displays prompts him to make an immediate<br /> proposal of marriage, but no sooner has the<br /> ceremony taken place than the bridegroom dies.”<br /> <br /> In the book the gentleman here spoken of does<br /> not propose to the young lady at any time, being<br /> a most respectable member of the community,<br /> provided already with a wife and grown up<br /> family of his own. When the lady does marry,<br /> her husband survives the ceremony by two years<br /> and a half.<br /> <br /> The reviewer says: “These two gentlemen<br /> have borne a by no means faultless character ;<br /> for while the younger has knowingly married<br /> somebody else’s wife. 2<br /> <br /> In the book the gentleman alluded to knows<br /> nothing of his wife’s previous marriage until<br /> after the birth of their child.<br /> <br /> The reviewer says : ‘“ Besides (sic) these two the<br /> villain of the piece shines comparatively brightly.<br /> His only fault was having deceived a girl in<br /> India ”+—there is no mention in the book of a girl<br /> in India—“ who, when she found him out, poisoned<br /> herself, though he offered her marriage.”<br /> <br /> This is the cruellest lie of all; because it is<br /> built up on a substratum of truth. “The<br /> villain’s” offer of marriage is made, but to the<br /> girl’s father ; and she poisons herself before her<br /> father’s return from the interview with her<br /> seducer, while she is yet in ignorance of his offer<br /> to marry her.<br /> <br /> Under these circumstances what ground has the<br /> reviewer for the implied sarcasm in the sentence<br /> —‘poisoned herself though he offered her<br /> marriage ”’ ?<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> In very truth we minor novelists commit, and<br /> have to answer for, quite enough blunders of our<br /> own without being also made responsible for the<br /> feeble aberrations of such a one as this—a person<br /> who is too indifferent or too incompetent, or—as<br /> you, Mr. Editor, point out—too ill-paid, to dis-<br /> charge the duties of his calling with fairness<br /> either to his employer or to us. Unfortunately,<br /> from whatever cause his inaccuracies proceed, the<br /> result to me is the same—a review by so many<br /> specified items worse than the book deserves.<br /> <br /> While reviewers are under discussion, I have<br /> something to add on the subject of contradictory<br /> reviews. Do not all, or nearly all, authors go<br /> through this experience, with almost every book<br /> they put before the public ?<br /> <br /> Here are three specimens of flat contradiction<br /> taken from first-class papers :<br /> <br /> “The tone of the book is “ The author has a healthy<br /> scarcely a healthy one.” belief in human nature, which<br /> <br /> contrasts pleasantly with<br /> the pessimistic views more<br /> <br /> general with present day<br /> novelists.”<br /> <br /> “There is a deep pathos<br /> here and there, and a truly<br /> touching human interest at<br /> every turn.”<br /> <br /> “The story is as devoid<br /> of expression as a plank of<br /> timber.”’<br /> <br /> “Has no feature to dis-<br /> tinguish it from the ordinary<br /> fourth-rate novel, unless,<br /> indeed, its extraordinary<br /> confusion may count for<br /> one.”<br /> <br /> After this, one is almost driven to believe that<br /> these gentlemen are continually engaged among<br /> themselves in a sly game of intellectual skittles,<br /> in which the ninepins are represented by the<br /> rank and file of the literary fraternity—set up in<br /> fair order by the fellows at one end. to be bowled<br /> over by the players at the other. A delightful<br /> pastime for everybody concerned—barring the<br /> ninepins. C. L.<br /> <br /> “ The plot is intricate yet<br /> never obscure The<br /> work of a competent writer.”<br /> <br /> <br /> <br /> III.<br /> A COINCIDENCE.<br /> <br /> My attention has just been called to the fol-<br /> lowing paragraph in the April number of the<br /> Author :—“ Here is a case of coincidence. Inthe<br /> Author of last monthappeareda story of a daughter<br /> bringing by her own efforts and genius success to<br /> the father who could not command it. It was a<br /> literary success. In June of last year there<br /> <br /> appeared in the Lastern and Western Gazette a<br /> story by Mrs. Edmonds called ‘The Painter’s<br /> Daughter,’ in which the daughter gives secretly<br /> to her father’s picture the touches and the colour<br /> which transform it from a failure to a success<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 451<br /> <br /> The treatment of the two stories is different;<br /> there is nothing similar except the motif, and that<br /> ig the same in both. The author of ‘The<br /> Painter’s Daughter’ is anxious to say that she<br /> does not for one moment insinuate or suspect any<br /> plagiarism. It is a coincidence, and, as such, it<br /> deserves to be recorded.”<br /> <br /> While agreeing with your remarks as to the<br /> “eoincidence,” I am constrained to ask you to<br /> be kind enough to correct an error.<br /> <br /> The story referred to, “ A Painser’s Daughter,”<br /> by Mrs. Edmonds, appeared in the June number<br /> of the Eastern and Western Review, which,<br /> doubtless by some inadvertence, you have referred<br /> to as the Eastern and Western Gazette. I think<br /> it right to call attention to this, and to ask you<br /> to do me the favour of inserting this letter in the<br /> next issue of the Author.<br /> <br /> I have the honour to be,<br /> Your faithful servant,<br /> H. AntHony SALOME<br /> (Editor Eastern and Western Review.)<br /> LN<br /> Prompt PaYMENT.<br /> <br /> Whilst on this subject, would it not be well<br /> to discuss publisher’s methods of payment ?<br /> <br /> I have had considerable experience in_ this<br /> matter, having published with eleven different<br /> firms—and with almost all, there has been a<br /> difficulty as to the date of payment—the most<br /> favourable terms (with one exception), being one<br /> half the amount paid on receipt of the MS, and<br /> the other half on publication—which I know, to<br /> my cost, may be postponed indefinitely.<br /> <br /> The one exception is ‘‘ The Leadenhall Press,”<br /> whose cheque for the whole amount agreed on, is,<br /> I have always found (and I believe it is their<br /> rule), ready on the MS. being finished and handed<br /> over. A ScriBBLER.<br /> <br /> ————— =<br /> <br /> V.<br /> <br /> Tar VALUE or Criticism TO BEGINNERS.<br /> <br /> Some time ago I wrote an essay called<br /> “ Doctors: by a Pessimist,’’ and sent it, with<br /> others, to the Secretary of the Society, for criti-<br /> cisim. Tle reply came in due course, and to my<br /> horror I found that what I considered to be a<br /> smart piece of writing was scathingly condemned.<br /> My critic, however, did not stop short at con-<br /> demnation, but took some trouble to indicate<br /> lines for alteration and amendment. I laid the<br /> advice to heart, pondered over the reproof, and<br /> re-wrote the paper ab initio. In its original form<br /> it had been “returned with thanks” several<br /> <br /> times; but now, at the first attempt, second<br /> series, I rejoice to say, it has found favour—<br /> with—mirabile dictu—the editor of a medical<br /> journal !