| 294 | https://historysoa.com/items/show/294 | The Author, Vol. 07 Issue 04 (September 1896) | <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.+07+Issue+04+%28September+1896%29"><em>The Author</em>, Vol. 07 Issue 04 (September 1896)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015049239455" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015049239455</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> | 1896-09-01-The-Author-7-4 | | | | | 73–96 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=7">7</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1896-09-01">1896-09-01</a> | | | | | | | 4 | | | 18960901 | Uhc Butbor*<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. VIL—No. 4.] SEPTEMBER i, 1896. [Price Sixpence.<br />
CONTENTS.<br />
•<br />
PAG*<br />
PAOK<br />
Warnings and Notices<br />
73<br />
National Bibliography<br />
S3<br />
Literary Property—<br />
Notes and News. By the Editor<br />
81<br />
1. "The Fol'owing Favourable Terms" ...<br />
75<br />
Feuilleton—<br />
2. Serial RlghtB<br />
76<br />
The Reputation of Bipplington<br />
si;<br />
8. The First Book<br />
77<br />
Monsters in Fiction<br />
so<br />
4. Pitts c. George and Co<br />
77<br />
Book Talk<br />
91<br />
6. The Associated Booksellers<br />
78<br />
Literature in the Periodicals<br />
:ti<br />
6. Literary and Artistic Congress<br />
80<br />
Correspondence—1. To be Returned within a Certain Time.<br />
New York Letter<br />
SO<br />
2. Injury by Detention. 8. The Title. 4. Literary Grab-alls.<br />
Reviewing<br />
82<br />
5. Criticism from a Commercial Point of View<br />
M<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report. That for January 1896 can be had on application to the Secretary.<br />
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members. Back numbers are offered at the following prices:<br />
Vol. I., ios. 6d. (Bound); Vols. II., III., and IV., 8». 6d. each (Bound); Vol. V., 6s. 6d.<br />
(Unbound).<br />
3. Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry G-laisher,<br />
95, Strand, W.C.) 3*.<br />
4. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, late Secretary to<br />
the Society, is.<br />
5. The Cost Of Production. In this work specimens are given of the most important forms of type,<br />
size of page, Ac, with estimates showing what it costs to produce the more common kinds of<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
6. The Various Methods of Publication. By S. Squire Sprigge. In this work, compiled from the<br />
papers in the Society's offices, the various forms of agreements proposed by Publishers to<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. 3*.<br />
7. Copyright Law Reform. An Exposit ion of Lord Monkswell's Copyright Bill now before Parlia-<br />
ment. With Extracts from the Eeport of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lely. • Eyre<br />
and Spottiswoode. is. 6d.<br />
8. The Society of Authors. A Record of its Action from its Foundation. By Walter Bisant<br />
(qhairman of Committee, 188g_jgo2). Iir,<br />
9. The ^Contract^ ^Publication ^ gennany, Austria, Hungary, and Switzerland. By Ernst<br />
<br />
<br />
## p. 72 (#100) #############################################<br />
<br />
11<br />
AD VER TISEMENTS.<br />
g>ocietp of Jluf^ots (gncotporaieb).<br />
Sie Edwin Aknold, K.C.I.E., C.S.I.<br />
Alfred Austin.<br />
J. M. Baerik<br />
A W. X Beckett.<br />
?. E. Beddard, F.B.S.<br />
Robert Bateman.<br />
Sib Henrt Bergne, K.C.M.G.<br />
Sir Walter Besant.<br />
Augustine Birrell, M.P.<br />
Eev. Prof. Bonnet, F.B.S.<br />
Bight Hon. James Bryce, M.P.<br />
Bight Hon. Lord Burghclere, P.C<br />
Hall Caine.<br />
Egerton Castle, F.S.A.<br />
P. W. Clatden.<br />
Edward Clodd.<br />
W. Morris Colles.<br />
Hon. John Collier.<br />
Sir W. Martin Conwat.<br />
F. Marion Crawford.<br />
A. W. X Beckett.<br />
Sir Walter Besant.<br />
Egerton Castle.<br />
W. Morris Colles.<br />
PRESIDENT.<br />
a-ZEOZRO-IE MEREDITH.<br />
COUNCIL.<br />
The Earl of Desart.<br />
Austin Dobson.<br />
A. Conan Doyle, M.D<br />
A. W. Dubourg.<br />
Sir J. Eric Erichsen, Bart., F.B.S.<br />
Prof. Michael Foster, F.B.S.<br />
Bichard Oabnett, C.B., LL.D.<br />
Edmund Gosse.<br />
H. Bideb Haggard.<br />
Thomas Hardy.<br />
Anthony Hope Hawkins.<br />
Jerome K. Jerome.<br />
Budyard Kipling.<br />
Prof. E. Bay Lankester, F.B.S.<br />
W. E. H. Lecky.<br />
J. M. Lely.<br />
Mrs. E. Lynn Linton.<br />
Eev. W. J. Loftie, F.S.A.<br />
Sir A. C. Mackenzie, Mus.D.<br />
Prof. J. M. D. Meiklejohn.<br />
Counsel — E. M. Underdown,<br />
COMMITTEE OF MANAGEMENT<br />
Chairman—H. Eider Haggard.<br />
Hon. John Collier<br />
Sir W. Martin Conway.<br />
Anthony Hope Hawkins.<br />
J. M. Lely.<br />
Herman C. Meriyale.<br />
Eev. C. H. Middleton-Wake.<br />
Sir Lewis Morris.<br />
Henry Norman.<br />
Miss E. A. Ormerod.<br />
J. C. Parkinson.<br />
Eight Hon. Lord Pirbright.<br />
Sir Frederick Pollock, Bart., LL.D.<br />
Walter Herries Pollock.<br />
W. Baptiste Scoones.<br />
Miss Flora L. Shaw.<br />
G. B. Sims.<br />
S. Squire Sprigge.<br />
J. J. Stevenson.<br />
Prof. Jas. Sully.<br />
William Moy Thomas.<br />
H. D. Traill, D.C.L.<br />
Mrs. Humphry Ward.<br />
Miss Charlotte M. Yonoe.<br />
Hon.<br />
Q.C.<br />
8dicitors ^ Messrs. Field, Eoscoe, and Co., Lincoln's Inn Fields.<br />
* \Q. Herbert Thring, B.A., 4, Portugal-street, W.C.<br />
Sir A. C. Mackenzie, Mus.D.<br />
Henry Norman.<br />
S. Squire Sprigge.<br />
Secretary—6. Herbert Thring, B.A.<br />
OFFICES: 4, Portugal Street, Lincoln's Inn Fields, W.C.<br />
IE3. WATT & SO INT,<br />
LITERARY AGENTS,<br />
Formerly of 2, PATERNOSTER SaUARE,<br />
Have now removed to<br />
HASTINGS HOUSE, NORFOLK STREET, STRAND,<br />
LONDON. "W.C.<br />
WINDSOR HOUSE PRINTING WORKS,<br />
BREAM'S BTJ-IXjIDHTO-S, ZE.G.<br />
Offices of "The Field," "The Queen," "The Law Times," &e.<br />
Mr. HOEACE COX, Printer to the Authors' Society, takes the opportunity of informing Authors that, having a very<br />
large Office, and an extensive Plant of Type of every description, he is in a position to EXECUTE any PEINTLNG they<br />
may entrust to his care.<br />
ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.<br />
<br />
<br />
## p. 73 (#101) #############################################<br />
<br />
XI be Hutbor*<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. VII.—No. 4.]<br />
SEPTEMBER 1, 1896.<br />
[Price Sixpence.<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<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 />
THE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank 0/ London, Chancery-lane, or be sent by registered<br />
letter only.<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
GENERAL CONSIDERATIONS.<br />
are several methods of publishing by agree-<br />
ments. Thus (1) an author may sell his work for a<br />
sum of money down: (2) he may take a share of the<br />
profits: (3) he may accept a royalty.<br />
The first method is the readiest and, where a proper<br />
price is paid, perhaps the best. It involves a certain amount<br />
of risk or doubt as to the result on the part of the buyer,<br />
and a certain amount of hesitation on the part of the seller.<br />
The author would do well to sell through an agent. But let<br />
him beware as to his choice of agent.<br />
At a time when the production of new books involved<br />
great risks and where the possible circle of purchasers was<br />
very small, the publishers, joining together, took half the<br />
profits as a return for their risk and services. At the present<br />
time in many cases, where there are no risks, they often take<br />
two-thirds and even more of the profits, and that after setting<br />
apart a large sum for "office expenses," allowing the author<br />
nothing at all for his office expenses. In other words,<br />
it is as if a steward were to charge first for his office<br />
and desks and then to take half or two-thirds of the<br />
remainder for himself as steward's fee. Therefore the author<br />
must in every case ascertain carefully, before signing the<br />
agreement, what proportion is appropriate under its clauses<br />
by the publisher for himself. If the aa(L jg ja doubt, let<br />
him submit the agreement to the secret- r to one of the<br />
VOL. Til. *?> 0<br />
literary agents recommended by the secretary. Above all<br />
things he must remember that in any business transaction<br />
the one who accepts an agreement in ignorance will quite<br />
certainly get the worst of it. The folly of signing in<br />
ignorance is the main cause of half the quarrels between<br />
author and publisher.<br />
In the case of profit-sharing agreements, remember that a<br />
very common form of getting the better of an author is the<br />
practice of advertising the book in the publisher's own organs,<br />
very likely magazines of small circulation. Sometimes,<br />
also, he " exchanges " advertisements with other magazines,<br />
and charges the author as if he had paid for them. In this<br />
way the publisher may put the whole profits of a book in his<br />
own pooket. One way to prevent this sharp practice is to<br />
insert a clause to the effect that advertisements Bhall only<br />
be charged at the actual price paid for them. A better way,<br />
however, is to agree beforehand upon the papers in which<br />
advertisements may be inserted.<br />
As regards the right of inspecting the books, that neeo<br />
not be claimed, because it exists as the right of every<br />
partner, or joint venturer. You have only to demand the<br />
inspection of the books by your solicitor, your accountant,<br />
or the secretary of the Sooiety.<br />
It' the book is a first book, or one that carries risk, it is fan-<br />
to make an arrangement for the first edition and another for<br />
the second, and following, if any. The publisher confers so<br />
signal a service upon the young author by producing his<br />
work at all—i.e., by giving him the chance he desires above<br />
all things—that it seems fair in such a case to yield him the<br />
larger share.<br />
In a profit-sharing agreement do not let the cost of pro-<br />
duction form a part of the agreement, otherwise you will<br />
be unable to contest it afterwards.<br />
It will be wisest never to enter into relations with any<br />
publisher unless recommended by the Society.<br />
There are many other dangers to be avoided. Serial<br />
rights: stamping the agreement: American rights: future<br />
work: cession of copyright—these things cannot possibly<br />
bo attended to by the young author. Therefore his agree-<br />
ment should always be shown to the secretary.<br />
It has been objected that these precautions presuppose a<br />
great success for the book, and that very few books indeed<br />
attain to this great success. That is quite true: but there is<br />
always this uncertainty of literary property that, although<br />
the works of a great many authors carry with them no risk<br />
at all, and although of a great n^oy it '8 known within a few<br />
copies what will be their mi^j^uw calculation, it is not<br />
known what will be their xh^jb«». Therefore every<br />
author, for every should<br />
success which<br />
may come.<br />
Therefore<br />
on the chance ot<br />
The four poijw , the ^ ^ A*«s» 4cmMv4e4<br />
from the outset H *\ ve"<br />
(«0 That K / ^vN5 n« W ^<br />
mean.. ^'^ \ ^<br />
<br />
<br />
## p. 74 (#102) #############################################<br />
<br />
74<br />
THE AUTHOR.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) That there shall be no secret profits.<br />
(4.) That nothing Bhall be charged which has not been<br />
actually paid—for instance, that there shall be no charge for<br />
advertisements in the publisher's own organs and none for<br />
exchanged advertisements; and that all discoants shall bo<br />
duly entered.<br />
If these points are carefully looked after, the anthor may<br />
rest pretty well assured that he is in right hands. At the<br />
same time he will do well to send his agreement to the<br />
secretary before he signs it.<br />
HOW TO USE TEE SOCIETY.<br />
1. in VERY member has a right to ask for and to receive<br />
Pi advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
has a right to an opinion from the Society's solicitors. If the<br />
case is such that Counsel's opinion is desirable, the Com-<br />
mittee will obtain for him Counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with oopyright<br />
and publisher's agreements do not generally fall within tho<br />
experience of ordinary solicitors. Thorefore, do not scruple<br />
to use the Society first—onr solicitors are continually<br />
engaged upon such questions for us.<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country.<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
9. The committee have now arranged for the reception of<br />
members' agreements and their preservation in a fireproof<br />
safe. The agreements will, of course, be regarded as con-<br />
fidential documents to be read only by the Secretary, who<br />
will keep the key of the safe. The Society now offers:—(1)<br />
To read and advise upon agreements and publishers. (2) To<br />
stamp agreements in readiness for a possible action upon<br />
them. (3) To keep agreements. (4) To onforce payments<br />
due according to agreements.<br />
THE AUTHORS' SYNDICATE.<br />
MEMBERS are informed:<br />
1. That the Authors' Syndicate takes charge of<br />
the business of members of the Society. That it<br />
submits MSS. to publishers and editors, concludes agree-<br />
ments, examines, passes, and collects accounts, and, gene-<br />
rally, relieves members of the trouble of managing business<br />
details.<br />
2. That the terms upon which its services can be secured<br />
will be forwarded upon detailed application.<br />
3. That the Authors' Syndicate works only for those<br />
members of the Society whose work possesses a market<br />
value.<br />
4. That the Syndicate can only undertake any negotiations<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that all<br />
communications relating thereto are referred to it.<br />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least two days'<br />
notice should be given.<br />
6. That jvery attempt is made to deal with all communi-<br />
cations promptly. That stamps should, in all cases, be sent<br />
to defray postage.<br />
7. That the Authors' Syndicate does not invite MSS.<br />
without previous correspondence; does not hold itself<br />
responsible for MSS. forwarded without notice; and that<br />
in all cases MSS. must be accompanied by stamps to defray<br />
postage.<br />
8. That the Syndicate undertakes arrangements for<br />
lectures by some of the leading members of the Society:<br />
that it has a "Transfer Department" for the sale and<br />
purchase of journals and periodicals; and that a " Register<br />
of Wants and Wantod" is open. Members are invited to<br />
communicate their requirements to the Manager.<br />
There is an Honorary Advisory Committee, whose services<br />
will be called npon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
NOTICES.<br />
THE Editor of the Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write P<br />
Communications for the Author should reach the Editor<br />
not later than the 21 st of each month.<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
<br />
<br />
## p. 75 (#103) #############################################<br />
<br />
THE AUTHOR.<br />
75<br />
commusieating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
The Authors' Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, Ac.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year? If they will do<br />
this, and remit the amount, if still unpaid, or a banker's<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
Members are most earnestly entreated to attend to the<br />
following warning. It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduct, whether he was honest<br />
or dishonest? Of course they would not. Why then<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<br />
Those who possess the "Cost of Production" are<br />
requested to note that the cost of binding has advanced IS<br />
per cent. This means, for those who do not like the trouble<br />
of "doing sums," the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands<br />
at jBq 4». The figures in our book are as near the exact<br />
truth as can be procured; but a printer's, or a binder's,<br />
bill is so elastic a thing that nothing more exact can be<br />
arrived at.<br />
Some remarks have been made upon the amount charged<br />
in the " Cost of Production" for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher's own magazines,<br />
or in other magazines by exchange. As agreements too<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits call it.<br />
LITERARY PROPERTY.<br />
I.—" The Following Favourable Tebms."<br />
THE two proposals which follow explain<br />
themselves. We have omitted the name<br />
of the author and the name of the firm.<br />
The secretary, however, will inform any members,<br />
who may desire to know the latter.<br />
D.ABSJB, July 24, tSofi.<br />
We have given this work our careful attention, and our<br />
opinion of it being favourable, we have decided to offer you<br />
the following favourable terms for its production and<br />
publication, viz.:—<br />
That in consideration of our printing 1000 copies of the<br />
book in the best style on good paper from new type,<br />
publishing at the popular price of 3s. (fi ^ jjandsome cloth,<br />
gold lettered, advertising to the amom,j r £1 a*1"* Riving<br />
you two-thirds of the proceeds of sal68 c 01 gteo *° Pay to<br />
us the sum of .£88—.£50 when you sign the agreement, and<br />
J638 when you see the last proofs.<br />
The above amount to constitute your sole' outlay, the<br />
copyright remaining your property.<br />
The expenses of all future editions to be borne entirely by<br />
us, we paying to you one half the profits.<br />
It may perhaps be superfluous to mention that reviewing,<br />
and all the many other technicalities of publishing necessary<br />
