252 | https://historysoa.com/items/show/252 | The Author, Vol. 02 Issue 01 (June 1891) | <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.+02+Issue+01+%28June+1891%29"><em>The Author</em>, Vol. 02 Issue 01 (June 1891)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&view=1up&seq=20" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927</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> | 1891-06-01-The-Author-2-1 | | | | | 1–32 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=2">2</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1891-06-01">1891-06-01</a> | | | | | | | 1 | | | 18910601 | ## p. 1 (#405) ##############################################<br />
<br />
Uhc Eutbot\<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. II.—No. i.]<br />
JUNE i, 1891<br />
[Pkice Sixpence.<br />
CONTENTS.<br />
PAGB<br />
• 5<br />
The Author l Second Volume<br />
The American Copyright Act—<br />
I. Directions for securing Copyright j<br />
II. Rolicrt Underwood Johnson. By Edmund Gossc .. 7<br />
III. The Passage ol thu Bill. By Kato Tannatt Woods 9<br />
IV. Note. By C. G. I.cland 9<br />
V. Note. By William Westall 10<br />
VI. Mr. C. J. Longman's Article in the Economic Review 11<br />
VII. Note. By H. Q. Kcene 11<br />
VIII. Note. By B.H. H 11<br />
The Petition to the House of Lords 11<br />
The Second Reading of the Copyright Bill J<br />
I'AOK<br />
The Cost of a Stamp 3<br />
Notes and News. By Walter Besant 13<br />
In the Days of the Merry Monarch 18<br />
Reviews and Reviewers 19<br />
Library Secrets"<br />
Maurice Maeterlinck. By William Wilson 13<br />
Literature in Ireland '4<br />
"A Word from you. Sir" »6<br />
Mr. George Moore and Herr Ibsen a*1<br />
"At the Author's Head"<br />
On Some Cases '9<br />
Correspondence 3°<br />
EYRE AND SPOTTISWOODE.<br />
ACTION OF LIGHT ON WATER COLOURS—Report<br />
to the Science and Art Department of the Committee of Council<br />
on Education. (With Diagrams and Plates.) By post, u. 1 irf.<br />
PLIOCENE DEPOSITS OF BRITAIN, THE. By<br />
Clbmbst Rbid, F.LS.. F.G.8. Five Plates (48 cuts), j». M.<br />
LONDON AND NEIGHBOURHOOD: Guide to the<br />
Geology of. Bv William Whitakeb, B.A. it.<br />
LONDON AND OF PART OF THE THAMES VALLEY,<br />
The Gedogy of. By W. Whitakeb. B.A., P.R.S., F.G.8..<br />
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.<br />
cloth. 6». Vol. II. APPENDICES. 8vo.. cloth, 5*.<br />
ISLE OF WIGHT, Geology of. By H. W. Bristow,<br />
F.R.S., F.G.S. Second Edition. Revised and enlarged bv<br />
Clement Rbip. F.G.8., and Acbbet Stbahak, M.A., F.G.8.<br />
8vo., cloth, 8». W.<br />
COPYRIGHT LAW REFORM: an Exposition of Lord<br />
Monkswell's Copyright Bill now before Parliament; with<br />
Extracts from the Report of the Commis>ion of 1878, and an<br />
Appendix containing the Berno Convention and the American<br />
Copyright Bill. By J. M. Lblt, Esq., Barrister-at-Law. i«. 6d.<br />
STATE TRIALS, Reports of; New Series. Published<br />
under the direction nt the State Trials Committee. Edited by<br />
Jonx MacDonell. M.A., of the Middle Temple. Barrister-at-<br />
Law. Vols. I. and II. ready. Vol. III. in the Press. Price<br />
1 os. per volume.<br />
"It is for the most part interesting, not to say fascinating, study<br />
for anyone, that is to say, who cares about history at all."—Daily<br />
yews.<br />
FISHES<br />
By<br />
By G. C.<br />
HANDBOOK OF NEW ZEALAND<br />
R. A. A. Siiubrih. Demy 8vo.. cloth, m.<br />
ORANGE CULTURE IN NEW ZEALAND.<br />
Aldbbtoh. Demy 8vo., cloth, m.<br />
FOREST FLORA OF NEW ZEALAND. By T. Kikk,<br />
F.L.S., late Chief Conservator of State Forests, N.Z.. Ac.<br />