<br /> <br /> I believe some people question the advantage<br /> of belonging to the Society of Authors; but here<br /> is a proof positive that, in my case at least, the<br /> value, in a pecuniary sense, is very great indeed.<br /> I could easily adduce other instances in which I<br /> have derived benefit from my membership, but<br /> this one will suffice. Hk. G.<br /> <br /> <br /> <br /> VI.<br /> Youna WRITERS.<br /> <br /> The Author wants to know how it can help<br /> young writers. There is a way. Is it practic-<br /> able? Not long ago an Idler said that whenever<br /> he wanted to feel warm he looked at his old<br /> MSS. He found there certain heat-giving<br /> properties. Many young writers would lke to<br /> know what these properties are. More than<br /> that, where the successful writer stumbled.<br /> Could not this be done in a series of paragraphs<br /> appearing each month in the Author? There<br /> are numerous pit-falls; would it be too much to<br /> ask well-known members of the society to lay<br /> some of them bare? ‘Those that they are<br /> personally acquainted with. A paragraph a<br /> month would not be a great call on a writer’s<br /> time. It would be—if practicable—an unselfish<br /> act, and these paragraphs would become to the<br /> young writer an invaluable literary chart. There<br /> is no map of the country at present. The pars<br /> could be headed ‘‘ Where I was Wrong.”<br /> <br /> A MEMBER.<br /> <br /> VII.<br /> DrEAMS.<br /> <br /> Coleridge and others are said to have com-<br /> posed poems in their sleep. This, very likely,<br /> is true, but let not everyone who may dream he is<br /> a poet expect to find confirmation thereof when<br /> he awakes. I myself do not remember ever having<br /> dreamt in verse, but it has frequently occurred<br /> to me to imagine in my sleep that I was giving<br /> expression to sentiments and ideas that, if<br /> collated, should astonish the world by reason of<br /> their depth and lucidity. . Last night I suddenly<br /> awoke with a distinct recollection of a sentence<br /> that seemed to me so majestic and full of mean-<br /> ing that I reached forth my hand in the dark,<br /> found a pencil, and then and there wrote it down.<br /> Here it is:—<br /> <br /> “ Tt was found that the bottom was dry. Talk was talk.”<br /> <br /> Tenclose the original for your edification ; and<br /> regret to add that I have not the remotest idea of<br /> <br /> ssc<br /> <br /> <br />  <br /> <br /> 452<br /> <br /> <br /> <br /> what the context of this dreamland sentence was.<br /> As it stands, sermons might be preached on it,<br /> or essays written; but intrinsically I fear it can<br /> <br /> <br /> <br /> <br /> <br /> only be classed as—nonsense. H. RB. G.<br /> — —<br /> FROM THE PAPERS.<br /> i :<br /> LItERATURE AT THE CoLuMBIAN ExposiITion.<br /> I<br /> <br /> ITERATURE will be represented at the<br /> Columbian Exposition in two distinct<br /> ways. First there will be the exhibit of<br /> <br /> books and libraries in the Liberal Arts Depart-<br /> ment of the Exposition proper at Jackson Park—<br /> an exhibit to be made up chiefly of consignments<br /> from the various publishers, whose applications<br /> for space evince a very general interest in the<br /> matter, and give promise of an attractive and<br /> worthy display. Of far greater importance to<br /> the interests of literature, however, will be the<br /> series of conferences, or congresses, to be held in<br /> July in the Memorial Art Building near the<br /> heart of the city, as a part of the programme<br /> planned by the World’s Congress Auxiliary, an<br /> outline of whose grand and comprehensive work<br /> was given in the Dial for Dec. 16 last. It is the<br /> present intention to have these literary con-<br /> gresses begin on July 10, one week in advance of<br /> the educational congresses, as many visitors may<br /> wish to attend meetings in both of these depart-<br /> ments. By using the several audience-rooms<br /> that will be provided in the Art Building, the<br /> meetings of different sections may be held<br /> simultaneously, and thus the work of the con-<br /> gresses be greatly expedited.<br /> <br /> The general department of literature, as we<br /> have already explained, has been made to include,<br /> besides literature proper as represented by<br /> authors and their interests, sections devoted to<br /> philology and history, and to libraries. In each<br /> of the three last-named sections plans are to<br /> be formed and programmes provided, as far as<br /> possible, in cooperation with existing national<br /> organisations—such as the Modern Language and<br /> Oriental Societies, the Historical Society, and the<br /> Librarians’ Association—some or all of which<br /> have already decided to hold their annual<br /> meetings for this year in Chicago, as a part of<br /> the proceedings of the auxiliary congresses. In<br /> the plans for a congress of authors, the same<br /> policy will, as far as practicable, be pursued,<br /> and the work carried on by the local c mmittees<br /> in conjunction with, or at least in consultation<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> with, the representative societies of men of<br /> letters, such as the American Copyright League,<br /> the Authors’ Club of New York, and the London<br /> Society of Authors. The drift of discussion will<br /> thus naturally tend, at least in the beginning,<br /> towards those subjects most nearly related to the<br /> interests of authors in their profession: the<br /> rights of literary property, copyright laws,<br /> national and international, the relations between<br /> authors and publishers, &amp;c. An international<br /> conference on the laws of literary property is<br /> among the probabilities of the Authors’ Congress,<br /> and may be an occasion of very great interest<br /> and tenefit. A number of prominent authors, at<br /> home and abroad, have cordially approved the<br /> general purposes of the congress, and, in response<br /> to the request of the local committee, have offered<br /> valuable suggestions as to the practical measures<br /> to be adopted. Mr. Walter Besant, late chairman<br /> of the London Society of Authors, has written<br /> that he will attend the congress as the delegate<br /> of his society, and will submit a paper by himself<br /> on some of the questions raised, from an English<br /> point of view. The Hon. James Bryce, M.P.,<br /> has given some timely counsel and furnished<br /> some excellent additions to the list of topics to be<br /> discussed. Royalty, in the person of King Oscar<br /> of Sweden-Norway, acknowledges recognition as<br /> a man of letters by expressing through his<br /> secietary his “warmest wishes for the Congress<br /> of Authors and for the results of its labours, as<br /> everything that will forward the dignity and<br /> welfare of the literary calling deeply interests<br /> His Majesty.” In this country much valuable<br /> assistance has been rendered by Mr. E. C.<br /> Stedman, the president of the American Copy-<br /> right League, and by Mr. R. U. Johnson, its<br /> secretary ; also by Mr. R. W. Gilder and others.