for placing the book on the market, would have our especial<br />
care.<br />
We should be glad of an early decision on our terms, as<br />
we are desirous of proceeding with the work without delay<br />
in order that it may be ready in good time for the autumn<br />
season, the best publishing season of the year.<br />
Faithfully yours,<br />
P.S.—The above payment is inolusive of revision and<br />
preparation for press.<br />
July 30, 1896.<br />
Dear Sib,<br />
We are in receipt of your favour, and regret to say we do<br />
not see our way to undertake publication on terms other<br />
than thoBe in which you at least make a payment. This is<br />
usual with new writers. We have, however, after careful<br />
reflection, decided to make you the following exceptional<br />
offer, viz.:—<br />
That you make payment of the sum of ,£70 (J640 on<br />
signing the agreement, and .£30 when you see the last<br />
proofs), and share with us in all sales of the work thus—<br />
that you receive three-fifths of the proceeds of sales on a<br />
first edition of 1000 copies. Afterwards half the profits on<br />
future editions, the expenses of which would be borne<br />
entirely by us.<br />
The expenses of advertising (full details of which would<br />
be sent you) to be a first charge on the total sales.<br />
Being anxious to meet you in the matter of terms, we have<br />
placed your payment at the lowest, consistent with good<br />
work and effective publishing.<br />
We can only now add that if you elect to entrust the<br />
publication with us, you may rely on our doing our best to<br />
make the book a suocess.<br />
Faithfully yours,<br />
We note on the above:<br />
(1) The first offer is for .£50 on signing the<br />
agreement and ,£38 on receiving first proof: but<br />
,£15 to be spent on advertising.<br />
(2) The second offer is for ,£40 on signing the<br />
agreement and .£30 on receiving first proof.<br />
None of the money to be spent on advertising.<br />
(3) The publishers in their second offer reserve<br />
the power of spending what they please on<br />
advertising.<br />
(4) Under the first proposal the author gets<br />
two-thirds of the total proceeds of the first<br />
edition of 1000 copies.<br />
(5) Under the second, proposal he gets three-<br />
fifths of the total procee<^%<br />
Let us now Sflp UBder tU '^ost^wwaUe terms,<br />
how the autV . *0u\a Xe%A- ^suppose the<br />
whole of th^T°i t e^itit^V5^ °VeSS ""^<br />
copies givex^ ft^ls J**! •W*e<br />
the aveLg^<br />
nearly too* ^ V<br />
<br />
<br />
## p. 76 (#104) #############################################<br />
<br />
76<br />
THE AUTHOR.<br />
Now, under the first offer,<br />
Author pays <£88: receives two-thirds o f <£ioo<br />
—i.e., £66 13.9. 4</.<br />
Certain loss on the best possible event,<br />
£21 6s. Sd.<br />
By the second offer.<br />
Author pays ,£70.<br />
Receipts £100, less (say) =£15 for adver-<br />
tising = £8 5.<br />
Author receives three-fifths of ,£85—i.e., £51.<br />
Certain loss on the best possible event, £19.<br />
The author's certain loss at the best gives the<br />
publishers' highest profit. They take on the first<br />
offer ,£88, less .£15 for advertisements = .£73. To<br />
this must be added the interest on the money<br />
before printers, &c, are paid. Is it too much<br />
to set this down at 10 per cent.?<br />
Thus we have for the publisher's account:<br />
.£. *. d.<br />
Received from the author 73 o o<br />
Interest on ,£73 for six months<br />
at 5 per cent 3 13 o<br />
By one-third of sales 33 6 8<br />
109 19 8<br />
From this must be deducted the cost of pro-<br />
duction, which in such cases is conducted with an<br />
eye to cheapness. Perhaps it would amount to £70,<br />
seeing that the type is not probably stereotyped.<br />
On these figures, we observe that in the event of<br />
there being a sale of the whole edition (a very<br />
unlikely event) the publisher's profit would be<br />
somewhere about ,£40 and the author's loss<br />
would be about £20. Nothing, however, has<br />
been said about corrections. Under the second<br />
offer the publisher can do what he pleases about<br />
advertisements. The author's loss may, there-<br />
fore, be anything up to the amount paid over.<br />
Does this admirable result commend this way of<br />
publishing? We have not inquired what the<br />
publisher means by taking "reviewing" into his<br />
especial care. One would like to know what he<br />
does mean. It may be added that these letters<br />
are only samples. Dozens reach the secretary, all<br />
in the same temis.<br />
The following, for example, is another proposal<br />
from the same firm. The reader will mark the<br />
wonderful resemblance of the two proposals with<br />
the little differences of liability.<br />
August I0> 1896.<br />
Dear Madam,<br />
We have given this work our careful attention, and, our<br />
opinion of it being favourable, wo have decided to offer<br />
you the following favourable terms for its production and<br />
publication, viz.:<br />
That, in consideration of our printing 1000 copies of the<br />
book in the best style on good paper from new type, pub-<br />
lishing at the popular price of 6s. in handsome cloth, gold<br />
lettered, advertising to the amount of £2^, and giving you<br />
two-thirds of the proceeds of sales, you agree to pay to ub<br />
the sum of £go, £60 when you sign the agreement, and .£30<br />
when you see the last proofs.<br />
The above amount to constitute your sole outlay, the<br />
copyright remaining your property.<br />
The expenses of all future editions to be bome entirely by<br />
us, we paying to yon one half the profits.<br />
It may, perhaps, be superfluous to mention that reviewing,<br />
and all the many other technicalities of publishing necessary<br />
for placing the book on the market, would have our especial<br />
care.<br />
We Bhonld bo glad of an early decision on our terms, as<br />
we are desirous of proceeding with the work without delay,<br />
in order that it may be ready in good time for the autumn<br />
season, the best publishing season of the year.<br />
Faithfully yours,<br />
II.—Serial Rights.<br />
The following paragraph should have been<br />
noticed last month. It appeared in the St.<br />
James' Gazette of July 7th.<br />
"Is the purchaser of the serial rights of a work<br />
of fiction entitled to go on producing the work as<br />
a serial for an indefinite number of times and for<br />
an indefinite period, if there is no express provision<br />
in the agreement to the contrary? A literary<br />
agent has, it seems, recently expressed the opinion<br />
that he is so entitled; and authors with serial<br />
rights to dispose of are recommended by a<br />
contemporary to insert in their agreements a limit<br />
of time for serial production. Seeing that it is<br />
common knowledge that publication in book form<br />
is to follow, that such publication is implied in<br />
the very fact of the separate sale of serial rights,<br />
one might have fairly supposed that it was an<br />
implied term of the bargain that the purchaser of<br />
the serial right should publish and finish publish-<br />
ing the serial within a reasonable time of the<br />
purchase. Will the Authors' Society take<br />
counsel's opinion upon the point?"<br />
This is purely a question of agreement. Serial<br />
rights are not, as a matter of fact, now under-<br />
stood to mean the first right of appearance, but<br />
the right of placing a work as a serial anywhere,<br />
and as often as can be arranged.<br />
Generally speaking, a novelist expressly states<br />
in his agreement that he sells only the first right<br />
of appearance in serial form; with, of course, a<br />
time limitation. There are, however, certain<br />
syndicates which buy " all serial" rights, meaning<br />
the right to place a work as a serial as often as<br />
they can find purchasers for it. This "second"<br />
right is so seldom worth anything that it would<br />
seem useless to make any stipulation about it. It<br />
would be well, however, if authors would take the<br />
precaution of seeing that their agreements reserve<br />
for them what they wish to be reserved. On the<br />
other hand, if a writer does not object to his work<br />
appearing here, there, and everywhere, why<br />
should he not let a syndicate buy that right?<br />
<br />
<br />
## p. 77 (#105) #############################################<br />
<br />
THE AUTHOR.<br />
77<br />
Suppose, however, that the point remains open:<br />
suppose that a syndicate purchases "the serial<br />
rights : " and that the question thus remains. "Do<br />
'the serial rights ' mean only the right of publica-<br />
tion in serial form before the volume form 9" Or,<br />
in other words, does the recognised intention of<br />
the author to publish in volume form put an end to<br />
serial right after publication in volume form? If<br />
after, why not before? In fact, experience shows<br />
that publication in serial form does good, not<br />
harm, to volume form: and one cannot see why<br />
this established fact does not apply to " second<br />
rights a-i well as "first." One important syndi-<br />
cate, at least, in buying the whole serial rights<br />
expressly states this fact in its agreements. The<br />
authors, however, are in command of the situa-<br />
tion: they can refuse to sell more than they<br />
choose: if they limit "serial rights" to first<br />
appearance, they can do so. Is it worth while to<br />
ask counsel's opinion as to what is meant by<br />
"serial" rights when the words are already<br />
practically taken to mean the power of selling a<br />
work as a serial whenever, wherever, as often as,<br />
as long as, the buyer pleases and can find a<br />
market?<br />
III.—The Fibst Book,<br />
i.<br />
In your comments on my article on American<br />
Literature, and the injustice of the United<br />
States Copyright Act, especially in depriving<br />
the European author of the earnings of his first<br />
work, you say the English author loses those<br />
earnings in his own country also. Were this<br />
true, there would still remain much difference<br />
between voluntarily parting with one's property<br />
and being robbed of it. But is it true? Surely<br />
any man able to write a book is able to secure<br />
from a publisher an agreement that the royalty<br />
shall increase with the sales. Thus his success<br />
becomes his property. If any English author<br />
has been able to secure, for his first icork, such a<br />
sliding scale, I trust he will make the fact known.<br />
Moncuee D. Conway.<br />
a.<br />
My own experience of an author's first book is<br />
that he is lucky, indeed, if he gets it taken by any<br />
one on any terms, provided that he is not obliged<br />
to pay for its production and to pay a fancy price,<br />
in most cases. When a first book is so good as to<br />
be certain of success, which is very rare indeed, it<br />
is taken, of course, without hesitation. Most first<br />
books are paid for by the authors: a few> bow-<br />
ever, are accepted by an editor jfben thev are<br />
generally bought "right out" ^ ^0 publisher,<br />
when they often turn out extremely well—for the<br />
publisher. Thus a case is in my recollection in<br />
which a story was accepted by the editor and bought<br />
by the publisher for ,£50. It ran through the maga-<br />
zine, which thus got a novel for next to nothing:<br />
the magazine type served for the volume form:<br />
several editions have been printed: the publisher<br />
has done very well indeed. And the author ought<br />
not to grumble, because he had his first chance.<br />
I have never yet seen one agreement in which the<br />
author with his first book was offered a graduated<br />
royalty. There may be such agreements, but I<br />
have never seen any. My own first novel (in<br />
collaboration) was thus managed:'<br />
(1) It appeared in Once a fVeek for £100.<br />
(2) The authors printed it themselves, gave the<br />
book, bound, to the publishers, superintended the<br />
advertising, and gave a commission to the<br />
publishers. They printed 600 copies, all of which<br />
were taken. The publisher secured about £60;<br />
the authors about .£100.<br />
(3) The cheap form was then sold for five years<br />
to another firm for £50.<br />
(4) All rights were sold out, for, I think, ,£100.<br />
(5) An American firm sent £50.<br />
The authors, therefore, contrived to divide about<br />
■£400. Not much, it is true, but in those days<br />
between the very popular authors and the less<br />
popular there was a much wider gulf than at<br />
present.<br />
The name of the book was " Ready Money<br />
Mortiboy," and I should be very glad to know<br />
how many copies of the book have been sold since<br />
its first appearance; not in any spirit of grumbling,<br />
because this selling of all rights for a small sum<br />
was then the practice, and it was not possible to<br />
do better with it. The sale outright continues to<br />
be the practice with some writers, and is a<br />
very good one, provided the proper price can be<br />
obtained. Now a new writer has no "proper<br />
price." It is quite impossible to say how far he<br />
will succeed, either from a literary or a commercial<br />
point of view.<br />
The above method is commended to a new<br />
writer who believes in his own work. He must<br />
not give bis MS. to the publisher to be printed<br />
but must print it himself. He must not give the<br />
publisher a free hand with the advertisements.<br />
He must give a liberal commission. He must be<br />
free with his Press copies. Perhaps be will lose<br />
something on his veiituve but lie will get what<br />
most he wants—his first ^a3>£fc-<br />
IV.—Pitts<br />
"In thi^<br />
injunction<br />
<br />
^ Co. {.The Times,<br />
<br />
<br />
## p. 78 (#106) #############################################<br />
<br />
78<br />
THE AUTHOR.<br />
any copies of a piece of music called 'La<br />
Filleuse,' by the celebrated composer, Joachim<br />
Eaff, or dealing with them so as to infringe the<br />
plaintiff's copyright therein. It appeared that<br />
the plaintiff was the assignee of the copyright in<br />
the piece of music in this country, and that the<br />
defendant had (inadvertently, as he alleged)<br />
purchased and sold about fourteen copies of the<br />
piece, which had been printed at Liepzig by the<br />
publishers and representatatives of the original<br />
proprietor, and published, so far as appeared,<br />
either at Brussels or Paris. The plaintiff now<br />
moved the court for an injunctiou.<br />
"Mr. Ingpen appeared for the plaintiff in<br />
support of the motion.<br />
"Mr. Scrutton, for the defendants, referred to<br />
section 10 of the International Copyright Act,<br />
1844 (7 Vict. c. 12), prohibiting the importation<br />
of 'all copies of books wherein there shall be<br />
any subsisting copyright, printed or reprinted iu<br />
any foreign country except that in which such<br />
books were first published ;' and submitted that,<br />
as the copies sold by the defendant were printed<br />
at Leipzig, where the piece of music was first<br />
published, the case was within the exception con-<br />
tained in the section, and the action therefore<br />
could not be maintained.<br />
"Mr. Ingpen, in reply, referred to section 15 of<br />
the Copyright Act, 1842 (5 & 6 Vict. c. 45), as<br />
containing an absolute prohibition against the<br />
sale in this country of imported copies of books<br />
or music entitled to copyright, and contended<br />
that section 10 of the Act of 1844 was not an<br />
enabling enactment, but merely prohibitory, and<br />
that section 15 of the Act of 1842 therefore<br />
remained in full force.<br />
"Mr. Justice Kekewich said that section 15 of<br />
the Act of 1842 contained a prohibition against<br />
the importation into this country and sale of<br />
copies of works registered here, if unlawfully<br />
printed or reprinted. The Act of 1844 was an<br />
international Act, intended to support the inter-<br />
change of copyright obligations between this<br />
country and foreign countries, but not so as to<br />
exclude the right of what might be termed the<br />
'domicile of origin' of the work. Accordingly<br />
that Act provided in effect that, where books<br />
were printed or reprinted in any foreign country<br />
in which they were first published, then the print-<br />
ing might be continued and they were not subject<br />
to the prohibition contained in the section. The<br />
law therefore was not transgressed if the<br />
books imported were first published in the domi-<br />
cile of origin. The pieces of music in this<br />
case were clearly published in Leipzig, the<br />
domicile of origin, and therefore, being law-<br />
fully printed, were not within the prohibitive<br />
part of section 10 of the Act of 1845 nor within<br />
the prohibition' contained in section 15 of the Act<br />
of 1842.<br />
'* The motion being, by consent, treated as the<br />
trial of the action, his Lordship accordingly gave<br />
judgment for the defendant."<br />
The above case was tried in the High Courts<br />
before Mr. Justice Kekewich, and from the deci-<br />
sion of that judge an appeal was entered. The<br />
case on appeal was heard at the end of the sittings,<br />
and, as the question of law is exceedingly difficult<br />
and complicated, the Justices of Appeal deferred<br />
judgment. They were unable, however, to fix a<br />
date in the last Session on which to deliver judg-<br />
ment, as the research into former Acts of Parlia-<br />
ment necessitated considerable labour. The case<br />
as it stands, however, is put down for considera-<br />
tion of the members of the Society, especially<br />
those who are writers of music, to whom it<br />
specially refers. The case comes under the Inter-<br />
national Copyright Act of 1844, and does not<br />
touch the Berne Convention on any point. It<br />
applies especially to those holders of musical copy-<br />
right, of whom there are many in the Society, as<br />