Numerous Plates. Fcp.,cloth. i>«. W.<br />
KEW BULLETIN, 1890. Issued by the Director of Kew<br />
Gardens. m. icxl.<br />
KEW BULLETIN, 1891. Monthly, id. Appendices, zd.<br />
each. Annual Subscription, including- postage, yt. t>d.<br />
WEATHER, STUDY AND FORECAST OF. Aids to.<br />
By Rev. W. Clemebt Let. M.A. is.<br />
ROYAL MILITARY EXHIBITION, 1890. Descriptive<br />
Catalogue of Musical Instruments recently exhibited at the<br />
Royal Military Exhibition. Compiled by Copt. C. R. Day,<br />
Oxfordshire Light Infantry, under the orders of Col. Siiaw-<br />
Wellieb, Commandant Royal Military School of Music. The<br />
instruments are fully desenbed; they are arranged systemati-<br />
cally under their respective families and classes, nnd n chrono-<br />
logical arrangement has, as much as possible, been adhered to.<br />
Each family of instrument has been prefaced by a carefully-<br />
written Introductory Essay. Musical pitch has not lieen left<br />
unnoticed, and a learned Essay from the pen of a well-known<br />
authority upon the subject appears in the Appendix. The b"ok<br />
will be illustrated by a series of Twelve Artistically executed<br />
Plates in Heliogravure, and with numerous Wood Engravings.<br />
The issuo will be limited to 1000 copies.<br />
[Ready about the middle o/Junr.<br />
Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id.<br />
Miscellaneous L ist on Application.<br />
Every Assistance given to Correspondents; and Books not kept iu stock obtained without delay. Remittance should<br />
accompany Order.<br />
C.OVERXMEXT AXD GENERA!, publishers.<br />
EYRE anil SPOTTISWOODE, ller flajesty's Printers, East Harding Slrrrt, London, E.<\<br />
<br />
<br />
## p. 2 (#406) ##############################################<br />
<br />
ADVERTISEMENTS.<br />
Messrs. METHUEN'S NEW BOOKS.<br />
PBINCE<br />
a vols.<br />
GEORGE<br />
By S. BARING GOULD.<br />
IJKITH: A Story of Dartmoor. By S. Baring Gould,<br />
Author of" Mehalah," " Arminell," ftp. 3 vols. [Ready.<br />
By HANNAH LYNCH.<br />
OF TAB GLADES. Ky Hannah Lynch.<br />
[Ready.<br />
MEREDITH. A Study. Crown 8vo. 5*.<br />
[Ready.<br />
By W. CLARK RUSSELL.<br />
A MARRIAGE AT SEA. By W. Clark Russell,<br />
Author of " Tho Wreck of the Gro<vonor," ftc. 3 vols. [Remly.<br />
THE LIFE OF ADMIRAL LORD COLL1NGWOOD.<br />
By W. Clark Russell, Author of "The Wreck of the<br />
Grosvenor." With ['lustrations by F. Branowtn. 8vo.<br />
[Ready.<br />
By W. H. POLLOCK.<br />
BETWEEN THE LINES. By Waltkr Hurries<br />
Pollock. Post 8vo. is. [April.<br />
By R. PRYCE.<br />
THE QUIET MRS. FLEMING. By Richard Prtob.<br />
Crown 8vo. is. td. [Ready.<br />
By J. B. BURNE, M.A.<br />
PARSON AND PEASANT: Chapters of their Natural<br />
History. By J. B. Burnk, M.A., Rector of Wasing. Crown<br />
Svo. ss. [Ready.<br />
By E. LYNN LINTON.<br />
THE TRUE HISTORY OF JOSHUA DAVIDSON,<br />
Christian and Communist. By E. Ltsn Linto.v. Tenth and<br />
Cheaper Edition. Post 8vo. is. [Ready.<br />
Works by S. BARING GOULD,<br />
Author of" Mehalah," frc.<br />
OLD COUNTRY LIFE. By S. Baring Gould. With<br />
Sixty-seven Illustrations by W. Parkinson, P. D. Bedford,<br />
and F. Masev. Large Crown 8ro, cloth super extra, top edge<br />
gilt, 105. bd. Second Edition.<br />
"Old Country Life, as healthy wholesome reading, full of<br />
breezy life and movement, full of quaint stories vigorously told,<br />
will not lie excelled by any book to bo published throughout tho<br />
venr. Sound, hearty, and English to the core."— World.<br />
HISTORIC ODDITIES AND STRANGE EVENTS.<br />