<br /> <br /> While the plans thus far formed for the<br /> Congress of Authors relate principally to subjects<br /> of professional rather than of general literary<br /> interest, the latter should not and need not be<br /> lost sight of. Such topics as the relation of<br /> dramatic and musical copyright to literary copy-<br /> right, the teaching of literature in the schools<br /> and colleges, current modes and standards of<br /> literary criticism, literature and the newspapers,<br /> perhaps even the moral purpose in literature,<br /> might be discussed with profit not only to the<br /> writers of books but to the readers of them, and<br /> with the result of greatly broadening the interest<br /> and influence of the literary congresses.—The<br /> Chicago Dial.<br /> <br /> II.<br /> The plans for the Literary Congress, which<br /> will begin on July 10, have not yet assumed<br /> definite shape, but the prospect for an interesting<br /> week is encouraging. The subjects suggested<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 459<br /> <br /> for discussion are divided into four classes—<br /> aspects of literature, problems of the literary<br /> calling, the rights of literary property, and<br /> American literature. Under the first head are<br /> included such subdivisions as “Standards of<br /> Literary Criticism,” “ Literature and the News-<br /> papers,” “ Realism” and “ The Moral Purpose in<br /> Literature”; the second deals mainly with<br /> methods of publishing, and the third with<br /> different aspects of-copynght. There are also<br /> schemes afloat for authors’ readings in connec-<br /> tion with this Congress. The members of the<br /> Chicago committee of organisation are Francis F.<br /> Browne, editor of the Dial, who is chairman ;<br /> George E. Woodberry, Franklin H. Head, Joseph<br /> Kirkland, and David Swing. A committee of<br /> co-operation, with headquarters in New York,<br /> was also appointed, and of this Dr. Oliver<br /> Wendell Holmes is chairman, and George EK.<br /> Woodberry secretary. It members are Edmund<br /> C. Stedman, Charles Eliot Norton, Charles<br /> Dudley Warner, William Dean Howells, Col.<br /> 1’. W. Higginson, Dr. H. H. Furness, Richard<br /> Watson Gilder, Thomas Bailey Aldrich, George<br /> W. Gable, Maurice Thompson, Thomas Nelson<br /> Page, Frank Dempster Sherman, and Prof.<br /> Hjalmar H. Boyesen. With such men enlisted<br /> in its service, the literary congress should cer-<br /> tainly evolve something original and vital in the<br /> way of discussions.—New York Critic.<br /> <br /> ————<br /> <br /> EL<br /> Tur Rotiep MS.<br /> <br /> “Tye read,” said an editor toa writer in the<br /> New York Times, ‘ hundreds of rolled manu-<br /> scripts, and I never yet have found one that I<br /> cared to print. I have decided that the stupidity<br /> which rolls a manuscript cannot produce anything<br /> worth reading.” A rolled MS. is a desperate<br /> thing, but there is another that is almost worse—<br /> the one that comes to you with the last page on<br /> top and the first page at the bottom. A MS. was<br /> once sent to me arranged in this careless manner.<br /> There were five or six hundred pages of it. Do<br /> you know what I did with it? I sent it back to<br /> the author with a note in which I advised him<br /> before he sent that MS. further on its travels to<br /> show sufficient interest in it to arrange the pages<br /> properly. I hope for his sake that he acted upon<br /> my advice. If he did not, I doubt that his tale<br /> ever got a hearing. Life is too short for the<br /> important things to be done as they should be,<br /> and it never could be long enough for one not<br /> only to do his own work properly, but to rectify<br /> the careless work of others. A rolled MS. shows<br /> a thoughtless writer, but a MS. arranged back-<br /> wards shows a carelessness that is insulting to the<br /> <br /> person to whom it is sent, and argues ill for the<br /> intelligence of the writer. An attractive-looking<br /> manuscript goes a long way towards winning the<br /> favour of the “reader.” Even if refused, it is<br /> refused with genuine regret; but a “ reader’’ is<br /> only too glad to find the carelessly-prepared<br /> MS. as worthless as it looks. I have always<br /> admired the patience that induced Mr. George<br /> Haven Putnam to read the MS. of “The Leaven-<br /> worth Case,” for it was carelessly written in lead-<br /> pencil on common paper, and by an author then<br /> unknown. But he had his reward.—New York<br /> Critic.<br /> <br /> SS<br /> <br /> TLE.<br /> An AMERICAN PATERNOSTER Row.<br /> <br /> Fifth Avenue below Twenty -third-street in<br /> New York is rapidly becoming the American<br /> Paternoster-row. Beginning at the lower end<br /> we find Macmillan and Co., laying the founda-<br /> tion stone of a fine building on the avenue<br /> just below Thirteenth-street; C. L. Webster<br /> and Co., W. B. Harison, Brandus and Co.,<br /> and the New York offices of Ginn and Co.,<br /> and Leach, Shewell, and Sanborn are in the<br /> same neighbourhood. Further up, at No. 112,<br /> near Sixteenth-street, we find the New York<br /> offices and warerooms of Fleming H. Revell and<br /> Company, who have just removed to that point ;<br /> at No. 114, the handsome new store of James<br /> Pott and Co.; at No. 150, on the corner of<br /> Twentieth-street, the handsome building of the<br /> Methodist Book Concern with Hunt and Eaton’s<br /> handsome book store, and the Tnternational Bible<br /> Company, and at No. 182, near Twenty-third-<br /> street, the publishing-house of Anson D. F.<br /> Randolph and Co., with its attractive and well-<br /> stocked retail department.<br /> <br /> On the side streets of the avenue, running<br /> across to Union-square, we find on Tenth-street<br /> William Wood and Co., A. CG. Armstrong and<br /> Son, John Wiley and Son, the University Pub-<br /> lishing Company, Lovell, Coryell, and_ Co., the<br /> New York office of L. Prang and Co., Maynard,<br /> Merrill, and Co., and Fords, Howard, and Hulbert.<br /> On Twelfth-street, Ward, Lock, Bowden, and<br /> Co. On Fourteenth-street Thomas Y. Crowell<br /> and Co., A. Lovell and Co., J. A. Boll: and Co.,<br /> J. W. Shermerhorn and Co., D. C. Heath and<br /> Co., and Isaac Pitman and Son. On Sixteenth-<br /> street, Longmans, Green, and Co. the United<br /> States Book Company, and the New York office<br /> of the John Church Company. On Seventeenth-<br /> street, the Century Company, Thomas Nelson<br /> and Sons, Tait, Sons, and Co., Brentano’s (who<br /> will be at the corner of Sixteenth-street and<br /> Union-square, West, in a couple of weeks),<br /> <br /> ee<br /> <br /> <br /> 454<br /> <br /> Breitkopf and Hartel, Novello, Ewer, and Co.,<br /> the New York office of Houghton, Mifflin, and<br /> Co., the Catholic Publication Society, and Rich-<br /> mond and Croscup. On _ Eighteenth-street,<br /> McLoughlin Brothers. On Nineteenth-street,<br /> Dodd, Mead, and Co. On Twenty-first-street,<br /> Fowler and Wells Company, M. L. Holbrook,<br /> and George M. Allen and Co. On Twenty-second-<br /> street, the Reformed Church Board, and on<br /> Twenty-third-street, west of the avenue, Geo. P.<br /> Putnam’s Sons, Henry Holt and Co., E. P. Dutton<br /> and Co., Fred. A. Stokes Co., G. W. Dillingham,<br /> Wm. J. Kelly, Town Topics Publishing Company,<br /> and H. 8. Werner. Several other houses are now<br /> looking for quarters in this circle, and additions<br /> to the above list may be expected about the first<br /> of May next.