music is a universal language, and needs no trans-<br />
lation for its publication in a foreign country. It<br />
applies in a much less degree to holders of<br />
literary copyright, but it is possible that it might<br />
be desirous to publish a book in its original lan-<br />
guage in a foreign country. This is of course of<br />
infrequent occurrence, but such cases have<br />
occurred. When the final decision has been given<br />
by the Justices of Appeal, if given at the end of<br />
October, it will come most probably into the<br />
December number. _ _<br />
V.—The Associated Booksellers.<br />
The following correspondence has been sent to<br />
the Author by the hon. secretary of this society :—<br />
Thb Associated Booksellers of Great Britain<br />
and Ireland.<br />
370, Oxford-street, W.<br />
July 31, 1896.<br />
Gentlemen,<br />
On behalf of the Council I beg to bring before you the<br />
correspondence which has taken place between the Council<br />
of the Publishers' Association and ourselves, from which it<br />
will be seen that we have referred to "individual pub-<br />
lishers" with respect to clause 3 of our resolutions sent to<br />
them.<br />
Our Council therefore asks you to say definitely whether yon<br />
will be prepared to ooncede (perhaps gradually) the terms<br />
asked for in clause 3, which is worded as follows :—<br />
"3. That publishers recognise that immediate relief is<br />
necessary, by charging single copies of books pub-<br />
lished at 7s. 6d. and upwards, at a net price, which<br />
would be equivalent to the net cost when the odd<br />
copy is is taken with the usual discount at settle-<br />
ment."<br />
I remain, yours truly,<br />
Thomas Burleigh, Hon. Sec.<br />
<br />
<br />
## p. 79 (#107) #############################################<br />
<br />
THE AUTHOR.<br />
79<br />
Copy of resolution sent to Mr. C. J. Longman, the presi-<br />
dent of the Publishers' Association :—<br />
"That the Council having received from Mr. Longman a<br />
report of the meeting held on the 21st inst. (November),<br />
regret that the publishers decline to appoint a committee to<br />
meet the booksellers. They note, however, with satisfaction<br />
the formation of a Publishers' Association, and trust that<br />
when the new society is fully organised arrangements will<br />
be made for the meeting of the councils of the two bodies,<br />
as they are convinced it is only by the co-operation of pub-<br />
lishers with booksellers- that any improvement can bo<br />
effected in the condition of the retail trade.<br />
II.<br />
St. Dnnstan's House, Fetter-lane, London, E.C.<br />
March 27, 1896.<br />
To Thomas Burleigh, Esq.,<br />
Hon. Sec. The Associated Booksellers of Great Britain<br />
and Ireland, 370, Oxford-Btreet, W.<br />
Dear Sib,<br />
Your letter to the president of the Publishers' Associa-<br />
tion dated March 17 was considered at the first meeting of<br />
the Council, held yesterday, and I was requested to inform<br />
you that, if at any time the Booksellers' Association will<br />
submit to the Council of the Publishers' Association any<br />
definite question with a view to a joint discussion, the Pub-<br />
lishers' Association will be very happy to take it into con-<br />
e ideration, and, if found desirable, to arrange a meeting, but<br />
they do not regard a conference, without any definite<br />
object, as likely to lead to satisfactory results.<br />
Yours faithfully,<br />
R. B. Mabston,<br />
Secretary (pro tern.) of the Publishers' Association.<br />
ra.<br />
Copy of resolution sent to the hon. secretary of the Pub-<br />
lishers' Association:—<br />
"It having been conclusively proved that no combination<br />
of booksellers alone can deal with the excessive discounts<br />
which render the trade unprofitable to most retailers, the<br />
Council of the Associated Booksellers request the Pub-<br />
lishers' Association to meet them to discuss the following<br />
proposals:—<br />
"1. That all books published at net prices be sold at the<br />
full price.<br />
"2. That no greater discount than 25 per cent, be<br />
allowed upon books published on the old terms, and<br />
that steps be taken to enforce both these regula-<br />
tions.<br />
3. That publishers recognise that immediate relief is<br />
necessary, by charging single copies of books pub-<br />
lished at 78. 6d. and upwards at a net prioe, whioh<br />
would be equivalent to the not cost when the odd<br />
copy is taken with the usual discount at settlement.<br />
In the event of their not being prepared to do this (meet<br />
the Council for the purpose of discussing these proposals),<br />
the Publishers' Association be asked to make suggestions for<br />
joint co-operation."<br />
IV.<br />
Publisher's Association, Stationers' Hall, E.C.<br />
May 8, 1896.<br />
T. Burleigh, Esq.<br />
Hon Sec. Associated Booksellers of Great Britain and<br />
Ireland, 370, Oxford-atreet, W-<br />
Dear Sir,<br />
The Council of the Publishers' Asj^.t:oD have given<br />
very careful consideration to your ioftej\ oTil 20-<br />
VOL. VII.<br />
The proposals contained in it have already been circulated<br />
by your Society among the publishers individually, and<br />
have been fully discussed by them at a meeting held before<br />
the Publishers' Association was formed.<br />
The Council of the Association think it right to inform<br />
you that they cannot entertain the adoption of any plan<br />
which would involve a system of coercion or " boycotting'<br />
on their part, and it appears to them that the portion of<br />
your Council's resolution embodying proposals 1 and 2<br />
depends entirely on such a system: they therefore feel that<br />
thoy would not be justified in entering into any discussion<br />
upon this matter.<br />
If the Associated booksellers desire to modify their pro-<br />
posals in view of this decision, the Council of the Publishers<br />
Association will be most happy to consider carefully any<br />
suoh amended suggestiona-<br />
I am, dear Sir, yours faithfully,<br />
Wm. Poulten, Secretary.<br />
Copy of Resolution sent to the Publishers' Association:—<br />
"The Council regret that the Publishers' Association<br />
declines to discuss clauses 1 and 2 of their proposals, with-<br />
out which, in their opinion, no improvement in the present<br />
condition of the trade is possible."<br />
"The Council point out that the system of publishing<br />
books at net prices was introduced by publishers as a<br />
remedy for underselling, and fear that the Publisher's Asso-<br />
ciation in declining to take any steps to maintain those<br />
prices, thereby dooms the net system to failure."<br />
"The Counoil desire to know the decision of the Pub-<br />
lishers' Association with regard to clause 3 of their pro-<br />
posals, and whether the Publishers' Association is prepared<br />
to make alternative proposals as to clauses 1 and 2."<br />
The Publishers' Association, Stationer's<br />
Hall, London, E.C,<br />
July 24, 1896.<br />
Dear Sib,<br />
In reply to your communication of the 5th ult., I am<br />
directed to inform you that the Council of the Publishers'<br />
Association have no alternatives to suggest with regard to<br />
clauses 1 and 2 of your proposals, and with respect to<br />
clause 3, I am to say, that the Council consider the subject<br />
to bo a matter for arrangement by individual publishers.<br />
Yours faithfully,<br />
Wm. Poulten, Secretary.<br />
Mr. T. Burleigh,<br />
Hon. Sec. Associated Booksellers, 370, Oxford-street, W.<br />
VI.<br />
The Associated Booksellers of Great Britain and<br />
Ireland, 370, Oxford-street, W.<br />
July 31, 1896.<br />
Dear Sir,<br />
At a Council meeting held last night I was requested to<br />
acknowledge tho receipt of your letter of the 24th inst., and<br />
to call the attention of your Council to the following extracts<br />
from the report of the meeting held on Nov. 21 last, and<br />
sent to me officially by Mr. Longman.<br />
"Mr. Murray said,' It has long l°oen *e^" ^at some union<br />
or association of publishers tQ ^cal matters such as<br />
that before them and many OVW8 »5e(A™8 tneit «*tol08t<br />
should be formed.'"<br />
"It was the ._0uB op\- e ^meelangtnat, it was<br />
only by the fot^^n{ wxa^Ho*^^V"MiaW« eoutt<br />
satisfactorily ftJ£^W<br />
Tho Council<br />
are now reft<br />
Vi»\^<"wANta* 'bhkSu<br />
f<br />
<br />
<br />
## p. 80 (#108) #############################################<br />
<br />
8o<br />
THE AUTHOR.<br />
rogret that their proposals have not been placed before the<br />
members of the Publishers' Association for discussion.<br />
I remain, yours truly,<br />
Thomas, Burleigh, Hon. Seoretary.<br />
Mr. Wm. Poulten,<br />
Seoretary the Publishers' Association.<br />
VI.—Literary and Artistic Congress.<br />
Berne, Aug. 24.<br />
The International Congress on Literary and<br />
Artistic Copyright has resolved to take steps to<br />
secure the speedy ratification of the results of the<br />
Paris conference of this year and obtain a reform<br />
of the copyright laws in the different States,<br />
particularly Great Britain and Germany. With<br />
this object the International Literary and Artistic<br />
Association will enter into communication with<br />
the societies of authors and jurists in those<br />
countries.—Daily Chronicle.<br />
NEW YORK LETTBE.<br />
Aug. 14, 1896.<br />
STONE and KIMBALL have just issued an<br />
enlarged edition of the Poems of George<br />
Santayana, which were first published in<br />
1894. Mr. Santayana, although as yet known to<br />
few, is a tempting subject of panegyric to those<br />
who believe that he is writing the best poetry<br />
produced to-day in America. This is not the<br />
highest praise, perhaps, because our level in verse<br />
just now is rather low, but one goes further in<br />
saying that many of the most intelligent people<br />
of Cambridge (the seat of Harvard University)<br />
and Boston, the two places in which his work is<br />
best known, believe that his poetry is destined to<br />
last and to grow in esteem. He is a teacher of<br />
philosophy in the University, just over thirty<br />
years of age, half Spanish, a Catholic, although<br />
one of the subtlest sceptical critics that Harvard<br />
has produced. His "Sense of Beauty," which<br />
has already been mentioned in these letters, when<br />
published by Scribner in the fall, will probably<br />
do more to make him known than these poems.<br />
Not that he writes bettor in prose (for it is hard<br />
to say in which form he has greater excellence),<br />
but for the natural reason that a great house like<br />
Scribners can give the book a circulation which<br />
a new firm like Stone and Kimball can not. Mr.<br />
Santayana is now in England, and will spend<br />
a year there, after which he will return to<br />
Harvard.<br />
The poems have a sort of second simplicity<br />
both in thought and expression, the result of<br />
long brooding by an imaginative and analytical<br />
temperament, and their technical qualities are<br />
high; they are entirely original, but they suggest<br />
occasionally that two of the author's favourite<br />
poets are Petrarch and Shakespeare. As I am<br />
one of those who believe in an important future<br />
for the poems, I take space for two of the more<br />
recent sonnets:<br />
We were together, and I longed to tell<br />
How drop by silent drop my bosom bled,<br />
I took some verses full of you, and read,<br />
Waiting for God to work some miracle.<br />
They told how love had plunged in burning hell<br />
One half my soul, while the other half had fled<br />
Upon love's wings to heaven; and you said:<br />
"I like the verses; they are written well."<br />
If I had knelt confessing " It is yon,<br />
You are my torment and my rapture too,"<br />
I should have seen yon rise in flushed disdain:<br />
"For shame to say so, be it false or true!"<br />
And the sharp sword that ran me through and through,<br />
On your white bosom too had left a stain.<br />
When I survey the harvest of the year<br />
And from time's threshing garner up the grain,<br />
What profit have I of forgotten pain,<br />
What comfort, heart-locked, for the winter's cheer P<br />
The season's yield is this, that thou art dear,<br />
And that I love thee, that is all mv gain;<br />
The rest was chaff, blown from the weary brain<br />
Where now they treasured image lieth cloar,<br />
How liberal is beauty that, but seen,<br />
Makes rich the bosom of her silent lovor!<br />
How excellent is truth, on which I lean!<br />
Yet my religion were a charmed despair,<br />
Did I not in thy perfect heart discover<br />
How beauty can bo true and virtue fair.<br />
In connection with what I said last month of<br />
the literary work being done in New York by<br />
painters, should be mentioned one of the most<br />
important books of the fall, soon to be announced<br />
by the Scribners. E. W. Blashfield is one of our<br />
most prominent painters. His interest in litera-<br />
ture, including naturally the literature of art, is<br />
keen, and his wife is a scholarly woman and a<br />
practised writer, who has lived a great deal in<br />
Italy. They will bring out this fall the only<br />
edition of Vasari published in England since that<br />
of Mrs. Foster. It will be an Edition dc Iv.re, in<br />
four volumes, with forty-eight photogravure<br />
reproductions of important paintings. Only the<br />
most prominent lives will be given, seventy in all.<br />
The men whose work is now unknown, mostly<br />
contemporaries of Vasari and important to him<br />
because of his personal interest in them, are<br />
omitted. As Mrs. Foster's text has become so<br />
familiar to the Euglish world, her translation will<br />
be kept, slight corrections being marie in notes<br />
where her lack of acquaintance with Italy led her<br />
to fail in seizing certain turns of expression. The<br />
greatest value of the new book, however, will be<br />
in the historical, critical, and philological notes,<br />
which practically amount toa summary of the results<br />
of the new school of Art criticisms, supjwrted<br />
by a thorough personal knowledge of Italy and<br />
<br />
<br />
## p. 81 (#109) #############################################<br />
<br />
THE AUTHOR.<br />
81<br />
the technical understanding of a painter. The last<br />
Italian editionof Vasari, that of Gaetano Milanesi,<br />
published in nine volumes in 1882, the result of<br />
the work of seven or eight scholars for several<br />
years, has been the main authority for names,<br />
dates, &c. The work of the Italian scholars<br />
who write for the Archivio, of the Frenchmen<br />
who write for the Gazette des Beaux Arts, the<br />
Courier de VArt, of the German scholars in the<br />
various periodicals, and the comparatively little<br />
done by the English and Americans, by Middle-<br />
ton, Rossetti, Berenson, C. C. Perkins, Loeser,<br />
and others, have been freely drawn on. Of course<br />
the Italian scholars form the main basis of this<br />
part of the work. All of the recent discoveries<br />
of concrete things, such as the framework of the<br />
Donatello altar at Padua, the singing galleries<br />
for the Delia Robbias in Florence, &c., are noted,<br />
and make it possible to see many of the works<br />
spoken of by Vasari more as he saw them than<br />
has been before possible. The estimates of the<br />
painters, which are added to the lives, are written<br />
by the two authors in conjunction, and combine<br />
technical criticism with more general appre-<br />
ciation.<br />
Last month I spoke rather severely of criticism<br />
in this country. One reservation should be made<br />
in favour of that kind of critical work intended<br />
for students in schools and colleges, which is<br />
now excellent. For instance, G. E. Woodberry,<br />
one of our first scholars, is seeing through the<br />
press an edition of Tennyson to appear this month<br />
in the series of English works being published<br />
by Longmans, Green, and Co., under the general<br />
direction of Professor George R. Carpenter, of<br />
Columbia, who has been able to get the various<br />
books of the series done by the leading teachers<br />
of English, on account of the decided wave of<br />
interest which has been growing here for some<br />
years. The series has been a marked success.<br />
In the fall the Scribners will publish twenty or<br />
more "Poems of Childhood" by Eugene Field,<br />
set to music by various composers, most of them<br />
by Reginald de Koven, the most popular of<br />
American song writers. It is to be called " The<br />
Field de Koven Song Book." The popularity<br />
of Mr. Field seems to be on a steady increase<br />
since his death. Most of these songs were<br />
written and set to music long ago, before either<br />
Mr. Field or Mr. de Koven was known to the<br />
world.<br />
Roberts Brothers, of Boston, have in prepara-<br />
tion a volume of the poems of Emily Dickinson,<br />
the strangely vivid New England spinster, whose<br />
poems and letters made a sensation here when<br />
they were published under the augpjce* °* Col.<br />
T. W. Higginson, who discovered ^e unknown<br />
writer and hailed her as a ge^,- g^e then<br />
became a decided fad for some time, and the<br />
death of the fad seems to have left a steady<br />
interest in her work, which is very crude, but<br />
intelligent and entirely typical of New England<br />
feeling away from the centres of population.<br />
A new writer from Chicago is launched by the<br />
Harpers in the recently published novel '' Jerry<br />
the Dreamer," by Will Payne, financial editor of<br />
a Chicago daily, the Chronicle.<br />
Houghton, Mifflin and Co. are collecting letters<br />
for a sixteen volume edition of the Life and<br />
Letters of Harriet Beecher Stowe. Statistics<br />
which I sent some months ago showed that<br />
"Uncle Tom's Cabin " is second in popularity to<br />
Hawthorne's "Scarlet Letter" among American<br />
novels of standing. It will probably always be<br />
popular enough as a story as well as important<br />