By S. Hiring Gould. First Series. Demy 8vo. 10s. bd.<br />
Second Edition.<br />
"A collection of exciting and entertaining chapters. The whole<br />
volume is delightful reading."— Times.<br />
SECOND SERIES.<br />
HISTORIC ODDITIES AND STRANGE EVENTS.<br />
Second Series. By S. Baring Gould, Author of "Mehalah."<br />
Demy Svo. 10s. td. [Ready.<br />
"A fascinating book."—Leeds Mercnry.<br />
SONGS OF THE WEST: Traditional Ballads and Songs<br />
of the West of England, with their Traditional Melodies.<br />
Collected by S. Bering Gould, M.A., and H. Fleetwood<br />
Siikitakd, M.A. Arranged for Voire and Piano. In 4 Parts<br />
(containing 15 Songs each), is. each nett. Part I., Third<br />
Edition. Part II., Second Edition. PartIIL.ready. Part IV.,<br />
rend]/. $s.<br />
"A rich and varied collection of humour, pathos, grace, and<br />
poetic faiicv."—Saturday Review.<br />
YORKSHIRE ODDITIES AND STRANGE EVENTS.<br />
By 8. Baking Gould. New and Cheaper Edition. Crown Svo.<br />
bs. [Now Ready.<br />
TWO HOOKS FOR BOYS. Cr. Svo. Ss.<br />
MASTER ROCKAFELLAR'S VOYAGE. By. W.<br />
Clark Russell, Author of "The Wreck of tho Grosvenor,"<br />
&c. Illustrated by Gordon Browne.<br />
SYD HELTON; or, The Hoy who would not go to Sea.<br />
By G. Manvii.i.b Fknn, Author of "In the King's Name," ftc.<br />
Illustrated by Gordon Browne.<br />
TWO BOOKS FOU GIRLS. Cr. Svo. 3s. 6rf.<br />
DUMPS. By Mrs. Parr, Author of "Adam and Eve,"<br />
'D-irc>thv Fox," Ac. Illustrated liv W. Parkinson.<br />
A GIRL OF THE PEOPLE. By L. T. Meade, Author<br />
of" Scamp and I," ftc. Illustrated by R. Karnes.<br />
METHUEN'S NOVEL SERIES.<br />
Three Shillings and Sixpence.<br />
Messrs. METHUEN will issue from time to time a Series<br />
of copyright Novels, by well-known Authors, handsomely<br />
bound, at the above popular price. The first volumes (now<br />
ready) are:<br />
I. THE PLAN OF CAMPAIGN. By F. Mabel<br />
RODINSON.<br />
*. JACQITETTA. By S. Baring Gould.<br />
3. MY LAND OF BEULAH. By Mrs. Lktth Adams.<br />
4. ELI'S CHILDREN. By G. Manville Fenn.<br />
5. ARMINELL: A Social Romance. By S. Baring<br />
Gould.<br />
6. DERRICK VAUGHAN, NOVELIST. By Edna<br />
Ltall.<br />
With portrait of Author.<br />
7. DISENCHANTMENT. By F. Mabel Robinson.<br />
8. DISARMED. By M. Betham Edwards.<br />
9. JACK'S FATHER. By W. E. Norris.<br />
Other Volumes will he announced in dne coarse.<br />
Edited by A. M. M. STEDMAN, M.A.<br />
Crown 8vo. 2s. 6d.<br />
A series of short biographies, free from party bias, of the<br />
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CARDINAL NEWMAN. R. H. Hutton. [Read;/.<br />
JOHN WESLEY. J. H. Overton. [Ready.<br />
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Crown Svo. 2s- 6d.<br />
Under the above title Messrs. Methuen have commenced<br />
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and economic subjects, suitable for extension students and<br />
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THE INDUSTRIAL HISTORY OF ENGLAND. By<br />
II DK B. GtBBINB, M.A., late Scholar of Wadham College, Oxon.,<br />
Cobden Prizeman. With Maps and Plans. [Ready.<br />
A HISTORY OF ENGLISH POLITICAL ECONOMY.<br />
By L. L. Price. M.A., Fellow of Oriel College, Oxon., Eitension<br />
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VICTORIAN POETS. By A. Sharp. [Nearly Ready.<br />
PROBLEMS OF POVERTY: An Inquiry into the<br />
Industrial Conditions of the Poor. By J. A. Hobson, M.A., late<br />
Scholar of Lincoln College, Oxon., U. E. Lecturer in Economics.<br />
[Ready.<br />
THE FRENCH REVOLUTION. By J. E. Symks, M.A.,<br />