<br /> <br /> Besides those mentioned are the publishing<br /> offices of The Judge, Frank Leslie&#039;s, &amp;c., and<br /> Mrs. Leslie’s own publications, The Forum. North<br /> American Review, Town Topics, Truth, and The<br /> Cosmopolitan. On Union-square, West, or one<br /> block from Fifth Avenue, are the publishing-<br /> offices and retail stores of Wm. A. Pond and Co.,<br /> G. Schirmer, R. A. Saalfield, and Edward<br /> Schuberth and Co., publishers and importers of<br /> music. Art is represented by Charles Klackner,<br /> George M. Allen Company, Jellineck and Jacob-<br /> son, Geo. F. Kelly and Co., and Radtke,<br /> Lauckner, and Co.— Publishers’ Weekly.<br /> <br /> <br /> <br /> IV.<br /> DepIcatTions.<br /> <br /> A writer in the Author lately exhorted modern<br /> authors to revert to the ancient custom of<br /> dedications. Mr. Watson did not need the<br /> exhortation. His present, like his former volumes,<br /> have dedications. “To Arthur Christopher<br /> Benson I commend this prince-errant of my<br /> half-fledged fancy, with full confidence in the<br /> hospitality of heart which will refuse kindly<br /> shelter to no wayfarer, how perplexed and mis-<br /> guided soever, in the bewildering world.” That<br /> is of “The Prince’s Quest.” “To Grant Allen,<br /> an only too generous appreciator of my verse, I<br /> dedicate this poem, knowing that he will recog-<br /> nise beneath its somewhat hazardous levity a<br /> spirit not wholly flippant such as can alone justify<br /> its inscription to a serious lover of the Muse.”<br /> That is of “The loping Angels.” And the<br /> ‘Excursions in Criticism ” (from which a certain<br /> “ excursion”’ on “ Fiction Plethoric and Anzwmic”’<br /> was wisely excluded) is dedicated, “ with apologies<br /> for so poor an offering,” to “ George Meredith,<br /> that this little volume may be graced with the<br /> vame of one of the truest of poets and most mag-<br /> <br /> THE AUTHOR.<br /> <br /> nanimous of men.” This is not the first tribute<br /> of the kind Mr. Meredith has received. ;<br /> Many dedications have been in grateful recogni-<br /> tion of care in nursing to literary maturity, dedi-<br /> cations to encouraging editors, and so forth; Mr.<br /> William Watson’s dedication, for example, of<br /> “Lacryme Musarum” to the editors of the<br /> Spectator; Mr. Barrie’s dedication of “Auld<br /> Licht Idylls” to Mr. Greenwood; and there is<br /> surely somewhere a similar tribute of Mr. Louis<br /> Stevenson to Mr. Leslie Stephen, who opened to<br /> him the pages of the Cornhill. Mr, Meredith<br /> himself, itis curious and interesting to remember,<br /> dedicated “Shagpat,” of all books in the world,<br /> to an editor of the Morning Post! He had been<br /> one of Sir William Hardman’s contributors.<br /> <br /> Mr. Meredith’s own first dedication, the<br /> dedication of the “ Poems” of 1851, now a book<br /> collector’s prize, was, it is interesting to recollect,<br /> to his father-in-law, Thomas Love Peacock, “in<br /> profound admiration and. affectionate respect.”<br /> ‘Modern Love” was “ affectionately inscribed to<br /> Captain Maxse, R.N.”; the new reprint—the<br /> second edition in thirty years !—is still dedicated<br /> “to Admiral Maxse in constant friendship.” The<br /> “Poems and Lyrics” of 1883 were dedicated to<br /> Cotter Morison, and “ Diana of the Crossways ”<br /> to Sir Frederick Pollock.<br /> <br /> Is there not a suggestive contrast between the<br /> “dedicatees” of Tennyson and Browning? The<br /> Queen, the Prince Consort, Robert Browning<br /> himself, and Lord Selborne—of such was the<br /> Laureate’s company; while Robert Browning’s<br /> chosen were Talfourd, Macready, Kenyon and<br /> Forster, Barry Cornwall, Landor, and M. Milsand.<br /> Talfourd had “ Pickwick” dedicated to him, and<br /> Barry Cornwall “ Vanity Fair” ; while “ Atalanta<br /> in Calydon” was an offering well worthy of<br /> Landor’s memory. Let us not forget Tennyson’s<br /> dedications to his wife, his grandson, Alfred<br /> Tennyson, and Henry Lushington (Old Fitz has<br /> not, we think, a formal dedication), and, above<br /> all, the more than dedication to Henry Hallam.<br /> Still less let us forget Browning’s “One Word<br /> More,” and the later invocation to his “ Lyric<br /> Love, half angel and half bird.” But no poet of<br /> them all, not even Browning, ever rivalled the<br /> fervour of John Mill’s dedication of his<br /> “ Liberty” to his wife. The palm for adoration<br /> rests with the economist and logician.— St.<br /> James&#039;s Gazette, April 8, 1893.<br /> <br /> <br /> <br /> V.<br /> Firing CopyricguHt.<br /> <br /> It is understood that the librarian of the<br /> Congressional Library has found it impossible to<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 455<br /> <br /> keep up with the applications for copyright filed<br /> at his office since the new copyright law went<br /> into effect. Additional clerks are sorely needed<br /> to assist Mr. Spofford in his labours.—New York<br /> Critic.<br /> <br /> <br /> <br /> VE.<br /> Tue Current ADJECTIVE.<br /> <br /> THERE are certain words that are good enough<br /> words in themselves, but which used in unusual<br /> connections become conspicuous and __ finally<br /> odious. Some time ago the favourite slang word<br /> of literature was “certain.” Every heroine had<br /> a “certain nameless charm,” &amp;c., and every hero<br /> a “certain air of distinction” about him, until<br /> you longed for one whose qualities were more<br /> uncertain in their nature or degree. “Certain ”<br /> seems to have had its day ; and now the favourite<br /> slang word of literature is “ distinctly.” Heroines<br /> are now “distinctly regal” in their bearing,<br /> and there is about the heroes a manner that is<br /> “ distinctly fine,” or whatever the adjective may<br /> be. In a book that I read not many days ago,<br /> the word “ distinctly” used in this way appeared<br /> three times on one page, until I was distinctly<br /> bored, and laid it down in disgust. ‘‘ Precious”<br /> used to be one of the tortured vocables, and<br /> there was a class of art-critics that went so far as<br /> to describe the paintings of their favourites as<br /> “distinctly precious”; but I think they have<br /> been laughed into a more material vocabulary by<br /> this time. I do not object to an original use<br /> of words, but I do hate affectation. in their<br /> use. There are two authors I could mention<br /> whose stories give the impression of long hours<br /> spent in hunting up obsolete words in the dic-<br /> tionary, who, so it seems to me, would rather have<br /> their readers say, ‘Where do you suppose he<br /> found sucha word?” rather than ‘“‘ How well he<br /> tells a story!” They seek to attract attention as<br /> jugglers of words, rather than legitimate users of<br /> them. Give mea writer whose aim is to tell a<br /> story well, rather than one whose aim is to startle<br /> his readers into attention by outré phrases.<br /> New York Critic.<br /> <br /> <br /> <br /> So<br /> <br /> Vit<br /> Auas! Poor Yoricx !<br /> <br /> Yorick made Duke of York !