enough as a document, to keep Mrs. Stowe's name<br />
a leading one in our literature, but as it succeeded<br />
more because it was a timely tract of power, than<br />
because of its artistic merits, it can hardly be<br />
expected that the author's relative importance<br />
will continue as great as it is now. Of the other<br />
eminent American writer who has died this year,<br />
Oliver Wendell Holmes, the contrary is true.<br />
His work depends in no way on any occasional<br />
interest, but has taken its place, apparently<br />
permanently, not very near the top, but well up,<br />
and some of his books make part of the instinctive<br />
thought of the New England people.<br />
Publishing, like every other business, is suffer-<br />
ing from the silver scare. All houses are trying<br />
to keep down their expenses, and some which<br />
were spending money with absolute freedom in<br />
the spring, are now running on as small an out-<br />
lay as possible. Campaign literature, so called,<br />
is what there is most demand for. There is a<br />
good deal of talk among writers here about the<br />
possibility of making interesting novels and<br />
treatises out of the emotional wave that has swept<br />
over the West and South for the last few years,<br />
but as yet nothing which is really literature has<br />
resulted from the silver craze. "Coin's Financial<br />
School," the famous book now dead, which ran<br />
like fire over the country two years ago, was<br />
merely laughed at by the Eastern press, which<br />
has either never appreciated the existence of the<br />
silver feeling, or has thought it best not to state<br />
it. Reports from the representatives of our<br />
Eastern dailies are received \$. two forms; one in-<br />
tended for publication, ano^et teUmg tbe editors<br />
privately how nvucb. more pt\0\1B ttve danger is<br />
than it would be Wt to stav- * ouemo^VjmNew<br />
York City has \ \ come ^ Joso^ *0T sftveT'<br />
and the most J .-ent ^SSL, ^v «-W»k *°<br />
the poorer ^ T?<br />
ago from su^N O^W A* * *<br />
Bryan, without! J 0* .Tr^ V<br />
<br />
<br />
<br />
## p. 82 (#110) #############################################<br />
<br />
82<br />
THE A UTHOR.<br />
The success here of the stage versions of two<br />
popular English novels last year, "Trilby" and<br />
"The Prisoner of Zenda," has led to a determina-<br />
tion by the managers to put on this year several<br />
plays made out of popular novels. Weyman's<br />
"Under the Red Robe," Hope's "Throso," Barrie's<br />
"Little Minister," Bourget's " Tragic Idyll," and<br />
Mrs. Burnett's "Lady of Quality," are already<br />
arranged for. Norman Hapoood.<br />
REVIEWING.<br />
TI ^HE Daily Chronicle reports that certain<br />
I publishers have met together to consider<br />
the practice of appropriating whole pages<br />
of a book under the title of a review. It might<br />
be as well, we observe, if authors also had a word<br />
to say upon this subject, which seems to concern<br />
those whose reputation is at stake even more<br />
than those to whom their money is the only con-<br />
sideration.<br />
The whole question of reviewing, not this point<br />
or that point, ought surely to be taken up by the<br />
Society of Authors, either in conjunction with the<br />
Society of Publishers, or separately. The limits of<br />
appropriation or quotation must, of course, form<br />
part of the subject . A review which picks out and<br />
publishes all the "plums," obviously makes it<br />
unnecessary for the reader to buy the book. For<br />
instance, to quote a case now about twelve years<br />
old, the "Recollections of Anthony Trollope,"<br />
published after his death, contained a great many<br />
interesting stories. A copy was given to the<br />
present writer: for some reason he could not<br />
read the book for some months: when at last he<br />
found time to o]x?n it he discovered that, in one<br />
review or another, he had already become<br />
acquainted with every good thing in the two<br />
volumes. But, it may be urged, this writer was<br />
in the habit of reading all the reviews. One did<br />
not need to read all the reviews in order to learn<br />
the good things. Many of them quoted shame-<br />
lessly. Men at clubs, also, do turn over the leaves<br />
of many reviews.<br />
The practice, it is everywhere acknowledged, is<br />
unfair. How. is it to be stopped or remedied?<br />
The reviewer, to whom quotation means a saving<br />
of time and work, says that to give his readers a<br />
fair idea of the work he must quote from it. This<br />
is probably true in many cases. Yet one must not<br />
quote everything. The only step possible is a<br />
remonstrance with the editor. But that remon-<br />
strance must come from a body, not from an<br />
individual. Hitherto the individual has spoken.<br />
The Athenseum, say, prints his letter; no com-<br />
ment is made upon it, nor any answer attempted,<br />
and the question drops. The remonstrance has<br />
been thrown away. An association which seriously<br />
takes up the question and presents a remon-<br />
strance is another matter altogether.<br />
A second, and a more serious reason for remon-<br />
strance, is the personal element. There are still,<br />
unfortunately, in the world of letters many per-<br />
sonal enmities. Where the author, if a well-<br />
known man, is a resident of London and a fre-<br />
quenter of London clubs, it is pretty certain that<br />
he has made enemies; indeed, it is impossible to<br />
take a side on any of the questions which arise<br />
perpetually in the world of art and letters without<br />
making enemies. It should be, therefore, the<br />
special care of every editor to intrust a book for<br />
review to no one who is known to cherish<br />
personal enmity towards the author under review.<br />
Everyone behind the scenes; everyone who<br />
knows the staff of this or that journal; under-<br />
stands that if certain reviewers get the chance<br />
they will "slate" certain writers. The danger is<br />
perhaps equally great that they will log-roll other<br />
writers. Here, again, the protest of a single<br />
person is of no avail, while an association would<br />
be able to speak with such authority as it<br />
possesses from the reputation and the jnumber<br />
of its members.<br />
Another point is the reviewing of books in a<br />
batch. The practice is to be condemned, if only<br />
from the editor's point of view, as well as the<br />
author's. As regards the editor, by allowing<br />
books to be reviewed in the batch, he takes the<br />
surest and simplest way of destroying the literary<br />
weight and authority of his columns. Where a<br />
book is singled out for criticism and stands alone<br />
upon the page, that fact gives it special impor-<br />
tance. There are cases recorded in which a<br />
review of this kind in an important paper has<br />
instantly made the fortune of a book. But<br />
where a dozen books are reviewed all together,<br />
what is said for or against each matters prac-<br />
tically little. The "batch" are neither much<br />
advanced nor much hindered by what is said of<br />
them in the collection.<br />
There is another and a much more serious<br />
objection to this course. Some journals assign a<br />
space so insufficient, with an amount of pay so<br />
inadequate, that it is absolutely impossible for the<br />
reviewer even to read the works on which he pro-<br />
fesses to pronounce a judgment. Thus, there are<br />
papers which cram into a single column a dozen<br />
books. The reviewer (?) has to provide this<br />
column once a week for a guinea or so. It stands<br />
to reason, since a man cannot live on a guinea a<br />
week, that he cannot afford to read the books,<br />
which would indeed take more than a week to<br />
read if he did nothing else. What does he do,<br />
then? He falls back upon generalities, praising<br />
<br />
<br />
## p. 83 (#111) #############################################<br />
<br />
THE AUTHOR.<br />
83<br />
or blaming in vague terms, and quite at random.<br />
It is naturally easier and safer to damn a book<br />
than to praise it, because the latter demands the<br />
discovery of certain definite qualities which can<br />
only be found by reading. What possible weight,<br />
however, can such a notice carry with it? What<br />
must be the literary character of a paper which<br />
-carries on its critical branch in such a way?<br />
How much better to pick out a single work and<br />
to insist that the reviewer should give time to<br />
read the book? Such a system seems little better<br />
than money thrown away, and space wasted.<br />
Another, and a very important, consideration<br />
is the fitness of the writer for the work entrusted<br />
to him. The most incompetent persons are<br />
notoriously, in some papers, entrusted with the<br />
reviewing of books — young beginners in<br />
journalism; men and women who have not even<br />
read the literature of the day; men of the<br />
Bohemian smoking room, who review the dainty<br />
works of cultured gentlewomen; ladies who<br />
shrink from strength review works full of the<br />
strongest meat; persons ignorant of history<br />
review special studies in history; poetry is given<br />
to men of science; and science, perhaps, to young<br />
gentlemen fresh from a classical first at Oxford.<br />
These points, it will be observed, are only a few<br />
of those which await consideration on the great<br />
subject of reviewing.<br />
We are not bringing charges, we state only<br />
certain notorious facts which, indeed, are never<br />
found in certain journals except by accident. Why<br />
should they be found at all, considering not only<br />
the injustice done to authors, but also the mis-<br />
•chief done to a paper by the mere suspicion of log-<br />
rolling, personal animosities, and judgments<br />
pronounced on books which are not even read?<br />
NATIONAL BIBLIOGRAPHY.<br />
THESE has just been published at the Library<br />
Bureau, 10, Bloomsbury-street, London, a<br />
very full work on " The Theory of National<br />
and International Bibliography, with Special<br />
Reference to the Introduction of System in the<br />
Record of Modern Literature." The author of it,<br />
Mr. Frank Campbell, has been connected for<br />
twelve years with the library of the British<br />
Museum. International bibliography, he ex-<br />
plains, has for its object the promotion of rational<br />
uniformity in methods of recording national<br />
literature, so that any individual nation may be<br />
able to obtain the whole or separate sectional<br />
parts of the literary records of other State,<br />
based upon a common intelligiM gygtem; and<br />
that each State may be able wi^ e Aiffica&Y to<br />
VOL, VII.<br />
obtain exact records of the literature on any<br />
subject issued throughout the whole world,<br />
independently of geographical or political<br />
divisions. The only way to accomplish this is<br />
for each State to agree to three things:<br />
1. Each State is to agree to record its literature com-<br />
pletely year by year.<br />
2. To record it according to its natural divisions and<br />
subdivisions.<br />
3. To use the full title of a work as the unit and movable<br />
factor on which all subsequent work depends.<br />
Given the issue of a certain number of works<br />
in a certain area during a certain period, there<br />
should be, says the author, a complete record of<br />
them for the use of the reading public, such<br />
record to be issued in a convenient form at con-<br />
venient intervals of time. Where circumstances<br />
permit, the national libraries should be the<br />
centres of national systems of bibliography,<br />
because these, and these only, receive a complete<br />
collection of the national literature. He regards<br />
it as an absolute necessity that each country<br />
should issue a proper bibliographical guide to the<br />
more special collections to be found in the several<br />
libraries throughout each country, such as the<br />
French Government has published for some years<br />
under the title of "Annuaire des Bibliotheques<br />
et des Archives," to do what the "Jahrbuch der<br />
Musikbibliothek Peters" does for public and<br />
private hbraries in Europe in presenting a clue<br />
to their more special contents.<br />
Mr. Campbell has much to say of the inacceS'<br />
sibility of official documents, and, though to a<br />
less degree, the publications of the learned<br />
societies. His book was published in the middle<br />
of August, but a month earlier an international<br />
conference of representatives of scientific societies<br />
from all parts of the world was held, under the<br />
presidency of Sir John Gorst, in London, at<br />
which it was resolved to compile and publish by<br />
means of some international organisation a com-<br />
plete catalogue of scientific literature, arranged<br />
according both to subject matter and to authors'<br />
names, in which regard shall be had, in the first<br />
instance, to the requirements of scientific inves-<br />
tigators, to the end that these may find out most<br />
easily what has been pubhshed concerning any<br />
particular subject of inquiry. This work has<br />
been increasing so rapidly that the Royal Society<br />
was no longer able to cope with it through its<br />
catalogue, therefore, at it^^ateuee,Her Majesty's<br />
Government BUmmotied cotvlexeuce. It may<br />
x "^clO made an<br />
be assumed tW M*- Qvu-otfc^^0 maAe an<br />
appeal to men 1 0n\euc% »«0 to come<br />
in the<br />
The<br />
Si<br />
<br />
<br />
## p. 84 (#112) #############################################<br />
<br />
84<br />
THE AUTHOR.<br />
is minutely set forth in the book, and will afford<br />
plenty of scope for the study and criticism of<br />
fellow-librarians. As a matter of more imme-<br />
diate interest to authors, however, Mr. Campbell's<br />
discussion of the influence of the copyright laws<br />
on the question may be quoted. After remarking<br />
that in the laws of our smaller colonies news-<br />
papers are in many instances exempt from regis-<br />
tration, and that a considerable amount of often<br />
valuable matter comes generally under the name<br />
of "Annual Reports," and is therefore exempted<br />
from registration, Mr. Campbell points out that a<br />
yet more important factor is that which refers to<br />
the legal period within which a work may be<br />
deposited. "No person is entitled to a copy-<br />
right," says the American law, "unless he shall<br />
. . . not later than the day of publication<br />
thereof . . . deliver . . . copies of such<br />
copyright book, &c." In this country, however,<br />
the law allows a wide margin of time, and the<br />
result is, says Mr. Campbell, that—<br />
Whereas in America they have the possibility of initiating<br />
a perfect system of periodical subject-catalogues up to date,<br />
we cannot do so until the law is altered. This would be<br />
no hardship to the publishers, as the issue of periodical<br />
subject-catalogues suggested would serve to advertise the<br />
publications considerably.<br />
And of course it is inferrred that the author<br />
and the bookseller would in the same way benefit<br />
from such advertisement of the publication. It<br />
is essential to the success of the scheme, says Mr.<br />
Campbell, that works to be copyrighted must be<br />
delivered at the national libraries on the day of<br />
publication.<br />
NOTES AND NEWS.<br />
THE following is another instance of the<br />
confusion of thought into which people<br />
fall in talking of literature. There are<br />
various confusions; the most common is that of<br />
mixing up the literary with the commercial value<br />
of a work. Here is a writer who complains to the<br />
Daily Chronicle that a circulating library will not<br />
take his work on account of a single paragraph<br />
alleged to be immoral; he asks whether a circu-<br />
lating library is to set itself up as a censor of<br />
literature. A bookseller, in reply, writes that he<br />
refuses to offer for sale any books which he con-<br />
siders prejudicial to morals. For instance, this<br />
offending paragraph, from his point of view,<br />
destroys the commercial value of the book.<br />
Observe that he does not touch on its literary<br />
value. Now, both sides are right. Conductors<br />
of the library, or any booksellers, have a perfect<br />
right to say, "Out of the great mass of new<br />
books offered to us we shall refuse any which<br />
we think open to charges of immorality. We<br />
shall do this for two reasons: our own reputa-<br />
tion, which means our success in business; and<br />
our own conscience. And we shall decide for our-<br />
selves what we consider immoral in reading or in,<br />
tendency, and we shall not argue about it or<br />
defend ourselves." Of course, a bookseller who<br />
would refuse, on these grounds, to procure a book<br />
in great demand might be liable to lose customers;<br />
but that is for himself to consider. On the<br />
other hand the author is quite right in protesting<br />
against any bookseller calling himself a censor of<br />
literature. This he cannot be, and cannot claim<br />
to be, because he is not, generally, a critic or a<br />
scholar. But does he, in fact, advance such a<br />
claim Y He says, on the contrary, this : " The book<br />
may be the finest work of genius ever produced.<br />
That has nothing to do with me. I say that<br />
I will not sell immoral books. I think that<br />
this is an immoral book; and I will not.<br />
sell it." Saying this is not constituting him-<br />
self a censor of literature, but a defender, up to<br />
his own powers, of public morals. If he chooses<br />
to exercise vigilance of this kind he may become,<br />
it is true, a great nuisance in being nasty-par-<br />
ticular, but he remains within his rights. More-<br />
over, there is a certain Act of Parliament which<br />
obliges a bookseller to be careful as to the books<br />
he buys and sells. If the aggrieved writer would<br />