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SOCIAL QUESTIONS OF TO-DAY.<br />
A series of volumes upon the most important topics of<br />
social, economic, and industrial interest—written by the<br />
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TRADES UNIONISM—New and Old. By G. Howem.,<br />
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M.A.. Fellow of Oriel College, Oxon. Ml**<br />
METHUEN & Co., 18, Bury Street, W.C.<br />
<br />
<br />
## p. 3 (#407) ##############################################<br />
<br />
ADVERTISEMENTS.<br />
The Society of Authors (Incorporated).<br />
PRESIDENT.<br />
The Right Hon. THE LORD TENNYSON, D.C.L.<br />
Sir Edwin ARNOLD, K.C.I.E.<br />
ALFRED Austin.<br />
A. W. À BECKETT.<br />
ROBERT BATEMAN.<br />
Sir HENRY BERGNE, K.C.M.G.<br />
WALTER BESANT.<br />
AUGUSTINE BIRRELL, M.P.<br />
R. D. BLACKMORE.<br />
Rev. Prof. BONNEY, F.R.S.<br />
LORD BRABOURNE.<br />
JAMES BRYCE, M.P.<br />
P. W. CLAYDEN.<br />
EDWARD Clodd.<br />
W. MARTIN CONWAY.<br />
Marion CRAWFORD.<br />
Oswald CRAWFURD, C.M.G.<br />
THE EARL OF DESART..<br />
A. W. DUBOURG.<br />
Joun ERIC ERICHSEN, F.R.S.<br />
Prof. MICHAEL FOSTER, F.R.S.<br />
HERBERT GARDNER, M.P.<br />
RICHARD GARNETT, LL.D.<br />
EDMUND Gosse.<br />
COUNCIL.<br />
H. RIDER HAGGARD.<br />
Thomas HARDY.<br />
Prof. E. Ray LANKESTER, F.R.S.<br />
J. M. LELY.<br />
Rev. W. J. LOFTIE, F.S.A.<br />
F. Max MÜLLER, LL.D.<br />
GEORGE MEREDITH.<br />
HERMAN C. MERIVALE.<br />
Rev. C. H. MIDDLETON-WAKE, F.L.S.<br />
J. C. PARKINSON.<br />
THE EARL OF PEMBROKE AND MONTGOMERY.<br />
SIR FREDERICK POLLOCK, BART., LL.D.<br />
WALTER HERRIES POLLOCK.<br />
A. G. Ross.<br />
GEORGE AUGUSTUS SALA.<br />
W. BAPTISTE SCOONES.<br />
G. R. Sims.<br />
J. J. STEVENSON.<br />
Jas. SULLY.<br />
William Moy THOMAS.<br />
H. D, TRAILL, D.C.L.<br />
The Right Hon. THE BARON HENRY DE WORMS.<br />
EDMUND YATES.<br />
Hon. Counsel – E. M. UNDERDOWN, Q.C.<br />
COMMITTEE OF MANAGEMENT.<br />
Chairman--WALTER BESANT.<br />
EDMUND Gosse.<br />
1 J. M. LELY.<br />
1<br />
H. RIDER HAGGARD. | Sir FREDERICK POLLOCK.<br />
A. G. Ross.<br />
A. W. Å BECKETT.<br />
W. Martin CONWAY.<br />
Solicitors.<br />
Messrs. FIELD, Roscoe, & Co., Lincoln's Inn Fields.<br />
Secretary-S. SQUIRE SPRIGGE.<br />
OFFICES.<br />
4, PORTUGAL STREET, LINCOLN's Inx FIELDS, WC,<br />
<br />
<br />
## p. 4 (#408) ##############################################<br />
<br />
A D VER TISEMEN TS.<br />
<br />
The " Swan" is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which<br />
it supplies to the writing point in a continuous How. It will hold enough ink for two days' constant<br />
work, or a week's ordinary writing, and can be refilled with as little trouble as to wind a watch. With<br />
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser<br />
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for<br />
another without charge, or have his money returned if wanted.<br />
There are yarions points to select from, broad, medium, aud fine, every handwriting can be suited,<br />
and the price of the entire instrument, with filler complete, post free, is only 10s. 6d.<br />
<br />
i, 6ARO NEW YORK fcj^<br />
The Gold Pens in the "Swan" are Mabie, Todd, & Co.'s famous make. They are 14-eanit<br />
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with<br />
selected polished iridium. The " Encyclopaedia Britannica" says:—" Iridium is a nearly white metal of<br />
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon<br />
it." They will not penetrate the paper, and writer's cramp is unknown among users of Gold Pens.<br />