—The Professor of<br /> English in a Western college sends me the fol-<br /> lowing note, which T cannot forbear printing for<br /> the amusement of the Critic’s readers :<br /> <br /> “ Perhaps youare familiar with the advertising<br /> enterprise shown by the proprietors of &quot;8<br /> soap ; well, during the past few days an imported<br /> French or Italian artist, a ‘ Professor’ Leoni, has<br /> <br /> <br /> <br /> been occupying a large display window down<br /> town, carving or modelling out of bars of a<br /> soap, a scene from‘ Hamlet.’ There is the grave-<br /> yard with its enclosing wall, the trees, the birds,<br /> fallen headstones, the funeral monuments—all of<br /> the same soapy material; while the grave-diggers<br /> lounge around watching Hamlet and Horatio who<br /> stand by the open grave. Hamlet holds the skull,<br /> and is evidently apostrophising it. It is done<br /> with remarkable skill and some degree of artistic<br /> taste; but the funny thing about it is that the<br /> scene is labelled ‘ Hamlet discovering the skull of<br /> the Duke of York /and on the miniature tablet at<br /> the head of the grave the artist has carved so that<br /> he who runs may read—<br /> <br /> <br /> <br /> —____—<br /> <br /> DUKE<br /> <br /> “ Now was it not dismal humiliation enough to<br /> put the melancholy Dane into soap, without con-<br /> verting that mad rogue Yorick into His Grace<br /> the Duke of York?<br /> <br /> ‘To what base uses may we turn, Horatio !<br /> <br /> “Tn faith, if this sort of thing be allowed to<br /> run ov, what theories of corrupted text and what<br /> plausible emendation of unfamiliar names may<br /> we not expect in the days to come? Might not<br /> one come eventually to interpret poor Yorick asa<br /> solar myth, or something of that sort, at last ?”<br /> —New York Critic.<br /> <br /> ——-—e<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> R. GEORGE MEREDITH is busy upon<br /> a serial story for the Pall Mall Maga-<br /> zine, and has also undertaken to write a<br /> serial for Scribner&#039;s.<br /> <br /> Mr. Joseph Hatton’s new novel, “ Under the<br /> Great Seal,” will be published on May 1 by<br /> Messrs. Hutchinson, and in New York by the<br /> Cassell Publishing Company.<br /> <br /> Mr. Eden Phillpotts has almost completed his<br /> new story, which will bear the title “Some Every-<br /> day Folks.” Mr. Phillpotts has written the next<br /> volume of the “ Breezy Library.” It will bear the<br /> title “Summer Clouds,” and will be published by<br /> Messrs. Raphael Tuck and Co.<br /> <br /> Mr. Philip H. Bagenal has written a mono-<br /> graph on the politico-ecclesiastical aspects of the<br /> Trish question which bears the title “ The Priest<br /> <br /> ser rt<br /> <br /> a ES SY a A EE<br /> <br /> <br />  <br /> <br /> 450<br /> <br /> in Politics.” Messrs. Hutchinson are the pub-<br /> <br /> lishers.<br /> <br /> Mrs. Simmons (V. Schallenberger), the author<br /> of “Green Tea,” has written a new story entitled<br /> “Men and Men,” which will be published at<br /> once by Messrs. J. R. Osgood, Mcllvaine, and<br /> Co.<br /> <br /> Mrs. Abraham Dixon has prepared a new and<br /> revised edition of ‘Chronicles of Columbus,”<br /> a propos of the Columbus Centenary Celebrations,<br /> Messrs. G. P. Putnam’s Sons are the pub-<br /> lishers, and they will publish the volume simul-<br /> taneously in London and New York.<br /> <br /> It has been arranged through the Author’s<br /> Syndicate that Mrs. Campbell Praed’s new story,<br /> “Christina Chard,” should run serially through<br /> the Queen.<br /> <br /> Mr. Frederic Breton has wri!ten a story entitled<br /> “The Crime of Maunsell Grange,” which will be<br /> published immediately by Messrs. J. R. Osgood,<br /> Mellvaine, and Co.<br /> <br /> “Rita” has completed a new three-volume<br /> novel entitled ‘The Ending of My Day,” which<br /> will, through the Authors’ Syndicate, be published<br /> in a number of newspapers in the early summer.<br /> <br /> Mr. W. Morris Colles has written an article for<br /> the May number of the New Review entitled<br /> “The Future of English Letters.”’<br /> <br /> “ Utterly Mistaken,” a novel by Annie Thomas ;<br /> “Witness to the Deed,’ by George Manville<br /> Fenn; ‘Prince Hermann, Regent,’ by Jules<br /> Lemaitre, translated from the French by Miss<br /> B. M. Sherman, and Mark Rutherford’s Deliver-<br /> rance,”’ uniform with the ‘ Autobiography of<br /> Mark Rutherford,” are published by the Cassell<br /> Company, New York.<br /> <br /> The Finns are joining the civilised world—of<br /> fiction. A Finnish novel named “ Squire Helman,”<br /> has been translated by Mr. R. N. Bain, and will<br /> be published by Fisher Unwin.<br /> <br /> Mr. W. M. Conway’s work on his expedition<br /> to the Himalayas, is making progress; it will be<br /> illustrated from drawings made on the spot, and<br /> by maps from surveys and observations conducted<br /> by Mr. Conway himself.<br /> <br /> John Strange Winter has a new story in the<br /> press called “ That Mrs. Smith.” (F. W. White<br /> and Co.)<br /> <br /> Annie Thomas (Mrs. Pender Cudlip) is bring-<br /> ing out a new novel called ‘ Utterly Unknown.”<br /> (F. V. White and Co.)<br /> <br /> A new edition of John Addington Symonds’<br /> “Introduction to the Study of Dante,” is in<br /> preparation (Messrs. A. and C. Black). It was<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> nearly ready at the moment of the lamented<br /> author’s death.<br /> <br /> Mr. Robert Louis Stevenson’s new work<br /> “Island Nights’ Entertainments,” will be pub-<br /> lished by Cassell and Co.<br /> <br /> Mr. Rudyard Kipling contributes a“ National<br /> Poem, to celebrate the opening of the Imperial<br /> Institute,” to the English Illustrated.<br /> <br /> Mr. Charles Brookfield makes his first appear-<br /> ance immediately as an author with a volume of<br /> four stories. (Ward and Downey.)<br /> <br /> Dr. Verrall is bringing out in the Classical<br /> Library of Macmillan and Co., an edition of the<br /> Choephore of Aischylus, with a commentary,<br /> translation, and notes.<br /> <br /> Mr. Dykes Campbell’s new edition of Coleridge’s<br /> works, with his introduction and life is now ready<br /> <br /> (Macmillan and Co.)<br /> <br /> Prof. Minto has left behind him an unpublished<br /> “Manual of Logic.” The proofs, however, were<br /> all corrected, and the work will be published by<br /> Mr. Murray.<br /> <br /> Mr. Cosmo Monkhouse has added a “ Life of<br /> Leigh Hunt” to Mr. Walter Scott&#039;s “Great<br /> Writers.”<br /> <br /> The first Book Sale in England, it took place<br /> in the year 1676. And those who want to learn<br /> what it was like, may read a most interest-<br /> ing account of it in Longman’s Magazine for<br /> April.<br /> <br /> It is understood, says the New York Critic,<br /> that the Librarian of the Congressional Library<br /> has found it impossible to keep up with the<br /> applications for copyright filed at his office since<br /> the new copyright law went into effect. Addi-<br /> tional clerks are sorely needed to assist Mr.<br /> Spofford in his labours. |<br /> <br /> Lady Burton has completed arrangements for<br /> the issue of a complete and uniform edition of<br /> all Sir Richard Burton’s works, beginning with<br /> “The Pilgrimage to Mecca and Medinah.”