take this view of the case he might perhaps alter<br />
the paragraph with as much protest, public or<br />
private, as he pleases. Surely, for a young writer<br />
it would seem well to accept a ruling which makes<br />
so great a difference in his access to the public.<br />
Let him reflect that the one thing essential to<br />
a young writer is access to a wide public; and<br />
there is no machinery which can do so much for<br />
the young writer in this way as a great circulating<br />
library. 3ij<br />
The confusion of literary with commercial value<br />
is one which is often shown in other ways. A<br />
certain writer, I read in a paper recently, received<br />
no more than so much for his latest work, " and<br />
that was more than it was worth." This phrase-<br />
is constantly occurring. Now, literature cannot be<br />
measured by any pecuniary standard; art of all<br />
kinds, painting, sculpture, poetry, the drama,<br />
fiction, belles lettres, may be bought and sold,,<br />
but no work of art can be appraised by any sum<br />
of money as representing its artistic and literary<br />
value. If all the world possessed perfect taste,<br />
then the commercial value might, in a certain<br />
sense, represent the literary value. As that can<br />
never be the case, the commercial value must<br />
always be kept separate from the other. If we do<br />
this we shall no longer think it necessary to be<br />
indignant because one writer, whose literary<br />
<br />
<br />
## p. 85 (#113) #############################################<br />
<br />
THE AUTHOR.<br />
85<br />
standard is low, circulates by the hundred<br />
thousand, while another, who produces literature<br />
of the highest kind, hardly runs through two or<br />
three thousand. _ o<br />
Here is a somewhat remarkable experience.<br />
Perhaps a similar application has been made to<br />
others. I received a letter written by a man of<br />
whom I know nothing: he stated that a certain<br />
man of letters, not an unknown writer at all, had<br />
sustained losses; he did not explain in what way<br />
these losses were incurred: he further stated that<br />
his friends were making up a purse to meet these<br />
losses: and he proceeded to demand from me a<br />
cheque for fifty pounds! I may add that the<br />
gentleman in question is not in any sense a friend<br />
of mine: T. have, however, conversed with him on<br />
two or three occasions. Fifty pounds I was called<br />
upon to pay down at once! There was, of course,<br />
no explanation of any authority by which the<br />
writer acted, nor can T believe that he was<br />
authorised by the gentleman concerned to ask<br />
for fifty pounds. He did not get that cheque.<br />
He then wrote asking how much I meant to give:<br />
assuming, you see, that one was in duty or<br />
honour bound to give, without any knowledge of<br />
the details, and being under no other obligation<br />
than belongs to membership in the same profes-<br />
sion. If every member of the Society of Authors<br />
were called upon to pay ,£50 to a member in<br />
trouble, that member would receive about .£70,000,<br />
which would keep him and his out of trouble for<br />
the third and fourth generation. Imagine, if<br />
you can, a barrister called upon to give £50 to<br />
another banister simply because he belonged to<br />
the Bar! I was weak enough to reply to this<br />
letter, and stated my intention of giving nothing.<br />
The writer of the letters replied as one might<br />
expect. He regretted that he thought I was one<br />
who would, &c, &c, Ac.: and it would be his<br />
"duty" to lay the letter before the gentleman on<br />
whose behalf he was writing. I suppose he has<br />
done so by this time: and I trust that he has<br />
learned, first, that if you want assistance, you<br />
must state your case fully: next, that you must<br />
not ask for impossible sums: thirdly, that you<br />
must not demand anything as a right. It has<br />
been suggested that the letter was a little trap.<br />
First, you tell a man to hand over a great cheque:<br />
you know that he will refuse: you then have an<br />
opportunity to tell people what a miserly, mean,<br />
uncharitable beast he is. I tell this little story<br />
because I should like to know if others have had<br />
the same kind of letter from the same person.<br />
Mr. Robert Sherard writes to th„ jifesttninster<br />
Gazette that Mr. Warren, for<br />
certain<br />
readers of the Author subscribed a small sum<br />
two months ago, is dying of dropsy in his eighty-<br />
fifth year. More and more it becomes imperative<br />
upon us to form a pension fund for men and<br />
women of letters. Some time ago, when the<br />
creation of such a fund was spoken of in these<br />
columns, a certain critic, or reviewer, or writer,<br />
in an evening paper, asked, with the bitterest<br />
contempt, if we were going to give pensions to<br />
unsuccessful novelists. It is a strange and mar-<br />
vellous thing to note the unreasonable jealousy<br />
with which anything proposed for the good of<br />
the literary profession is received by a certain<br />
class of writers. Of course the first and essential<br />
point about a pension fund is that it must be<br />
given to those who have been either wholly or in<br />
large part dependent upon literary work—which<br />
excludes all your unsuccessful novelists. Oh!<br />
for a man with leisure, and enthusiasm, and<br />
private means, who would take up this pension<br />
business, and work it!<br />
The following donations have been added to<br />
the Eliza Warren Fund since the publication of<br />
our two former lists:—■<br />
Marshall, Miss ...<br />
Newbald, Miss ...<br />
Oetzmann, Messrs.<br />
Parr, Mrs o 10<br />
Stables, Mrs 1 o<br />
£ s. d.<br />
o 10 o<br />
050<br />
220<br />
£ s.<br />
Chapman, the<br />
Misses 2 o<br />
Editor of Book-<br />
bits (per) o 15<br />
Harger, Madame.. 1 o<br />
Henderson.MisB... 05<br />
The total amount received by Miss Masters is<br />
now £55 as. id. i--rT<br />
It is stated that Mr. David Douglas, publisher,<br />
of Edinburgh, has issued a reprint of the<br />
addresses delivered by Lord Kosebery, at Dum-<br />
fries, on the Burns "Centenary of July 21. I<br />
have sent for a copy, which costs no more than<br />
sixpence, and is worth—but, as was advanced<br />
above, its worth cannot be translated into six-<br />
pences. .<br />
Why are American magazines devouring and<br />
destroying our own? The contents do not seem<br />
to be more readable or interesting: yet ours—<br />
except the Pall Mall and some of the so-called<br />
"popular " magazines—seem affected with a kind<br />
of dry rot. Here is one feason which, I think,<br />
will be acknowledged by ^veryone. In America<br />
magazines are cavried throv^—v. QjB'jort-omoe at one<br />
cent, per lb. wei&i t The A $.AcaJB. ^to^rVetor can,<br />
therefore, recefc£ 0. avAs^f „xi ww^ftl *nffing,<br />
^ f^eta r j55 to o-O^postage<br />
?° Hi that VW I» Z&i<br />
agents, >tj \^V* ^<br />
^v0<br />
<br />
<br />
## p. 86 (#114) #############################################<br />
<br />
86<br />
THE AUTHOR.<br />
or "jd. a month against the American's n\d.<br />
Now an increase of $d. in each copy when you<br />
multiply by thirty, or even ten, thousand is<br />
enormous. It means the power of getting the<br />
best work from the best writers at the highest<br />
prices: the power of engaging the services of the<br />
best editors, their whole time, their whole thought.<br />
In short, it means the substitution of a prosperous<br />
magazine such as are many of the American<br />
organs, for a half starved, inefficient journal such<br />
as are some of ours. Will Mr. Henniker Heaton<br />
tak* this grievance in hand?<br />
TO AUTHORS—Plots, Novels, and Short Stories, fo<br />
Sale j uniqueness and originality guaranteed; terms<br />
from 2s.; advice given; stories revised.<br />
The above advertisement is cut from an impor-<br />
tant provincial paper. Perhaps the address of<br />
the advertiser, for certain reasons, is best with-<br />
held. There must be, one supposes, some persons<br />
who answer such an advertisement, otherwise it<br />
would not be repeated. It may be asked why, if<br />
a person can construct a plot, he does not also<br />
write the story. Perhaps it is conceivable that one<br />
may devise a fable, fit it with the situations which<br />
belong to it, and even make characters for per-<br />
forming in them, yet be unable to write the story.<br />
In such a case the deviser or inventor might be a<br />
collaborator. Instead of parting with the plot<br />
for two shillings he should boldly place his name<br />
upon the title page as one of the authors. On<br />
the other hand, when a man offers a play, a poem,<br />
a story, to the public, he is practically assuring<br />
them that he is himself the deviser or inventor of<br />
the fable. In the case of a historical novel this<br />
assurance is not needed, because the source of his<br />
story is known to everybody. In the case of a<br />
story laid in the last century, for instance, that<br />
may also, since a past time can only be recovered<br />
from its documents, be taken from some event of<br />
the time. Thus, I have myself taken the motif<br />
of a story in two cases from writings of the<br />
eighteenth century. But a modern plot, a modern<br />
fable, presented by a writer is accepted by the<br />
public as of his own devising. If it is not, then,<br />
surely, the transaction is dishonest.<br />
There is, however, no evidence of any buyer, so<br />
that the advertisement is perhaps only a temptation<br />
to dishonesty in the abstract. One may, however,<br />
imagine the aspirant who wants nothing but<br />
imagination to conceive and eyes to see, attracted<br />
by such an advertisement. It is like the<br />
mysterious wrapper in a Holywell-street shop,<br />
offering things of mystery and containing a tract.<br />
He finds two shillings: he sends a postal order:<br />
he gets back a plot, both original and unique.<br />
"A. loves B. A. has neither birth nor fortune.<br />
B. is a rich heiress, an only child, of high rank.<br />
A., presuming to speak, is kicked out by B.'s father<br />
with violence. He goes away. Years afterwards<br />
he saves B.'s father from a mad bull: he is<br />
rewarded with the hand of A." You cannot have<br />
a better plot. Hundreds of quite interesting<br />
stories have been written with a mad bull, or a<br />
pair of runaway ponies; the aspirant gets it for<br />
the ridiculous sum of two shillings.<br />
It may be supposed that this is the common<br />
variety of plot; but there is a dearer and a<br />
more subtle kind. The would-be author may<br />
go, perhaps, as high as five shillings. When<br />
one thinks of it, there are many new novels<br />
which must be constructed on a five-shilling<br />
plot. They are those which are published<br />
at the author's own expense, with a con-<br />
siderable lump thrown into the estimate. Places<br />
talked about at the time come into them: new<br />
inventions: sham science: spiritualism: fads<br />
and fancies: if the author knows nothing about<br />
the army, he will probably lay his scene in a<br />
barrack. Alas! the hand of the advertiser might<br />
be discerned everywhere: it must mournfully be<br />
acknowleged that plots may be bought like the<br />
paper and the pens with which they are written.<br />
In the notice of "Literature and the Perio-<br />
dicals" there is reference to a paper by Paul<br />
Shorey in the Atlantic Review. He is said to<br />
regard, as one of the obstacles to the writing of<br />
books that will live, the exhaustion of available<br />
motifs in the higher fields of literature. But I do<br />
not think that, the available motifs can ever be<br />
exhausted. First, every generation will always<br />
insist upon the representation of its own passions<br />
—which are common to every generation—in its<br />
own language, and with its own habits and<br />
customs. Love, jealousy, hatred, ambition, sorrow,<br />
despair, envy, disappointment, wealth, poverty,<br />
pain, joy, youth, age, growth, decay, death—all<br />
these demand, in every generation, the poet.<br />
They must be put on the stage in the fashion<br />
of the day. These passions are new with every<br />
generation, yet always the same. Does a young<br />
man find love stale and exhausted because his<br />
father was in love before him?<br />
FEUILLETON.<br />
The Reputation of Ripplington.<br />
L<br />
EIPPLINGTON-ON-SEA is not regarded—<br />
except, of course, by its own inhabitants<br />
—as a place of any great pretensions.<br />
The county guide-book dismisses it briefly in a<br />
<br />
<br />
## p. 87 (#115) #############################################<br />
<br />
THE AUTHOR.<br />
87<br />
couple of lines as " a small sea-side town, pictur-<br />
esquely situated; there are some interesting<br />
brasses in the church, and the register dates back<br />
to 1625."<br />
It would be quite imprudent, however, even to<br />
hint to the residents (who affect for the most part<br />
to prefer its appearance in winter) that Rippling-<br />
ton is ever dull. Is there not Badminton—<br />
delightful game!—in the assembly rooms once a<br />
week? Are there not frequent tea-parties, at any<br />
one of which you will meet precisely the same<br />
dozen persons? Is there not a club, in which<br />
you may take part in a rubber played on<br />
principles apparently coeval with the "parish<br />
register "?<br />
At the same time I confess to a fondness for<br />
the Uttle place. It is peaceful and tranquil; one<br />
forgets all about time there; no one is ever in a<br />
hurry at Ripplington. The shopkeepers, the<br />
fishermen, and the postman join in taking life<br />
with philosophic ease, and a sojourn among them<br />
teaches you at least that the word " directly " has<br />
a very different meaning here from that which you<br />
would attach to it elsewhere. Then, if there are<br />
absurd little jealousies between the insignificant<br />
cliques into which the gentry are divided—if<br />
there is more gossip and tittle-tattle retailed iu<br />
the club and over the tea-cups than the rigid<br />
moralist would approve—if, in a word, the place<br />
is exceedingly provincial, this need not greatly<br />
concern the visitor, who may possibly reflect that<br />
ill-natured small-talk is not absolutely unknown<br />
even in London itself.<br />
Perhaps it was this sapient conclusion, or pos-<br />
sibly the lack of any better engagement, that led<br />
me, a few months ago to run down and spend a<br />
week at the house of General Barford, an elderly<br />
uncle of mine, who, after many wanderings, has<br />
pitched his tent in Ripplington, where he is<br />
regarded with no small respect. Arriving at his<br />
house in the afternoon, I scarcely required to be<br />
told by the butler that he believed his master to<br />
be at the club. To play his daily whist in the<br />
card-room with certain other retired warriors is a<br />
duty which no claims of hospitality could induce<br />
the General to forego. Accordingly, having shaken<br />
hands with Mrs. Barford in the drawing-room,<br />
I strolled down through the town and along the<br />
esplanade, until I arrived at the little club-house,<br />
with its familiar white front, bow window,<br />
and green Venetian blinds. Making my way<br />
upstairs I found, to my great surprise, that<br />
both the card-room and the billiard-room were<br />
deserted. And when I had come downstairs<br />
again and opened the door of the library, the<br />
sight that met my eyes was as strange as it was<br />
unexpected.<br />
Standing on a chair in the mid^ f the room<br />
was my uncle, brandishing in his hand a maga-<br />
zine, from which he was apparently reading aloud,<br />
while his other fist was tightly clenched. Round<br />
him was an attentive circle of listeners, among<br />
whom I recognised almost all the regular liabitues<br />
of the place—Mr. Pember, the Vicar, Colonel<br />
Dixie, Mr. Lavington, of the Hall, little Doctor<br />
Bennet, and others.<br />
The General stopped short as I entered the<br />
room, and descended, from his perch to shake my<br />
hand. When we had assured each other that we<br />
were tolerably well, a pardonable curiosity led<br />
me to ask for an explanation of this extraordinary<br />
scene.<br />
"Don't let me interrupt you, pray," I said,<br />
"You were giving a—a recitation, I think?"<br />
My uncle's usual expression of good-natured<br />
calm gave way with alarming suddenness to a look<br />
of the fiercest indignation. "A recitation! No,<br />
sir. I was reading aloud extracts from an article<br />
in this month's Penwiper!"<br />
I was more surprised than before; never had I<br />
suspected my uncle of such perfervid enthusiasm.<br />
"Oh, I see. And who is the fortunate author,<br />
may I ask?"<br />
"Fortunate author!" spluttered the angry<br />
man. "He'd be precious unfortunate if he<br />
showed his face in Ripplington, I can tell you!<br />
I'd horsewhip him on the spot!"<br />
His audience growled its approval of this<br />
bloodthirsty sentiment.<br />
"What on earth is the matter?" I inquired.<br />
The General thrust the magazine, somewhat<br />
crumpled by his treatment of it, under my nose.<br />
"The matter? Why, look at this! In this<br />
dirty publication there's an article which libels<br />
every person in Ripplington! But the rascally<br />
editor is very much mistaken if he thinks we<br />
shall let it pass unnoticed!"<br />
"If I may say so," added Mr. Pember, sadly,<br />
"although I must deprecate any—ah, personal<br />
violence, I quite agree that some amends must<br />
be insisted on—yes, insisted on."<br />
My surprise only became greater; I knew the<br />
Penwiper very well by reputation. So far from<br />
deserving my uncle's description of it as a " dirty<br />
publication," it was an old-fashioned family<br />
magazine; its columns were the last place in<br />
which one would expect a scurrilous libel.<br />