One Will OUtwear 90 grOSS Of Steel peilS. They are a perfect revelation to those who know nothing<br />
about Gold Pens.<br />
I)u. Oliver Wendell Holmes has used one of Mabie, Todd, & Co.'s Gold Pens since 185;, and is using the same<br />
0110 (his "old friend ") to-day.<br />
Sydney Grundy, Es<)., says (referring to the Fountain Pen) :—" It is a vast improvement 011 every Stylograph."<br />
Moberly Hell, Esq., Manager, The Times, says (referring to the Fountain Pen) :—" One pen lasted me for six<br />
years."<br />
S. I). Waddv, Ksq., Q.C., M.P., says (referring to the Fountain Pen) :—" I have used them constantly for some<br />
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Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best<br />
People, who have used them for years) to—<br />
MABIE, TODD, d BARD,<br />
03, CHBAPSIDE, LONDON.<br />
<br />
<br />
## p. 5 (#409) ##############################################<br />
<br />
TZhe Hutbor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. II.-No. i.]<br />
JUNE i, 1891.<br />
[Price Sixpence.<br />
THE AUTHOR—Second Volume.<br />
"TTT ITH the Second Volume the Author makes a<br />
V V few changes, but not many. It will continue<br />
to advocate the material interests of litera-<br />
ture, not only in order to obtain justice to authors of<br />
ull kinds, but in the conviction that the highest and<br />
best interests of literature are closely connected with<br />
its material interests. A literature whose producers<br />
are needy beggars, dependent on the caprice of the<br />
man with money, servile because they are poor, un-<br />
able to assert their rights, unable to act together,<br />
unable to make the world understand that they have<br />
any rights, must itself tend to become poor and<br />
feeble. That it has shown vigour among ourselves<br />
even when authors have been sunk in the lowest<br />
depths, proves the strength of a plant which could<br />
llourish in a soil so ungrateful.<br />
In order to secure the complete independence<br />
of the author, it is necessary that the methods of<br />
publishing should l>e based upon principles of<br />
justice and fairness both to the publisher and the<br />
author. That is to say, the services of the former<br />
must be fully recognised and remunerated, but on<br />
a scale of proportion to be regulated and agreed<br />
upon by both sides. In order to arrive at this end,<br />
it is necessary that we understand (1) the cost of<br />
printing, paper, binding, advertising, &c. involved<br />
in the preparation of a MS. for publication; (2)<br />
the trade price; and (3) the meaning of royalties<br />
as applied to author and to publisher.<br />
It is next necessary to understand the arrange-<br />
ments commonly proposed in agreements submitted<br />
to authors by publishers; what the clauses mean to<br />
either side, and especially to the author.<br />
These things have been carefully ascertained by<br />
the Society, and the results are now published<br />
in "The Cost of Production" and "Methods of<br />
Publishing."<br />
For the first time, authors can learn for them-<br />
selves their own business.<br />
It will be the duty of the Author to keep this<br />
information steadily before the eyes of its readers.<br />
VOL. 11.<br />
The pages of the Author will also be open to<br />
questions of every kind connected with literature.<br />
The Editor invites correspondence on the profession<br />
of letters in every branch from those who read this<br />
paper or are Members of the Society.<br />
The following, among others, have promised<br />
literary assistance during the year:—<br />