<br /> <br /> “Dan’l’s Delight,”’ by Archie Armstrong, has<br /> met with a very good reception at the “ German<br /> Reeds.”<br /> <br /> Mr. Luther J. B. Lincoln’s entertainment,<br /> which goes by the name of “Uncut Leaves,” is<br /> said to be enjoying great popularity in America.<br /> Among the authors who read from their own<br /> works at the last one, the other day, were Prof.<br /> A. S Hardy, William Henry Bishop and Col.<br /> Richard Malcolm Johnston. Miss Laura Sedg-<br /> wick Collins delivered a new monologue by<br /> Charles Barnard, and Augustus Thomas gave a<br /> talk on the drama.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 457<br /> <br /> Mrs. Edith E. Cuthell, author of “Only a<br /> Guardroom Dog,” is editing Mrs. R. H. Tyache’s<br /> book of travel and sport in the Central Hima-<br /> layas, ‘How I Shot my Bears; or Two Years’<br /> Tent Life in Kullu and Lahoul.” .The book is to<br /> be published very shortly by Messrs. Sampson<br /> and Marston, illustrated by photos taken on the<br /> spot.<br /> <br /> Messrs. Bentley are bringing out Mrs. Edith<br /> E. Quthell’s new book “Indian Memories,” of<br /> various phases of life in different parts of India.<br /> <br /> Lieut.-Col. Cuthell has compiled a useful and<br /> much-needed “ Sailing Guide to the Solent and<br /> Poole Harbour; with Practical Hints on Living<br /> and Working on a Small Yacht,” to be published<br /> by Upeott Gill directly.<br /> <br /> “By a Himalayan Lake,” a one-volume novel<br /> by the author of the collection of Indian stories<br /> called “In Tent and Bungalow,” is just published<br /> by Messrs. Ward and Downey.<br /> <br /> The London Letter of the New York Critic<br /> will be written for the present by Mr. Arthur<br /> Waugh, the author of the “ Biography of Tenny-<br /> son.” He takes the place of Mrs. L. A. Walford,<br /> who in her turn succeeded Mr. W. E. Henley.<br /> The Critic is a paper which might in many of<br /> its features be imitated by our own literary<br /> journals.<br /> <br /> The Monthly Packet (A. D. Innes and Co.)<br /> for July will contain a serisl story by Dorothea<br /> Gerard, called “Lot 13,” and also papers by<br /> Miss Brande on “Thinkers of the Middle<br /> Ages.”<br /> <br /> Christabel Coleridge has ready a new novel<br /> called “ Waynflete.” 2 vols. A. D. Innes and Co.<br /> are the publishers.<br /> <br /> The same writer has ready “ Strolling Players.”<br /> 1 vol. (Macmillan and Co.)<br /> <br /> A series of unpublished letters by S. T. Cole-<br /> ridge, edited by his grandson, Ernest Hartly Cole-<br /> ridge, are running through the Illustrated London<br /> News. A volume of letters will probably follow<br /> them in the autumn.<br /> <br /> Mr. John Bloundelle-Burton, author of “lEhe<br /> Desert Ship,” ‘The Silent Shore,” “ His Own<br /> Enemy,” &amp;c., will shortly contribute a serial stury<br /> of adventure to Young England. “The Desert<br /> Ship” will be produced in volume form (with<br /> the original illustrations and four extra ones, by<br /> Mr. Hume Nesbit) in the autumn, by Messrs.<br /> Hutchinson and Co.<br /> <br /> Mr. Bertram Mitford’s new novel, “ The Gun-<br /> runners: A Tale of Zululand,” will be published<br /> immediately by Messrs. Chatto and Windus,<br /> <br /> Mrs. Oliphant will shortly produce a “ Bio-<br /> graphy of Thomas Chalmers” (Methuen and<br /> Co.).<br /> <br /> Mr. H. D. Rawnsley will publish, before long,<br /> a volume of poems called “ Valete.” They are<br /> principally In Memoriam verses on Tennyson<br /> and others. The publishers are Messrs. James<br /> Maclehose and Sons, Glasgow.<br /> <br /> Early in May Mr. Fitzgerald Molloy will<br /> produce a new novel, “ His Wife’s Soul.”<br /> (Hutchinson and Co.)<br /> <br /> Pes<br /> <br /> <br /> <br /> THE AUTHOR&#039;S BOOK EXCHANGE.<br /> <br /> (Names of books wanted, books for sale, and books for exchange,<br /> to be sent to the “Book Exchange,” Society of Authors,<br /> 4, Portugal-street. All correspondence on this subject to<br /> be addressed in the same way.)<br /> <br /> —————<br /> <br /> Books Wanted.<br /> <br /> The attention of secondhand booksellers is particularly<br /> invited to the following list. Books in the list remain<br /> till they are found or until the applicant desires their<br /> removal.<br /> <br /> The price, post free, and the condition of the book to be<br /> named in reply.<br /> <br /> Rowlandson’s Adventures of Johnny Newcome in the Navy,<br /> 1818; Military Adventures of Johnny Newcome, 1818.<br /> <br /> Shadwell’s Dramatic Works, 4 vols., 1720.<br /> <br /> Alexander’s History of Women.<br /> <br /> Hazlitt’s Liber Amoris, 1823.<br /> <br /> The World: any vols., 1753, et seq.<br /> <br /> Appeal to the Men of Great Britain in behalf of Women,<br /> 1798.<br /> <br /> Capper’s Port and Trade of London, 1862.<br /> <br /> Bissett, Andrew’s Notes on the Anti-Corn Law Struggle,<br /> 1884.<br /> <br /> Barnes’s New Discovery of Pigmies.<br /> <br /> Beloe’s Sexagenarian, 1st edition, 1817.<br /> <br /> Hackluyt’s Voyages.<br /> <br /> Kit Kat Club, Memoirs of, with the portraits, 1821.<br /> <br /> Tavern Anecdotes, 1825.<br /> <br /> Murray’s Chronicles of St. Dunstan’s in the East, 1859.<br /> <br /> Memorials of Fleet-street. By a Barrister.<br /> <br /> Meiner’s History of the Female Sex, 1808.<br /> <br /> Reader’s Handbook of Illusions, &amp;c. By Dr. Brewer.<br /> <br /> Windsor’s Ethica, 1840.<br /> <br /> Urquhart’s Tracts.<br /> <br /> Mitchell’s Christian Mythology.<br /> <br /> Cunningham’s Story of Nell Gwynne.<br /> <br /> Dunton’s Young Student’s Library.<br /> <br /> Howell’s Epistol, 1688.<br /> <br /> Sharpe’s Coventry Pageants.<br /> <br /> Stirling’s Old Drury-lane.<br /> <br /> Grosley’s Tour to London, 2 vols., 1772.<br /> <br /> Hogarth’s Frolic (any edition).<br /> <br /> Rabelais: W. F. Smith’s New Translation.<br /> <br /> —Office of the Author.<br /> <br /> Beckford’s Vathek.<br /> <br /> Somerville’s The Chase.<br /> <br /> Tusher’s Five Hundred Points of Good Husbandry.<br /> <br /> —_J. E. Tayuer, Leavesden, Herts.<br /> <br /> sea EES<br /> <br /> ee<br /> <br /> <br />  <br /> <br /> 458<br /> <br /> <br /> <br /> Larwood’s History of Signboards.<br /> Andrew’s Old Times Punishments.<br /> Any Works of Cobbett.<br /> —E. Wotrerstan, Arts Club, Hanover-square.<br /> History of Paddington.<br /> Dr. Syntax: Life of Napoleon.<br /> —J. Batcomp, 14, Paddington-green.<br /> Captain Conyngham’s Services of the Irish Brigade in the<br /> Great American War.<br /> —HeEnry Brown, 4, Lorn-road, Brixton.<br /> Grant Allen: Physiological Asthetics.<br /> <br /> —F. H. P. Costs, Fowkes - buildings, Great<br /> Tower-street, E.C.<br /> <br /> Books Offered.<br /> Glazebrook’s Physical Optics.<br /> Smith’s Sacred Animals.<br /> Sinclair: a novel. By Mrs. Pilkington, 4 vols., published<br /> 1809.<br /> <br /> The Family Estate; or Lost and Won. By Mrs. Ross,<br /> 3 vols., 1815.<br /> Ellesmere. By Mrs. Meeke, 4 vols., 1799. Minerva Press,<br /> <br /> Leadenhall-street.<br /> Fitzroy. By Maria Hunter, 2 vols., 1792.<br /> Leadenhall-street.<br /> Lord Walford. By L. L., Esq., 2 vols., 1789.<br /> Chesterfield Letters. 2 vols., calf, 1777.<br /> mall.