"What does the article &a.v r" I asked.<br />
"Well, you can read j^" f°r Iowse^> later,"<br />
said the General, "It's Q^AVeo-' Seaside Fossils,'<br />
and is simply a series of v^^w^Vf. V;ats at ^°<br />
expense 1<br />
<br />
Colonel<br />
worse,<br />
author's na-<br />
<br />
<br />
## p. 88 (#116) #############################################<br />
<br />
88<br />
THE AUTHOR.<br />
of anonymous spite. The only question is, What<br />
steps had we better take in the matter?"<br />
"' Seaside Fossils,' indeed!" cried the General;<br />
"I'd fossilise the man if I had him here! I'll<br />
write to the editor to-night, and demand the<br />
writer's name. And then, by gad, we'll make<br />
things unpleasant for him. Come along, James;<br />
we may as well be getting home now."<br />
As we walked back to the Grange together I<br />
managed to elicit a few more details. It appeared<br />
that it was quite by chance that the obnoxious<br />
article had come under the General's eye. His<br />
wife had purchased this copy of the Penwiper to<br />
beguile the tedium of a railway journey. The<br />
General being something of a geologist, the<br />
title of the fatal article had caught his attention as<br />
the magazine lay on the drawing-room table;<br />
as a rule he was not a student of light literature<br />
Conceive what were his feelings at discovering,<br />
in place of the scientific essay for which he had<br />
looked, a flippant description of the residents in<br />
a seaside town. Instead of throwing it aside,<br />
however, he read steadily on; and as he did so<br />
he felt a suspicion, which soon amounted to a<br />
certainty, that an enemy had done this thing—<br />
that this was, in fact, a venomous and spiteful,<br />
but still a recognisable, caricature of Ripplington<br />
and of those who dwelt there. The vicar, the<br />
doctor, the meetings in the club, the tea-<br />
parties—all were alluded to in the most shameless<br />
way.<br />
On our return the General sent off an in-<br />
dignant letter to the editor of the Penwiper,<br />
demanding to be informed by return of post of<br />
the name of the writer of this article. I had<br />
my own opinion as to the likelihood of any<br />
answer being made; but this I prudently kept<br />
to myself.<br />
There was a dinner party at the Grange that<br />
night, and the infamous paper again formed the<br />
main topic of conversation, especially when the<br />
ladies had withdrawn. At Ripplington this<br />
interval is still of some length. The modern<br />
custom of a single glass of wine, quickly<br />
followed by a sip of coffee and a cigarette, would<br />
bo regarded as a sacrilegious innovation by the<br />
General and his friends.<br />
Nearly every man present, with the exception,<br />
by the way, of little Wilson, the curate—had his<br />
own theory about the source of the article. One<br />
or two maintained that it was evidently the work<br />
of a woman, and more than one hinted that Mrs.<br />
Bennet was the culprit, much to her husband's<br />
indignation. Someone else suggested Miss<br />
Simkins, the young lady who wrote poetry in the<br />
Ripplington Gazette. But how could a woman,<br />
the others objected, have described the interior<br />
of the club so faithfully?<br />
"For myself," observed Colonel Dixie, with<br />
much dignity, "there is little that I can object to<br />
personally in it; but its treatment of you,<br />
Doctor, and of you, Mr. Pember, is most<br />
insolent."<br />
"Nonsense!" cried the Doctor, sharply.<br />
"There's not a word in it that anyone would<br />
construe as referring to me! But it calls you all<br />
sorts of names under the guise of 'Major<br />
Bradshaw'—unless I'm very much mistaken.<br />
You're quite right as to Pember—the rascal<br />
might as well have mentioned him by name!"<br />
"Really, I cannot agree with you," remon-<br />
strated the cleric. "The gross caricatures of<br />
Colonel Dixie and of you, Doctor, are unmistake-<br />
able. But only—ah, the merest spite could pre-<br />
tend to identify me with any of the characters in<br />
the article."<br />
"Well, it's no use quarrelling about it," inter-<br />
posed my uncle. "The thing's an outrage any-<br />
how. We shall learn the name of its perpetrator<br />
in a day or two. And now, perhaps, we may as<br />
well join the ladies."<br />
II.<br />
Several days passed; but, as I had expected,<br />
the General received no answer to his letter.<br />
Then he wrote a second and still more peremptory<br />
one; but that, too, failed. In the meantime, every-<br />
one in Ripplington discussed the article in the<br />
Penwiper; but, though many persons fell under<br />
suspicion, no real clue as to its authorship was<br />
discovered.<br />
Personally, when I came to read "Seaside<br />
Fossils" for myself, I was rather surprised at the<br />
stir which it had excited. It described with a<br />
good deal of levity some of the commonest types<br />
to be found among the inhabitants of a small sea-<br />
side town; but I had no reason to believe that<br />
these were peculiar to Ripplington. As far as I<br />
could see, it would be no less easy to identify<br />
"Shermouth," the name given by the writer to<br />
his imaginary home, with any one of a hundred<br />
other places with just as much show of reason as<br />
with Ripplington. Indeed, I ventured in an ill-<br />
advised moment to suggest this view to my<br />
uncle.<br />
"Nonsense, sir," he said, curtly. "There's no<br />
mistaking what place the rascal meant; it all fits<br />
too well. He talks about the club—isn't there a<br />
club in Ripplington? He sneers at the esplanade<br />
—' that spacious promenade quite a hundred<br />
yards long,' he says. Haven't we an esplanade<br />
just that length? And he even alludes to the<br />
Red Lion Inn by its real name. No, sir! there<br />
is no possibility of mistake, and this attempt to<br />
throw dust in our eyes is suspicious—highly<br />
suspicious, sir."<br />
<br />
<br />
## p. 89 (#117) #############################################<br />
<br />
THE AUTHOU.<br />
89<br />
I did not grasp his meaning at the time; but<br />
later in the day, when several of my acquain-<br />
tances had returned my greetings with the<br />
coldest of bows, the truth flashed across me.<br />
The General had come to the conclusion from my<br />
attempted defence of the article that I had<br />
written it myself! However, I managed to<br />
disabuse him of this idea by declaring solemnly<br />
that never in all my life had I contributed a<br />
single line to the Penwiper. He apologised pro-<br />
fusely, and took good care that everyone else did<br />
so too.<br />
However, we came no nearer to the solution<br />
of the mystery. On Sunday Mr. Peinber dwelt<br />
significantly on " hatred, malice, and all unchari-<br />
tableness" in the Litany, and preached an<br />
eloquent sermon, bidding us bear the malicious<br />
shafts of anonymous spite with as much Christian<br />
composure as we could muster.<br />
While we were at breakfast on the following<br />
morning we were suddenly startled by a visit<br />
from the Vicar himself, who, I grieve to say,<br />
showed very little composure indeed—in fact, he<br />
was in a state of the greatest excitement.<br />
"Good morning, General," he began, breath-<br />
lessly, quite ignoring Mrs. Barford and myself.<br />
"I determined not to lose a moment in coming to<br />
you for your advice. I have just made a most<br />
horrible discovery."<br />
The General does not like Ix-ing disturbed at<br />
his meals.<br />
"Indeed?" he said, shortly. "Sorry to hear<br />
it. If you can call later -"<br />
"No, I really must tell you at once. It's about<br />
that Penwiper article—I've found out that my<br />
curate—that Mr. Wilson—wrote it!"<br />
"The deuce he did !" cried my uncle, springing<br />
up from his chair. "What proofs have you got?"<br />
"Why," the Vicar replied, producing a piece of<br />
paper from his pocket, this. After service last<br />
night I asked Wilson in the vestry for the names<br />
of some children in his district who wished to be<br />
confirmed. He wrote them down on a piece of<br />
paper—this piece of paper, in fact. This<br />
morning I happened to look at the other side—<br />
here it 13!"<br />
We crowded round eagerly. It was an ordi-<br />
nary half-sheet of notepaper, on one side of which<br />
was the pencilled list of names. Then we turned<br />
it over, and our astonished eyes saw the following<br />
printed line.<br />
"Cheque enclosed with the compliments of the<br />
Editor of 'The Penwiper,' " and, above it, "The<br />
Eev. J. Wilson," written in ink.<br />
"Well, I'm dashed!" the General exclaimed.<br />
"That Wilson of all people—come alon", Pember;<br />
we'll have it out with him at once.*'<br />
I made bold to accompany aI1j before<br />
long we had reached Mr. Wilson's lodgings, and<br />
walked into the room where that mild little man<br />
was eating his solitary breakfast. He looked<br />
considerably' astonished at our visit, as well he<br />
might. The General opened fire without delay.<br />
"Good morning, Mr. Wilson," he began.<br />
"This is an early hour for a call, perhaps. But<br />
we felt bound to lose no time in—in congratu-<br />
lating you upon your unsuspected literary<br />
talent!"<br />
Mr. Wilson simply stared at us in open-<br />
mouthed astionishment.<br />
"Yes," continued the General, "Thanks to a<br />
fortunate accident, we have been enabled to<br />
identify the author of a certain unsigned article<br />
in this month's Penwiper. Need I add that we<br />
hasten to express our gratitude for it?"<br />
Mr. Wilson still seemed considerably puzzled.<br />
"Oh, that thing of mine in the Penwiper / Glad<br />
you liked it so much—I confess I shouldn't have<br />
thought it would have interested you!"<br />
"Interest me?" shouted the General, his<br />
ponderous sarcasm giving way to his anger—<br />
"interest me? A string of dirty personalties,<br />
every one of which is libellous, a venomous"<br />
The curate shook his head sadly. "Dear me,<br />
either you or 1 am mad, it's quite clear. May I<br />
ask for a specimen of the personalities you men-<br />
tion?"<br />
"Why, it's alive with them, sir. Look at the<br />
title—' Seaside Fossils.'"<br />
"What?" cried Mr. Wilson. "I didn't write<br />
that—my paper in this month's number is called<br />
'Some points connected with the Mozarabic<br />
Liturgy.' I know nothing about the other thing<br />
—I haven't even read it."<br />
Rarely have I seen two men look so foolish as<br />
did the Vicar and my uncle at this moment. The<br />
latter, however, rallied nobly to the attack.<br />
"A likely story, sir! And you mean to say<br />
that you didn't write this attack upon Rip-<br />
plington?"<br />
"I am not accustomed to having my word<br />
doubted," said Mr. Wilson, coldly. "But if you<br />
will open that drawer just behind you, you will<br />
find the MS. of my article, which came back with<br />
the proof."<br />
The General did as he was bid, and then, look-<br />
ing extremely crestfallen, marched to the door-<br />
way. There he turned round and delivered a<br />
parting shot.<br />
"Well, sir, all I can \s, \hat I am aston-<br />
ished that a geiv^cman—1^ AoOR a clergyman—<br />
(tan think it to c*v vJfo^ wq^amg—n<br />
matter on wh- ■ • -<br />
as the Penw<br />
and out we<br />
No sooner 1<br />
^0 ^W*. va^ Wte<br />
<br />
<br />
## p. 90 (#118) #############################################<br />
<br />
90<br />
THE AUTHOR.<br />
fell violently upon the Vicar for having made a<br />
fool of him. Why the dickens parsons never<br />
could mind their own business—and so on. And<br />
so, in the very worst of tempers, the General and<br />
the Vicar returned to their respective homes.<br />
Indeed, my uncle's condition was so volcanic<br />
during the rest of that day, that I decided to cut<br />
my visit short, and to return to town at once.<br />
Before leaving Ripplingtou, however, I had the<br />
grace to call on "Wilson and to apologise for my<br />
share in the invasion of his rooms. At the same<br />
time I explained how he had unwittingly laid<br />
himself open to suspicion. He smiled good-<br />
naturedly.<br />
"It was entirely my own fault," he said. "In<br />
future I shall be careful to sign all my articles.<br />
And it will teach the Vicar and General Barford<br />
not to jump at conclusions."<br />
Next morning I returned to London; but<br />
letters from Ripplington during the next few<br />
weeks informed me that the real culprit remained<br />
undiscovered. "But he cannot hide in obscurity<br />
much longer," wrote the General.<br />
He was quite right, though the truth was made<br />
known hardly in the way which he anticipated.<br />
Happening to glance at the next month's number<br />
of the Penwiper, I met with something which<br />
caused me to send a marked copy to the General<br />
by the next post. The passage which I had<br />
emphasised was an " Editorial Note," which ran<br />
as follows :—■<br />
"We accidentally oinitted to mention in our<br />
last number that the sketch entitled 'Seaside<br />
Fossils,' appearing in it, was an early work,<br />
hitherto unpublished, of that talented writer Mr.<br />
Thomas Nutley Johnson, whose death we had<br />
recently to deplore. That it excited no little<br />
interest was proved by the number of inquiries as<br />
to its authorship which we received. And, indeed,<br />
although it was written nearly thirty years ago,<br />
it displays much of that ready humour and<br />
happiness of phrase which earned so well-<br />
deserved a fame for the later works of its<br />
brilliant author." Anthony C. Deane.<br />
MONSTERS IN FICTION.<br />
THE human imagination, when its excesses<br />
have not been checked by science, has a<br />
curious tendency to create fabulous<br />
monsters. We have examples of this in the<br />
man-bull of the Assyrians and the Centaur of the<br />
Greeks.<br />
Gustave Flaubert, in " La Tentation de Saint<br />
Antoine," introduces a number of deformed<br />
beings, supposed at one time to have lived on the<br />
earth in a state of imperfect organisation: the<br />
Nisnas, an animal with one eye, one cheek, one<br />
hand, half a body, and half a heart; the Blemmyes,<br />
headless things with enormous shoulders, "who<br />
reduce digestion to thouglit "; the Sciapades,<br />
whose flowing locks as long as creeping plants<br />
keep them attached to the ground ; the Sadhuzag,<br />
a large black stag with a bull's head, with<br />
seventy-four antlers hollow as flutes, from which<br />
issues an indescribably sweet music; the<br />
Mantichor, a gigantic red bon with a human<br />
figure and three rows of teeth; the Catoblepas, a<br />
black buffalo with a pig's head falling to the<br />
earth and connected with his shoulders by a<br />
slender neck, long and flabby as an empty gut;<br />
and the Astomi, which pass like air-balls across<br />
the sun, composed of breezes and perfumes—" a<br />
little more than dreams, not entirely beings."<br />
The very names of these imaginary entities<br />
seem like inventions; and yet Flaubert probably<br />
found them all in the course of his omnivorous<br />
reading; for he was one of those writers who are<br />
always searching for " quaint and curious volumes<br />
of forgotten lore."<br />
Shakespeare has presented us with a type of the<br />
human monster in Caliban, which, to many<br />
readers, suggests some difficulties; for this crea-<br />
ture is not a savage, but a bestialized man, who<br />
has still many of the characteristics to which we<br />
apply the word " civilised." The ingenious Renan<br />
has endeavoured to elucidate the Shakespearean<br />
conception in a philosophical drama, purporting<br />
to show that Caliban is a human being entirely<br />
unenlightened by science and culture, by whose<br />
agency, however, he might become a perfect man.<br />
Most people have heard of that quaint old novel<br />
"Peter Wilkius," but comparatively few have<br />
read it. It relates the mythical history of an<br />
adventurous traveller who made the acquaintance<br />
of a flying woman, and married her. According<br />
to a theory which has recently been broached, the<br />
inhabitants of Mars are winged. If there be any<br />
foundation for the hypothesis, perhaps Mrs. Peter<br />
Wilkins ought to have been born in that planet,<br />
and to have in some unaccountable fashion, found<br />
her way to the earth.<br />
Everyone is acquainted with "Gulliver's<br />
Travels," in which we are introduced to the<br />
Liliputians and the Brobdingnagians. This, after<br />
all, is only another version of the Giant and the<br />
Dwarf—a fable almost as old as the world itself.<br />
That giants once dwelt upon the earth may be taken<br />
for granted. Goliath of Gath, for example, was no<br />
myth; nevertheless it is possible that he was not<br />
a being of stupendous proportions, but a very<br />
big man with six fingers on each hand—by no<br />
means an uncommon phenomenon even in modern<br />
times.<br />
<br />
<br />
## p. 91 (#119) #############################################<br />
<br />
THE AUTHOR.<br />
9»<br />
The race of dwarfs may be regarded as more<br />
interesting than the colossal types of humanity,<br />
for there is something exceedingly remarkable in<br />
arrested physical development. There can be no<br />
■doubt that in mediaeval days dwarfs were actually<br />
manufactured for the purpose of being used to<br />
form appendages to Royal Courts. Grinning<br />
buffoons were also thus produced for the amuse-<br />
ment of the populace. The strange passage in<br />
"Victor Hugo's "L'Homme qui rit" describing<br />
the Comprachicos or Comprapequenos is not<br />
mere fiction but authentic history. The Compra-<br />
chicos were "buyers of children" (this is the<br />
literal meaning of the Spanish word). They<br />
traded in infants, whom they converted into<br />
monsters by a process of mutilation. The un-<br />
happy hero of this romance laughs involuntarily,<br />
because his face had been cruelly carved into a<br />