Arthur a Beckett.<br />
Walter Besant.<br />
J. A. Blnikie.<br />
J. H. McCarthy.<br />
Edward Clodd.<br />
W. Morris Colles.<br />
Austin Dobson.<br />
Edmund Gosse.<br />
H. Rider Haggard.<br />
H. Hermann.<br />
Henry Arthur Jones.<br />
Budyard Kipling.<br />
Andrew Lang.<br />
C. G. Leland.<br />
J. M. Lelv.<br />
Rev. W. J. Lottie.<br />
Cosmo Monkhouse.<br />
B. M. Richardson,<br />
M.D.<br />
F. W. Robinson.<br />
Robert Ross.<br />
G. R. Sims.<br />
S. S. Sprigge.<br />
J. Ashby Sterrv.<br />
William Westell.<br />
"William Wilson."<br />
The Author will in future be printed and<br />
published by Messrs. Eyre and Spottiswoode, East<br />
Harding Street, on the 1st of every month, instead<br />
of the 10th. Communications should be addressed<br />
to the Editor, Authors' Society, 4, Portugal Street,<br />
Lincoln's Inn Fields. They should reach him<br />
not later than the 22nd.<br />
THE AMERICAN COPYRIGHT ACT.<br />
I.<br />
Directions for securing Copyrights<br />
Under the Revised Acts of Congress, including the<br />
Provisions for Foreign Copyright, by Act of<br />
March 3rd, 1891.<br />
Printed Title required.<br />
1. A printed copy of the title of the book, map,<br />
chart, dramatic or musical composition, engraving,<br />
cut, print, photograph, or chromo, or a description<br />
a 3<br />
<br />
<br />
## p. 6 (#410) ##############################################<br />
<br />
6<br />
THE AUTHOR.<br />
of the painting, drawing, statue, .statuary, or model<br />
or design for a work of the fine arts for which copy-<br />
right is desired, must be delivered to the Librarian<br />
of Congress or depos-ted in the mail within the<br />
United States, prepaid, addressed—<br />
Librarian of Congress,<br />
Washington, D.C.<br />
This must l>e done on or before day of publication<br />
in this or any foreign country. "*<br />
What style of Print.<br />
The printed title required may be a copy of<br />
the title page of such publications as have title<br />
pages. In other cases, the title must be printed<br />
expressly for copyright entry, with name of<br />
claimant of copyright. The style of type is<br />
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each entry, and each title must be printed on<br />
paper as large as commercial note. The title of<br />
a periodical must include the date and numl>er,<br />
and each number of a periodical requires a separate<br />
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Copyright Fees.<br />
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claim is 5o cents, and for a copy of this record<br />
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$i in case certificate is wanted, which will be<br />
mailed as soon as reached in the records. In<br />
the case of publications produced by other citizens<br />
or residents of the United States, the fee for<br />
recording title is $l, and 5o cents additional<br />
for a copy of the record. Certificates covering<br />
more than one entry in one certificate are not<br />
issued.<br />
Two Copies required.<br />
3. Not later than the day of publication of each<br />
book or other article, in this country or abroad,<br />
two complete copies of the best edition issued<br />
must be delivered to perfect the copyright, or<br />
deposited in the mail within the United States,<br />
addressed—<br />
Librarian of Congress,<br />
"Washington, D.C.<br />
Free by Mail.<br />
The freight or postage must be prepaid, or the<br />
publications enclosed in parcels covered by printed<br />
penalty labels, furnished by the Librarian, in which<br />