<br /> Oakwood Hall. 3 vols. A novel by Catherine Hutton,<br /> including description of the Lakes.<br /> Hugh Trevor. By Thomas Holcroft, 2 vols., 1794.<br /> —Office of the Author.<br /> <br /> sop’s Fables, 1760. Ilustrated by Z. Lister.<br /> <br /> Aisop’s Fables, 1810. Illustrated by Nesbit.<br /> <br /> Cary’s Atlas of English County Maps, 1787.<br /> <br /> Glass’s Contemplations, 1799, 4 vols., calf.<br /> <br /> Faber on Prophecy, 1806, 2 vols.<br /> <br /> Les Pseaumes de David, 1727, Amsterdam, with music.<br /> Goethe’s Schiller, 1820.<br /> <br /> Goethe’s Schiller, 1824.<br /> <br /> Schiller’s Fridolin.<br /> <br /> Minerva Press,<br /> <br /> Dodsley, Pall-<br /> <br /> =-8. ¢. B.<br /> <br /> Shakespeare Quarto Facsimiles, photo-lithographed. Edited<br /> by Dr. F. J. Furnivall, 43 vols. ei<br /> <br /> Cowley’s Works, 1688.<br /> <br /> Anacreon and Sappho, translated by Addison, with the<br /> Greek opposite, 1755. —G. B. G.<br /> <br /> <br /> <br /> Se.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology,<br /> <br /> ADENEY,WALTERF. Ezra, Nehemiah, and Esther. Hodder<br /> and Stoughton. 7s. 6d.<br /> <br /> Benson, Rev. R. M. The Final Passover: a series of<br /> meditations upon the Passion. Vol. III. The Divine<br /> Exodus. Part I. Longmans. 5s.<br /> <br /> CARNEGIE, W. H. Through Conversation to the Creed; a<br /> brief account of the reasonable character of religious<br /> conviction. Longmans. 3s.<br /> <br /> Cox, Rev. J. Cuarugs. The Gardens of Scripture. Six<br /> meditations, together with a sermon on Christianity<br /> and Archeology. Sampson Low.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Duke, Davip. Synchronism of the Passion Days, with<br /> charts. Published by him at Great Easton, Leicester-<br /> shire. Paper covers, 1s. 6d.<br /> <br /> Farmer, JouN. Hymns and Chorales for Schools and<br /> <br /> - Colleges. Edited by. Words only. Clarendon Press,<br /> Oxford. Henry Frowde. 2s.<br /> <br /> GILBERT, Josran. Nature, the Supernataral and the<br /> Religion of Israel. Hodder and Stoughton. 9s.<br /> <br /> Hearp, Rey. J. B. Alexandrian and Carthaginian<br /> Theology Contrasted. The Hulsean Lectures, 1892-93.<br /> T. and T. Clark, Edinburgh. 6s.<br /> <br /> Momeriz, Rev. A. W. The Religion of the Future, and<br /> other essays. W. Blackwood and Sons.<br /> <br /> Ryuz, Rr. Rey. J. C. Thoughts about Sunday, its insti-<br /> tution, privileges, and due observance. W. Hunt and<br /> Co., Paternoster-row. Paper covers, 3d.<br /> <br /> SoLty, Henry S. The Gospel according to Mark: a Study<br /> in the Earliest Records of the Life of Jesus. The<br /> Sunday School Association, Essex Hall, Essex-street,<br /> W.C. 3s. 6d.<br /> <br /> THOROLD, ANTHONY W., D.D. The Gospel of Work.<br /> “Preachers of the Day” Series. Sampson Low.<br /> Wittiam Law’s Derence or CuuRcH PRINCIPLES.<br /> Three letters to the Bishop of Bangor, 1717-1719.<br /> Edited by J.O. Nash, M.A., and Charles Gore, M.A.<br /> <br /> Griffith, Farren. 2s. 6d. net.<br /> <br /> Woopeatr, W. B. A Modern Layman’s Faith (Nova<br /> religio laict) concerning the Creed and Breed of the<br /> “Thoroughbred Man.” Chapman and Hall. 14s.<br /> <br /> History and Biography.<br /> <br /> An EXAMINATION oF THE Home RULE Brut oF 1893,<br /> with an appendix containing the full text of the measure<br /> itself. 3d. Dublin: Hodges, Figgis, and Co. Wm.<br /> M‘Gee. The Liberal Union of Ireland.<br /> <br /> ARGYLL, DuxKE or, K.G. Irish Nationalism: an Appeal to<br /> History. John Murray.<br /> <br /> Brieut, Rey. Mynors. The Diary of Samuel Pepys<br /> M.A., F.R.S. Transcribed from the Shorthand Manu-<br /> script in the Pepysian Library, Magdalene College,<br /> Cambridge. With Lord Braybrooke’s Notes. Edited,<br /> with additions, by Henry B. Wheatley, F.S.A. Vol. I.<br /> Price to subscribers £8 8s. net per set. London: George<br /> Bell and Son ; Cambridge : Deighton, Bell, and Co.<br /> <br /> Brink, BERNHARD Ten. History of English Literature<br /> (Wyclif, Chaucer, Earliest Drama, Renaissance).<br /> Translated from the German by Wm. Clarke Robinson,<br /> Ph.D. Revised by the Author. Vol. I. George Bell<br /> and Sons. 3s. 6d.<br /> <br /> Butter, ARTHUR Joun. The Memoirs of Baron de<br /> Marbot, late Lieutenant-General in the French Army.<br /> Translated from the French. With portrait. Fourth<br /> edition. Slightly abridged. Longman. 7s. 6d.<br /> <br /> CurisTiz, Rev. James. Northumberland: its History, its<br /> Features, and its People. Presbyterian Publication<br /> Committee, Paternoster-square.<br /> <br /> CLAYDEN, P. W. England Under the Coalition. Supple-<br /> mentary chapter and index. Fisher Unwin. Paper<br /> covers, 1s. 6d.<br /> <br /> Couiimr, W. FREDERICK. Tales and Sayings of William<br /> Robert Hicks, of Bodmin, with portrait and memoir.<br /> Third edition, enlarged. London: Simpkin, Marshall,<br /> and Co.; Plymouth: William Brendon and Son.<br /> <br /> Forp, Cnuarencr. The Life and Letters of Mme. de<br /> Krudener. A.and C. Black. 15s.<br /> <br /> Gasquet, F. A. Henry VIII. and the English Monasteries.<br /> New edition, with Ilustration. Part XII. ls. net.<br /> <br /> John Hodges, Agar-street, Charing-cross.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 459<br /> <br /> HARRISON, FREDERIC. Annals of an Old Manor-house—<br /> Sutton Place, Guildford. Illustrated. Macmillan.<br /> £2 2s. net.<br /> <br /> Jackson, T. G. 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Eyre and Spottiswoode.<br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> Now Ready, at all the Libraries, Booksellers’, and Bookstalls, in 2 vols.,<br /> crown 8vo, cloth extra, price 21s.<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> ise<br /> <br /> [oF et as PFPAY DH.<br /> <br /> OPINIONS OF THE PRESS<br /> <br /> THE TIMES:<br /> <br /> ‘“Mr. James Payn’s pleasant story contains a startling<br /> novelty.<br /> undergraduates of Cambridge University. Mr. Payn’s<br /> picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘nice little college’ of<br /> St. Neot’s. Cambridge men will have little difficulty in<br /> recognising this snug refuge of the ‘ ploughed.’<br /> <br /> An ingenious plot, clever characters, and, above all, a/|<br /> <br /> plentiful seasoning of genial wit. The uxorious<br /> master of St. Neot’s is charmingly conceived. If only for<br /> his reminiscences of his deceased wives, ‘A Stumble on<br /> the Threshold’ deserves to be treasured. . We<br /> turn over Mr. Payn’s delightful pages, so full of surprises<br /> and whimsical dialogue. =<br /> <br /> DaILy NEWS:<br /> <br /> “The dramatic story is told with an excellent wit. It<br /> abounds in lively presentation of character and in shrewd<br /> sayings concerning life and manners. That study of<br /> mankind which is ‘man’ has furnished a liberal educa-<br /> tion to this genial humorist. The men and women he<br /> pourtrays move before us, as do our friends and<br /> acquaintances, distinct individualities, yet each possessed<br /> of that reserve of mystery a touch of which in the<br /> delineation of human nature, is more convincing than<br /> pages of analysis. Needham, Fellow of St.