hideous laughing expression in his childhood.<br />
How far human beings may acquire the attri-<br />
butes of the lower animals is one of those curious<br />
questions which perhaps might fairly be dealt<br />
with in a psychological—or should we call it<br />
physiological ?—novel. In "Elsie Venner" Oliver<br />
Wendell Holmes attempted to grapple with the<br />
problem; but his suggestion that a snake-bite<br />
might affect a young girl's nature certainly<br />
appears rather far-fetched.<br />
As a rule novelists have fought shy of monsters,<br />
and Sir "Walter Scott's partiality for dwarfs—he<br />
introduces two in "Peveril of the Peak," and<br />
calls one of his shorter tales " The Black Dwarf"<br />
—does not seem to have infected many of his<br />
successors. We cannot find a single dwarf, or<br />
any other example of physical deformity, in<br />
Thackeray's works. George Eliot's genius was<br />
too catholic — in the best sense of the word—<br />
to concern itself about the characteristics of<br />
abnormal human beings. Even Bulwer Lytton—<br />
in spite of his love of the phantastic—has no<br />
partiality for monsters. Robert Louis Stevenson<br />
has analysed moral monstrosity in "Dr. Jekyll<br />
and Mr. Hyde." He does not, however, present<br />
us with physically abnormal characters, unless the<br />
possession of a wooden leg be considered abnormal.<br />
Until the eighteenth century, however, the<br />
subject of monsters had not begun to be scientifi-<br />
cally studied. During the present century it has<br />
been, however, elaborately investigated by Meckel,<br />
in Germany, and Geoffrey St. Hilaire and his<br />
son Isidore in France.<br />
Perhaps the time is at hand when we shall find<br />
literature assisting science in throwing light on<br />
the question. In an age which has given birth<br />
to such books as Max Nordau's "Degeneration,"<br />
nobody need be surprised to find the prohJ of<br />
monstrosity forming a new and star+lii » 10<br />
in the modern novel. D. »i !»UD? featU^<br />
BOOK TALE.<br />
THE life of the Kent peasant has attracted<br />
Miss Lilian Winser, who has made it the<br />
theme of a series of songs and lyrical<br />
stories, connected by dialogue and pleasantries,<br />
about to be published by Mr. Elkin Mathews<br />
under the title " Lays and Legends of the Weald<br />
of Kent." Mr. F. M. Hueffer announces that he<br />
and his wife have been engaged for the last two<br />
years collecting materials for just such another<br />
work.<br />
The Queen has commanded Sir Arthur Bigge<br />
to thank Mr. Arthur A. Sykes for the copy of<br />
"The Coronation Cruise of the Midnight Sun,"<br />
presented to Her Majesty.<br />
We understand that " Martin Pritchard," the<br />
author of "Without Sin," a novel which was<br />
published some time ago, and has evoked remark-<br />
able criticism here and in America, is a Loudon<br />
lady, namely, Mrs. Augustus Moore.<br />
Mr. Arthur Paterson has produced a new novel<br />
called "For Freedom's Sake," which is to be<br />
published at an early date by Messrs. Osgood.<br />
A volume of autobiographical reminiscences of<br />
the late Mrs. Rundle Charles, the author of the<br />
"Schonberg Cotta Family," is about to be pub-<br />
lished by Mr. Murray under the title " Our Seven<br />
Homes.<br />
Mr. R. D. Blackmore has concluded arrange-<br />
ments with Blackwood's Magazine for the serial<br />
publication of his story entitled "Dariel: A<br />
Romance of Surrey." It will begin in the October<br />
number.<br />
Among forthcoming verse will be a volume of<br />
lyrics by Mrs. Hinkson (Katharine Tynan),<br />
entitled "A Lover's Breast Knot," to be pub-<br />
lished by Mr. Elkin Mathews; and " The Bothie<br />
and Other Poems," by Mr. Arthur H. Clough,<br />
which will appear in Mr. Walter Scott's series of<br />
Canterbury Poets.<br />
Mr. Henley is just about clear of his labours<br />
on the Centenary edition of Burns, which he and<br />
Mr. T. F. Henderson have edited, and the first<br />
volume of his edition of Byron will be in the<br />
hands of the booksellers very shortly. The<br />
poems are being arranged as nearly as possible<br />
in a chronological order<br />
A new literary ma&a • » ;§ about to be inaugu-<br />
rated by Mr. William * a pVfs of the Hull and<br />
London firm of puKv"^ oi ^ ^e<br />
Temple Magazine i& H&W. rti * sapetvs^ !$!9"^<br />
<br />
<br />
<br />
## p. 92 (#120) #############################################<br />
<br />
92<br />
THE AUTHOR.<br />
moreover, that the publishing house of Hutchin-<br />
son is contemplating the issue of a new monthly<br />
in October.<br />
Admirers of the late Mr. Joseph Thomson, the<br />
African traveller, will be glad to hear that a<br />
biography is already being prepared by his<br />
brother, the Rev. J. B. Thomson, of Greenock.<br />
All the six expeditions which Thomson led will<br />
be sketched in detail, and contributions of his<br />
life and work will find a place in the volume<br />
from the pens of Mr. J. M. Barrie, Dr. Gregory,<br />
Mr. Scott Keltie, Mr. E. G. Ravenstein, and<br />
others.<br />
A translation of Signor Sinigaglia's book on<br />
the Dolomites is about to be published by Mr.<br />
Fisher Unwin. There will be illustrations in it<br />
by Signor Sella, who it will be remembered<br />
also illustrated the two huge volumes on the<br />
Caucasus by Mr. Freshfield which were recently<br />
published.<br />
Another, and most likely a very important,<br />
mountaineering and exploring book will be the<br />
outcome of an expedition about to be undertaken<br />
to South America, if it should prove successful.<br />
The head of the expedition is Mr. A. E. Fitz-<br />
gerald, who recently wrote a large volume on<br />
"Climbing in New Zealand." He will endeavour<br />
to scale Aconcagua, the highest climb ever<br />
attempted.<br />
Miss Julia Dow has written an account of a tour<br />
to the English cathedrals, which will be published<br />
by Messrs. Macmillan under the title " A Cathe-<br />
dral Pilgrimage."<br />
Mr. William Le Queux has two volumes of<br />
fiction in the publishers' hands—namely, "A<br />
Secret Service," to be published soon by Messrs.<br />
Ward and Lock, and an African romance entitled<br />
"The Great White Queen," which will appear<br />
from Messrs. F. V. White's next month.<br />
Mr. William Archer's translation of the<br />
biography of Nausen, by Bnigger and Rolfsen,<br />
will be ready shortly. There will be drawings in<br />
it by leading artists of Norway, and also maps<br />
and illustrations from photographs.<br />
Mr. Rudolf Lehmaun has in preparation a<br />
collection of portraits and sketches of exceptional<br />
interest. It comprises a long series of portraits<br />
of notable men and women who have sat to him<br />
between the years 1847 at)d 1895, who include<br />
H.R.H. the Prince of Wales, the late Emperor<br />
Frederick, the Right Hon. W. E. Gladstone,<br />
Pope Pius IX., Cardinal Manning, Lord Tennyson<br />
James Russell Lowell, Liszt, Chopin, George<br />
Henry Lewes, Mr. G. F. Watts, Mr. W. S.<br />
Gilbert, and a host of others—" in fact," says the<br />
prospectus, "scarcely a domain of life is un-<br />
represented." The volume, which will be pub-<br />
lished by Messrs. Bell and Sons at three guineas,<br />
in an edition of 500 copies, will contain twelve<br />
photogravures from paintings and about seventy<br />
facsimile reproductions of the drawings in half<br />
tone, some of them printed in colours. Mr. H. C.<br />
Marillier will write an introduction and short<br />
biographical notices.<br />
Mr. Clement Shorter is busy preparing his<br />
work on the Brontes for publication in the<br />
autumn. An article in one of the magazines<br />
some time ago foreshadowed what the character<br />
and trend of the book will be. He does not agree<br />
with Mrs. Gaskell and other Bronte students in<br />
their estimate of the brother, about whom he will<br />
have new material to offer. Mr. Nicholls, the<br />
husband of Charlotte Bronte, has assisted Mr.<br />
Shorter by giving him MSS. and several personal<br />
interviews on the controversial questions dis-<br />
cussed.<br />
Mr. Pett Ridge is issuing, through Messrs.<br />
White, a short story called "An Important<br />
Man." *<br />
A biography of Sir Kenelm Digby, who<br />
occupied such a prominent and adventurous posi-<br />
tion in the social, literary, and political worlds<br />
during the reigns of James, Charles I., Cromwell,<br />
and partly of Charles II., is about to be published<br />
by Messrs. Longmans, Greeu and Co. Digby's<br />
Memoirs were not published until 1827, but these<br />
did not cover his whole career; while subsequent<br />
writers have not, it is believed, covered the events<br />
of his life and times so entirely as the forthcoming<br />
work.<br />
Mr. Bret Harte will be well to the front with<br />
books this autumn. Besides his new volume of<br />
poems, which is being prepared for issue, the three<br />
short stories, "Devil's Ford," "Snowbound at<br />
Eagles," and "A Millionaire of Rough and<br />
Ready," will appear in one volume; a collection<br />
of new stories under the title " Barker's Luck"<br />
will see the light, and will contain illustrations by<br />
A. Forestier, Paid Hardy, A. Morrow, and T.<br />
Julich. Apart from these, his publishers, Messrs.<br />
Chatto and Windus, will have out within the<br />
next few days the ninth volume of the collected<br />
edition of Mr. Harte's works, containing thirteen<br />
stories.<br />
Mr. Lang's Christmas book for children this<br />
year is to be " The Animal Story Book."<br />
Several important biographical works are to be<br />
published during the autumn season by Mr. John<br />
Murray. They include "The Life of the Rev.<br />
Benjamin Jowett," by Evelyn Abbott, M.A.. and<br />
the Rev. Lewis Campbell, which will be in t wo<br />
<br />
<br />
## p. 93 (#121) #############################################<br />
<br />
THE AUTHOR.<br />
93<br />
volumes; "Life and Letters of Samuel Butler,<br />
D.D., Bishop of Lichfield," by his grandson,<br />
Samuel Butler; "A Memoir of Sir John Drum-<br />
xnond Hav, some time Minister at the Court of<br />
Morocco," which is based on his journals and<br />
correspondence, and will have a preface by<br />
General Sir Francis de Winton, KC.M.G.; and<br />
"The Life of Brian Hodgson," by Sir William W.<br />
Hunter, K.C.S.I.<br />
Mrs. Lynn Linton's new novel, "Dulcie<br />
Everton," will appear this month, in two volumes<br />
published by Messrs. Chatto and Windus.<br />
Mr. Du Maurier's new story, " Martian," will<br />
be begun in Harper's for next month.<br />
"The Charm" is the title given to the volume<br />
of eight drawing-room plays upon which Mr. W.<br />
H. Pollock and Sir Walter Besant have l>een<br />
engaged, at intervals, for some years. In the<br />
introduction to the volume, which is to appear<br />
early this autumn, the question of the difference<br />
between a stage play and a drawing-room play<br />
is discussed. The book is to have the illustra-<br />
tions by Miss Chris Hammond and A. Jule<br />
Goodman, which appeared in Pearson's in the<br />
serial form.<br />
A new story by Mr. Eobert Barr, entitled<br />
"Revenge," is announced for publication by<br />
Messrs. Chatto and Windus in a few days.<br />
The idea of bicycle-exercise injuring the reading<br />
of novels was lately paragraphed industriously in<br />
the papers. It was suggested that the one form<br />
of recreation was being found more healthy than<br />
the other. If that be so, the fact of Messrs.<br />
Chapman and Hall being about to issue a series<br />
of novels specially adapted for the cyclist to carry<br />
and read while he is on tour, may possibly be<br />
looked upon as a suggested rapprochement.<br />
The first of this series is by Mr. Charles James,<br />
and called "Two on a Tandem;" that being<br />
followed by "On the Down Grade," by Miss<br />
Winifred Graham.<br />
Another novel has been written, in collabo-<br />
ration, by Mrs. L. T. Meade and Dr. Clifford<br />
Halifax. The last was called " The Diary of a<br />
Doctor;" the title of the forthcoming story,<br />
which will be issued by Messrs. Chatto aimost<br />
immediately, is " Dr. Ramsey's Patient."<br />
Mr. Austin Dobson is issuing a third group of<br />
"Eighteenth Century Vignettes," and has written<br />
a poem called "An Epistle to a Friend," as<br />
a prologue to the volume.<br />
A new sixpenny weekly journal ig announced<br />
by Mr. Horace Whitcomb, lately Q0aaected with<br />
the Saturday lievieic. It is to be , New<br />
Saturday. ™eU<br />
Dr. Parker's forthcoming volume is to be<br />
entitled " Might Have Been: Some Life Notes."<br />
The book (6s.) is to be published by Messrs.<br />
Chatto and Windus early in the autumn. It<br />
will contain unpublished letters by John Bright,<br />
C. H. Spurgeon, Henry Ward Beecher, John B.<br />
Gough, and Henry White, of the Savoy Chapel.<br />
There will also appear in it Dr. Parker's Eulogy<br />
on Beecher, and his critical estimates of Sir<br />
Henry Irving, John Oliver Hobbes, C. H.<br />
Spurgeon, Harriet Beecher Stowe, and many<br />
others. The book is to be dedicated to Sir Wemyss<br />
Eeid, "in appreciation of the spirit and genius<br />
which have marked his brilliant professional<br />
career."<br />
Mr. Charles Bright, F.E.S.E., civil engineer<br />
and writer on electrical subjects, has recently<br />
completed an elaborate treatise on submarine<br />
telegraphy, being the first English work on this<br />
subject. As a two-guinea venture it is being<br />
brought out by subscription, and orders should be<br />
sent in to Messrs. Crosby, Lockwood, and Son,<br />
the publishers, at 7, Stationers' Hall-court, E.C.<br />
After publication the price will be raised to three<br />
guineas net.<br />
Miss Harcourt Roe will produce next month a<br />
novel treating largely of Portsmouth and of<br />
naval affairs and officers. It will be called " The<br />
Romance of Mr. Wodehouse." The publishers<br />
are Messrs. Hutchinson<br />
"Denounced," Mr. John Bloundelle-Burton's<br />
new novel, which has now concluded its serial<br />
stages, will be published shortly by Methuen and<br />
Co., in London, and at the same time by Appleton<br />
and Co., of New York, both of whom published,<br />
last spring, his " In the Day of Adversity."<br />
Miss Edith Kenyon's new novel, " The Squire<br />
of Lonsdale," will be brought out by Messrs. F.<br />
Warne and Co. It may be remembered by some<br />
of our readers as having appeared in several<br />
newspapers last year.<br />
Devonshire folk and their descendants must<br />
take notice that Mr. Charles Worthy, author of<br />
"Devonshire Parishes," "Practical Heraldry,"<br />
&c, has just published a work of importance to<br />
them in his "Devonshire Wills." Everyone<br />
knows the flood of light that is poured upon<br />
ancient manners and customs as well as f aunty<br />
history and genealogy by u^s, This book con-<br />
tains a collection of a,-^ tate^ testaxxy^taxy<br />
abstracts, together with fa,t<^ ^Wrj<br />
genealogy of many of tk Vv>5 «A V***8*<br />
in the West of Engl*^ fg^<br />
Bemrose and Sons, 23, <V -ACV . A<br />
—Heavitree, Exeter—■OST^1^<br />
subscribers. 0<br />
<br />
<br />
## p. 94 (#122) #############################################<br />
<br />
94<br />
THE AUTHOR.<br />
The prospectus of a new edition of Carlyle's<br />
works is before us. It is proposed to complete<br />
the whole, with a volume of unpublished essays<br />
in thirty volumes large square crown. The pub-<br />
lished price is 3s. 6d. a volume: the editor is<br />
Mr. H. O. Traill, D.C.L., and the publishers are<br />
Messrs. Chapman and Hall.<br />
Miss Browning's promised volume of Travels<br />
in Hungary will appear this month. It is illus-<br />
trated partly from sketches made by the author,<br />
by Miss May Maguire and Miss Rose Le Quesne.<br />
The publishers are Longmans.<br />
LITERATURE IN THE PERIODICALS.<br />
Literature and Trade. Correspondence by ZZ.,<br />
Retired Bookseller, and R. H. Daily Chronicle for Aug.<br />
19, 20, and 21 respectively.<br />
Publishers and Booksellers. Official Correspond-<br />
ence in Publishers' Circular for Aug 22.<br />
The Catalogue of English Literature Scheme.<br />
Henry R. Tedder. The Library for August.<br />
The New Watchword of Literary Criticism.<br />
Saturday Review for Aug. 22.<br />
Novels without a Purpose. Grant Allen. North<br />
American Review for August.<br />
Present Conditions of Literary Production.<br />
Paul Shorey. Atlantic Monthly for August.<br />
A Claim for the Art of Fiction. E. G. Wheel-<br />
wright. Westminster Review for August.<br />
Cosmopolitanism in Literature. The Speaker for<br />
Aug. 15.<br />
Days with Mrs. Stowe. Annie Field. Atlantic<br />
Monthly for August.<br />
Letters of D. G. Rossetti. IV.—Goorge Birkbeck<br />
Hill. Atlantic Monthly for August.<br />
Eugene Field and his Work. Atlantic Monthly for<br />
August.<br />
An Unworked Field of Romance. Atlantic Monthly<br />
for August.<br />
The Power of the British Press. Henry W. Lucy.<br />
North American Review for August.<br />
Sir John Seeley. Herbert A. L. Fisher. Fortnightly<br />
Revieiv for August.<br />
The Ethical Impulse of Mrs. Browning's Poetry.<br />
T. Bradfield. Westminster Review for August.<br />
Political Conception. Spectator for Aug. 8. and letters<br />
of Professor Courthope and V. W., Aug. 15.<br />
Ivan Turueniev. Maurice Todhunter. Westminster<br />
Review for August.<br />
Living Critics. VIII.—Professor George Saints-<br />
bury. Arthur Waugh. Bookman for August.<br />
The Poetry of the Psalms. Spectator for Aug. 22.<br />
The Posthumous Verlaine. Spectator for Aug. 22.<br />
The Gospel According to the Novelists. IV.—<br />
Robert Louis Stevenson. W. J. Dawson. The<br />
Young Man for September.<br />
Notable Reviews.<br />
Of Berdoe's " Browning and the Christian Faith." Speaker<br />
for Ang. 1.<br />
Of Professor Crawshaw's "The Interpretation of Litera-<br />
ture." By Professor Hugh Walker. Academy for<br />
Aug. 22.<br />