<br /> Neot’s, Cambridge—simple, loyal, gently independent—is<br /> a beautiful study. The story alternates in its setting<br /> between Bournemouth, Cambridge, and some charming<br /> spots near the Thames. The description of life in the<br /> Alma Mater on the banks of the Cam gives Mr. Payn<br /> opportunities for humorous sketches of professors and<br /> students, and he shows himself in the light of an excellent<br /> raconteur. This part of the narrative furnishes some<br /> delightful reading; we seem to be listening to the best<br /> talk, incisive, racy, and to the point. Space will not<br /> allow us to quote some of the wise and witty sayings,<br /> tinged it may be with cynicism, which are the outcome of<br /> Mr. Payn’s philosophy of life, and which are not the least<br /> entertaining art of this attractive novel.”<br /> <br /> DAILY CHRONICLE:<br /> <br /> ‘Mr. James Payn is here quite at his usual level all<br /> through, and that level is quite high enough to please<br /> most people. The character drawing is good.<br /> The story of the master sounds strangely like truth.<br /> <br /> : A book to read distinctly.”<br /> <br /> DAILy GRAPHIC:<br /> + | . | The dramatic unity of time, place, and cir-<br /> cumstance has never had a more novel setting. oe<br /> <br /> |<br /> <br /> SATURDAY REVIEW:<br /> ‘\A very interesting story, and one that excels in clever<br /> <br /> he leading actors are a group of| contrast of character and close study of individualism.<br /> <br /> : The characters make the impression of reality on<br /> <br /> the reader. . Extremely pleasant are the sketches<br /> <br /> of University life.”<br /> THE WORLD:<br /> <br /> ‘‘The most sensational story which the author has<br /> written since his capital novel, ‘By Proxy.’<br /> Never flags for a moment.”<br /> <br /> BLACK AND WHITE.<br /> <br /> BE ceive Ingenious and Original. Mr. Payn knows<br /> <br /> how to invent and lead up to a mystery.”<br /> <br /> LEEDS MERCURY:<br /> <br /> ‘““Three more distinctive characters have, perhaps,<br /> never been drawn by Mr. James Payn than in Walter<br /> Blythe, Robert Grey, and George Needham, Cambridge<br /> undergraduates, who figure prominently in ‘A Stumble<br /> on the Threshold.’”<br /> <br /> GuLAsagow HERALD:<br /> ae Mr. Payn’s latest invention in sensational<br /> episode; but wild horses will not drag from us a<br /> statement of the mystery. It is new and thoroughly<br /> original, and worthy of the ingenuity of the loser of Sir<br /> Massingberd.”<br /> <br /> BATLEY REPORTER:<br /> Is most attractive reading.”<br /> <br /> ay<br /> <br /> HAMPSHIRE TELEGRAPH AND CHRONICLE:<br /> <br /> ‘““Mr. James Payn’s latest story, ‘A Stumble on the<br /> Threshold,’ which has been the chief attraction in the<br /> ‘Queen’ during the last few months—where, by the way,<br /> it was most admirably illustrated—has just been issued<br /> in two handsome vols. by Mr. Horace Cox. The story is<br /> written in Mr. Payn’s happiest vein: it sparkles with wit,<br /> the characters are most unconventional, and the old, old<br /> theme is worked out on quite novel lines.”<br /> <br /> HEREFORD TIMES<br /> <br /> ‘‘ With all their sparkle and gaiety, Mr. Payn’s novels<br /> would not be complete without the dread Nemesis,<br /> mysterious in operation, and casting suspicion for a<br /> time on every side but the right one. The novel is<br /> thoroughly attractive, and a credit to the practised hand<br /> which penned it.”<br /> <br /> THE OBSERVER:<br /> <br /> «| . . Is a characteristic story, remarkably<br /> quietly told, always pleasing and satisfying, and pro-<br /> viding a startling incident at a moment when everything<br /> seems serene.”<br /> <br /> <br /> <br /> <br /> <br /> London:<br /> <br /> HORACE COX, Windsor House,<br /> <br /> Bream’s E.C.<br /> <br /> Buildings,<br /> <br /> <br /> <br /> *CHEAP JACK ZITA”<br /> <br /> <br /> <br /> NEW SERIAL STORY<br /> my S&amp;S BARING-GoOuULD.<br /> <br /> ENTITLED<br /> <br /> “CHEAP<br /> <br /> JACK ZITA,”<br /> <br /> With Illustrations by a Prominent Artist, commenced in the ‘‘ Queen” on Jan. 7.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> of MSS. copied with care.<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> Is. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> (eet REVISED and CORRECTED on Mode-<br /> / rate Terms by the Author of “The Queen’s English<br /> up to Date” (see Press Opinions), price 2s.<br /> <br /> Address “ Anglophil,” Literary Revision Office,<br /> Strand, W.C.<br /> <br /> <br /> <br /> 342,<br /> <br /> Miss R. V. GILL,<br /> <br /> TYPE-WRITING OFFICES,<br /> 6, Adam-street, Strand, W.C.<br /> <br /> ee:<br /> Authors’ and dramatists’ Work a Speciality. All kinds<br /> Extra attention given to difficult<br /> hand-writing and to papers or lectures on scientific subjects.<br /> Type-writing from dictation. Shorthand Notes taken<br /> and transcribed.<br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MRS. Gib,<br /> TYP#-WRITING OFFICE,<br /> <br /> 35. LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> <br /> ect :<br /> <br /> Authors’ MSS. carefully copied from 1s. per 1000 words, Plays,<br /> &amp;c., Is. 8d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.<br /> <br /> <br /> <br /> Miss PATTEN,<br /> TYPIST<br /> <br /> 44, Oakley Street Flats, Chelsea S.W.<br /> <br /> Authors’ MSS. carefully transcribed. References kindly permitted<br /> to George Augustus Sala, Esq., Justin Huntly McCarthy, Esq., and<br /> many other well-known Authors.<br /> <br /> Fire - Proof Safe for MSS.<br /> Partic.lars on Application.<br /> <br /> Price One Shilling ; by Post, 1s. 3d.<br /> <br /> Te E QUEEN ALMANACK, and Lady’s Calendar,<br /> <br /> 1893, Contains a Chromo-Lithograph Plate of an Album Cover<br /> in Imitation Boule Work, Winter Comforts in Knitting and Crochet,<br /> Designs for Pyrographic, Hand-painted, or Inlaid Work, and Bent<br /> Iron Work. &amp;e.<br /> <br /> The ** Queen ” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> Published every Friday morning; price, without Reports, 9d.; with<br /> Reports, 1s.<br /> <br /> HE LAW TIMES, the Journal of the Law and the<br /> <br /> Lawyers, which has now just completed its fiftieth year,<br /> <br /> supplies to the Profession a complete Record of the Progress of Legal<br /> <br /> Reforms, and of all matters affecting the Legal Profession. The<br /> <br /> Reports of the Law Times are now recognised as the most complete<br /> and efficient series published.<br /> <br /> Offices: Windsor House, Bream’s-buildings, E.C.<br /> <br /> TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD&#039;S CLERICAL DIRECTORY<br /> <br /> HOF.<br /> <br /> 1893<br /> <br /> Being a Statistical Book of Reference for Facts relating to. the Clergy in England,<br /> <br /> Wales, Scotland<br /> <br /> Ireland and the Colonies,<br /> <br /> WITH A FULLER INDEX RELATING TO PARISHES AND BENEFICES THAN ANY EVER YET<br /> <br /> GIVEN TO THE PUBLIC.<br /> <br /> <br /> <br /> LONDON: HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.0C.<br /> <br /> <br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> <br /> BY THE LATHE Me.<br /> <br /> SHRIDAN ET Cox.<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND).<br /> <br /> PRICE 7s. 6d.<br /> <br /> <br /> <br /> LONDON: HORACE COX, “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/450/1893-05-01-The-Author-3-12.pdf	publications, The Author