"Z. Z." protests against Messrs. W. H. Smith<br />
and Sons' treatment of his novel. It has been<br />
three months on sale among their customers, and<br />
now Messrs. Smith discover that it is unfit for<br />
them to sell or circulate. The omission of one<br />
paragraph, "Z. Z." understands, would remove<br />
their objection, but he humbly refuses to consent<br />
to "this tyranny." Nor is it consistent, he<br />
argues, for them—" whose vast power practically<br />
gives them an artificial censorship "—to exclude<br />
a book which is at least a serious attempt to<br />
depict character, and yet parade on their stalls<br />
flippant weekly papers which continuously debase<br />
the moral currency with an inexhaustible outpour<br />
of innuendo. Finally, is it fair, he asks, that<br />
the last novel by a great master, against which<br />
even many of the Tatter's admirers protested,<br />
should be circulated by Messrs, Smith without<br />
restriction, while this book by a young writer is<br />
boycotted. To remove the paragraph "would<br />
have been to admit the right of booksellers to<br />
edit what they exist merely to sell." "Retired<br />
Bookseller" promptly questions this "monstrous<br />
doctrine," and opposes to it his own theory that a<br />
bookseller has a conscience as well as an author,<br />
and that he is under no obligation to sell what he<br />
thinks is pernicious. "R. H.," on the other<br />
hand, says this is going too far in the direction<br />
of self-deception on the bookseller's part. The<br />
reader, he says, applies to the bookseller to pro-<br />
cure for him a certain article, and the bookseller<br />
procures it for a consideration. Were a book-<br />
seller to give himself out as the seller of " good<br />
books", the reader would have a right to return a<br />
book which he found bad.<br />
Mr. Grant Allen refers to the novel without a<br />
purpose as "that inartistic and jejune gaud," and<br />
says the twentieth century will outgrow it, and<br />
will be right in doing so. The process of purpose<br />
has been a constant progression, beginning in<br />
England with " Sandford and Mertou " and Miss<br />
Edgeworth's stories, and in France with Voltaire<br />
and Rousseau, and continuing by way of Charlotte<br />
Bronte, George Eliot, and even Hugo, to Zola,<br />
Meredith, and other present-day writers, being<br />
only replaced in the early half of the century by<br />
the purposive poetry of Shelley, Keats, and<br />
Wordsworth. He surveys the progress of litera-<br />
ture from its outset to show that every literature<br />
as it progresses grows deeper, more purposive.<br />
"We start, in all with sagas, stories, folk-songs,<br />
miirchen. We progress to the drama and novel of<br />
character; we end with the Euripideses, the<br />
Ibsens, the Merediths." (Do we end with<br />
these ?) To be considered really first-rate, a work<br />
in literature must not merely please, but teach us<br />
somewhat. Yet the novel without a purpose will<br />
continue to be written, no doubt, "for the<br />
<br />
<br />
## p. 95 (#123) #############################################<br />
<br />
THE AUTHOR.<br />
95<br />
younger generation and the inferior minds,"<br />
but in the next century the educated public<br />
will demand purpose even more than in this<br />
one.<br />
Meanwhile the Saturday owns itself confounded<br />
by the various views set forth upon the conditions<br />
and prospects of modern fiction. It reverts to an<br />
article by Mr. Hall Caine in the Contemporary<br />
some time ago, but as it cannot make out what<br />
some writers have meant by their definitions of<br />
trie words "idealism and realism," it gives a<br />
definition of its own:<br />
That Realism includes all those novels—be they what<br />
they may in other respects — which, in Mr. Podsnap's<br />
phrase, " are calculated to bring the blush of shame to the<br />
cheek of youth :" and that Idealism embraces that very<br />
considerable body of fiotion which the modern young lady<br />
can with little or no hesitation put into the hands of her<br />
brother, or even her father.<br />
And it is convinced that the British public will<br />
refuse to read works which seem to them to be<br />
immoral, even though they be works of genius,<br />
as long as the British public's "very rudi-<br />
mentary sense of artistic beauty is so completely<br />
in abeyance to their somewhat stunted sense of<br />
moral fitness."<br />
Mr. Wheelwright thinks that in the generality<br />
of fiction of the present day the sense of the<br />
beautiful is seen to have fallen into decay; rever-<br />
ence for women has become out of date; false<br />
ideals are cherished. He cannot consider as<br />
literature that what puts theory for fact and<br />
harsh effect for beautv, and he laments that the<br />
constantly recurring theme of modern fiction<br />
shows a feverish desire for novelty, with morbid<br />
psychology and ill-digested ethics.<br />
The new or unworked field of romance which<br />
is mentioned in the Atlantic is that of classical<br />
life, Greek or Roman. Why is it impossible to<br />
write such a story as will not be a mere hand-<br />
book of antiquities? asks the writer.<br />
On the question of the present conditions of<br />
literary production, Mr. Paul Shorey regards the<br />
temptation to intellectual dispersion and hasty<br />
premature production as one of two classes of<br />
obstacles to the writing of books that will live.<br />
On the slightest indication of talent a young<br />
writer's name is heralded to the four quarters of<br />
the globe; he is interviewed; his copy is eagerly<br />
competed for; and he is a celebrity when hardly<br />
out of his teens. This commercialism of the<br />
newspaper age has a good side, because it is<br />
pleasanter for the author than the old alternative<br />
of Grub-street or the patron, and the spur of<br />
ambition is probably helpful to a certain kind of<br />
craftsman. "But it is more hostile than penury,<br />
dependence on a patron, or the exercise of a<br />
regular profession, to the slow, concentrated<br />
brooding necessary to the production of permanent<br />
world-books." The other and more serious class<br />
of obstacles is the temporary exhaustion of avail-<br />
able motifs in the higher fields of literature.<br />
The realisation of all the dreams of modern<br />
science have been discounted in advance; and<br />
even in poetry no new contrivance of inventive<br />
ingenuity can surprise the poet who has already<br />
seen "the nation's airy navies grappling in the<br />
central blue." Another factor has to be taken<br />
into account besides the temporary failure of<br />
inspiration for poetry and philosophy, or the<br />
growing tyranny of the realist novel—namely,<br />
the influence of the great Universities (Mr.<br />
Shorey is, of course, writing of America) in<br />
creating a criticism based on fuller knowledge,<br />
in diffusing a truer appreciation of the heritage<br />
of 3000 years of European culture, and in<br />
establishing a rational adjustment of the claims<br />
upon our attention of the present and the<br />
past. America is now at last prepared, says<br />
Mr. Shorey, to enter upon this inheritance,<br />
and to reinterpret the past in relation to the<br />
present:—<br />
We shall soon have, to counter-balance our flourishing<br />
local fiction and the pretty bric-a-brac of the magazines, a<br />
vigorous and readable literature of scholarship, history,<br />
literary interpretation, and criticism—a literature not with-<br />
out interest and use for the present, and not without promise<br />
for the future. For the literature of the future, whatever<br />
else it may be, will not be based on ignoranoe, nor will it<br />
contract to the trivialities of the hour, the horizon of the<br />
being that looks bofore and after.<br />
Mr. Lucy says that not all the newspapers in<br />
the kingdom will force a hook into favour with the<br />
public; but given merit or capacity, recognition<br />
in the press is of inestimable value. In the<br />
personal article on the late Mrs. Stowe, the writer<br />
remarks that she was not a student of literature,<br />
and that a study of the literature of the past as the<br />
only true foundation for a literature of the pre-<br />
sent , was outside the pale of her occupations, and,<br />
for the larger portion of her life, outside of her<br />
interest. Mr. Tedder wants the Library Associa-<br />
tion to grant ,£200 or £300 to provide a rough<br />
catalogue of English literature as the basis for<br />
more serious supervision.<br />
CORRESPONDENCE.<br />
I. — To be Returned within a Certain<br />
Time.<br />
HAVING been time ^ tter time annoyed and<br />
mulcted of time ^ a r&oue? Y>y t^o^<br />
editors retaining ^<br />
wrested from a publisher-^*V5<br />
hasten to hand on to niy ^V9 # esSac*^ 1 ,0<br />
should never leave an L^JP^^^^N^<br />
<br />
<br />
## p. 96 (#124) #############################################<br />
<br />
96<br />
THE AUTHOR.<br />
said, " without stipulating that it should be read<br />
within a certain time." Since then I have got on<br />
so very much better with the disposal of my<br />
MSS., that the hint has proved most valuable to<br />
me. A Poor Author.<br />
II.—Injury by Detention.<br />
Extract from a letter.<br />
"Messrs. A. B.'s editor hindered me tremen-<br />
duously by detaining for six or seven months<br />
the copy I was offering to the editor. I wrote Xo<br />
him again and again. I called again and again.<br />
He sat over it like a dog over a bone, and when I<br />
called, beseeching him to make haste and decide,<br />
he would lay his hand on the MS. which was on<br />
the table by his side, and would beg for a little<br />
more time. Finally, when it was too late for any<br />
one else to publish it immediately after its<br />
appearance in the newspapers, he returned it,<br />
declined with thanks and regrets."<br />
III.—The Title.<br />
"Tyro," in your August issue, propounds a<br />
rather difficult question. With all the care in the<br />
world it is sometimes impossible to avoid collision<br />
with the choice of a fellow-writer. I have found<br />
the best method to be an exhaustive search, for<br />
several years back, through Mudie's and Smith's<br />
catalogues, which are (or were) kept bound in<br />
the circular receptacle in the centre of the British<br />
Museum reading-room. If, after examination,<br />
the selected title is not discovered therein, I<br />
should think "Tyro" would be pretty safe in<br />
appropriating it. At any rate the plan possesses<br />
the advantage of being as simple and expeditious<br />
as auv other. Old Bird.<br />
Author's Club, S.W.<br />
IV.—Literary Grab-alls.<br />
Mr. Honey Seabrooke, in his letter on this<br />
subject, thinks my experience unique ; but I fancy<br />
many writers, if they liked to own up to it, could<br />
substantiate it with their own experiences. As<br />
justice is due even to niggardly editors, I have to<br />
report that the 3s. for the poem was eventually<br />
increased to 5*.! and the 12s. 6d. for the storv<br />
to 21s.! It was thus in accordance with the<br />
spirit of this economic era, a case of hard<br />
bargaining.<br />
In reply to Mr. Stephen's letter, the editor of<br />
this journal, to whom I communicated them, has<br />
the names of these liberal journals.<br />
On the other side of the question, writing for<br />
payment to an editor for a short story which had<br />
been published in his paper, I was requested to<br />
name my price; accordingly I rated it at ,£5 5s.,<br />
which was promptly sent me.<br />
I think the Author might be of great service<br />
to literary men by publishing the names of all<br />
the journals and magazines in relation to their<br />
treatment of MSS. and payment of accepted ones,<br />
of course excluding the lights of literature, who<br />
can presumably make their own terms. Such a<br />
compendium would not only be useful to all those<br />
who want to live out of this precarious profession,<br />
but it would also prove my contention, that this is<br />
not a golden time for authors. The data for<br />
this list could be furnished easily by those who<br />
read and write for this journal. My own is at its<br />
service. Lunette,<br />
V.—Criticism from a Commercial Point of<br />
View.<br />
The following remarks were suggested by an<br />
incident that recently came under the writer's<br />
notice. A lady was reading a well-known paper,<br />
when she came across some disparaging remarks<br />
on the works of Miss Marie Corelli. Throwing<br />
down the journal, the reader, a warm admirer of<br />
the authoress, exclaimed, " I shall no longer take<br />
in this paper."<br />
Now, I am not acquainted with the writings of<br />
Miss Corelli, and so am not in a position to say<br />
whether the criticism was just or not; but I have<br />
no hesitation in affirming that any paper which<br />
sneers or carps at a widely popular author com-<br />
mits a fatal mistake from a commercial point of<br />
view.<br />
For one subscriber who is attracted by stabs<br />
and sneers at an established author ten sub-<br />
scribers are lost.<br />
People who have given a novelist their favour<br />
—a liking so strong that sometimes it amounts<br />
to personal affection, which may have lasted for<br />
years—do not like to be flippantly told that they<br />
are fools, and are apt to think that a journal,<br />
which they find antagonistic to them in literary<br />
matters, will also be opposed to them in their<br />
political and social views.<br />
If I had my capital invest«d in any paper<br />
where such a criticism appeared, I would not only<br />
sack the young critic but the editor as well. I<br />
say young critic advisedly, for I think an old one<br />
would have more sense than to quarrel in this<br />
way with his bread and butter, and would<br />
reserve his virulence for young and struggling<br />
authors.<br />
My advice to the proprietors of journalistic<br />
ventures is this: "If your critic cannot speak<br />
well of a popular or long established author, see<br />
that he holds his tongue, or assuredly you will<br />
suffer in pocket." Michael Ross.<br />
<br />
<br />
## p. 96 (#125) #############################################<br />
<br />
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London: Horace Cox, WindBor House, Bream's-buildings. E.G.<br />
Crown 8vo., cloth boarls, 3s. 6d.<br />
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RECENT VERSE.<br />
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11 The graceful smoothness of Mr. Lewis Brockman's poems."—<br />
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"He is decidedly inventive, and often highly imaginative<br />
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AN AUSTRALIAN<br />
IN CHINA:<br />
Being the Narrative of a Quiet Journey Across<br />
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acutely keen observation, that his travels are such a reality to the<br />
reader. This portly volume is one of the most interesting books of<br />
travel of the many published this year. It is frank, original, and<br />
quite ungarnished by adventitious colouring."—St. James's Budget.<br />
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The Scotsman.<br />
"By far the moat interesting and entertaining narrative of travel<br />
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World.<br />
London : Horacr Cox, Windsor House, Bream's-bulldingB, E.C.<br />
Royal 8vo., price 16s. net.<br />
Sporting Days in Southern India:<br />
BEING REMINISCENCES OF TWENTY TRIPS<br />
IN PURSUIT OF BIG GAME,<br />
CHIEFLY IN THE JrlADRAS PRESIDENCY.<br />
BT<br />
Lieut -Col. A. J. 0. POLLOCK, Royal Scots Fusiliers.<br />
WITH NUMEROUS ILLUSTRATIONS BY WHYMPER<br />
AND OTHERS.<br />
CONTENTS.—Chapters I., II., and III —TheBear. IV. and V.—The<br />
Panther. VI., VII., and VIII.—The Tiger. IX. and X.—The<br />
Indian BlBon. XI. and XII —The Elephant. XIII.—Deer<br />
(Cervidro) and Antelopca. XIV.—The Ibex. XV. and XVI.—<br />
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<br />
<br />
## p. 96 (#126) #############################################<br />
<br />
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ECLAIR TYPEWRITING COMPANY,<br />
GRANVILLE HOUSE, ARUNDEL STREET, STRAND.<br />
<br />
Typewriting, Copying, and Translating carefully and<br />
expeditiously executed. References kindly permitted to Sir<br />
Frank Lockwood, Q.C., M.P., T. P. O'Connor, Esq., M.P.,<br />
and E. A. Fardon, Esq., Middlesex Hospital.<br />
THE AUTHOR'S HAIRLESS PAPER-PAD.<br />
(Thk Leadenhall Pbess Ltd.),<br />
50, Leaden hall St reet , London, E.C.<br />
Contains hairless paper, over which the pen<br />
slips with perfect freedom.<br />
Sixpence each: s«. per dozen, ruled or plain.<br />
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MISS CLAXTON (a correct and clear TYPIST) will (be<br />
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Now ready, demy 8vo., cloth boards, price 10s. 6d.<br />
IN NEW SOUTH AFRICA.<br />
Travels in the Transvaal and Rhodesia.<br />
With Map and Twenty-six Illustrations.<br />
By H. LINCOLN TANGYE.<br />
CONTENTS.<br />
Introductory.<br />
PART I.<br />
Chapter I.—The Land of Gold and the Way there.<br />
,, II.—Across Desert and Veldt.<br />
,, III.—Johannesburg the Golden.<br />
IV.—A Transvaal Coach Journey.<br />
,, V.—Natal: the South African Garden.<br />
,, VI —Ostracised in Africa. Home with the Swallows.<br />
PART II —RAMBLES IN RHODESIA.<br />
Chapter I.—Eendragt Maakt Magt.<br />
,, II.—Into the Country of Lobengula.<br />
„ III.—The Trail of War.<br />
,, IV.—Goldmining, Ancient and Modern.<br />
„ V.—Sic Transit Gloria Mundi.<br />
VI —To Northern Mashonaland.<br />
VII.—Primitive Art. The Misadventures of a Wagon.<br />
Index.<br />
Loudon: Horace Cox, Windsor House, Bream's-bujldings, E.C-<br />
Printed and Published by Horace Cox, Windsor House, Bream's-buildings, London, £.0. | https://historysoa.com/files/original/5/294/1896-09-01-The-Author-7-4.pdf | publications, The Author |