case they will come free by mail (not express),<br />
without limit of weight, according to rulings of the<br />
Post Office Department. In the case of books,<br />
photographs, chromos, or lithographs, the two<br />
copies deposited must lie printed from type set or<br />
plates made in the United States, or from negatives<br />
or drawings on stone, or transfers therefrom, made<br />
within the United States.<br />
Penalty.<br />
Without the deposit of copies aliove required the<br />
copyright is void, and a penalty of $20 is incurred.<br />
No copy is required to Ik- deposited elsewhere.<br />
The law requires one copy of each new edition<br />
wherein any substantial changes are made to be<br />
deposited with the Librarian of Congress.<br />
Notice of Copyright to be given by Imprint.—<br />
Claimant's name to be printed.<br />
4. No copyright is valid unless notice is given<br />
by inserting in every copy published, on the title<br />
page or the page following, if it be a book; or if<br />
a map, chart, musical composition, print, cut,<br />
engraving, photograph, painting, drawing, chromo,<br />
statue, statuary, or model or design intended to l>e<br />
perfected as a work of the fine arts, by inscribing<br />
upon some portion thereof, or on the substance on<br />
which the same is mounted, the following words,<br />
viz.: "Entered according to Act of Congress, in<br />
the year , by , in the office<br />
of the Librarian of Congress, at Washington," or,<br />
at the option of the person entering the copyright,<br />
the words: " Copyright, 18 , by ."<br />
The law imposes a penalty of $100 upon any<br />
person who has not obtained copyright who shall<br />
insert the notice "Entered according to Act of<br />
Congress," or "Copyright," &c, or words of the<br />
same import, in or upon any lx>ok or other article.<br />
Translations and Dramas.<br />
5. The copyright law secures to authors or their<br />
assigns the exclusive right to translate or to drama-<br />
tize their own works.<br />
Rights reserved.<br />
Since the phrase all rights reserved refers exclu-<br />
sively to the right to dramatize or to translate, it<br />
has no bearing upon any publications except<br />
original works, and will not be entered upon the<br />
record in other cases.<br />
Duration of Copyright.<br />
6. The original term of copyright runs for<br />
twenty-eight years. Within six months liefore<br />
the end of that time, the author or designer, or his<br />
widow or children, may secure a renewal for the<br />
further term of fourteen years, making forty-two<br />
years in all.<br />
Rcneicals.<br />
Applications for renewal must l>e accomjianied<br />
by explicit statement of ownership, in the case of<br />
<br />
<br />
## p. 7 (#411) ##############################################<br />
<br />
THE AUTHOR.<br />
7<br />
the author, or of relationship, in the case of his<br />
heirs, and must state definitely the date and place<br />
of entry of the original copyright. Advertisement<br />
of renewal is to l>e made within two months of<br />
date of renewal certificate in some newspaper for<br />
four weeks.<br />
Time of Publication.<br />
7. The time within which any work entered for<br />
copyright may l>e issued from the press is not<br />
omited by any law or regulation, but the courts<br />
have held that it should take place within a rea-<br />
sonable time. A copyright may be secured for<br />
a projected work as well as for a completed one.<br />
But the law provides for no caveat, or notice of<br />
interference—only for actual entry of title.<br />
Assignments.<br />
8. A copyright is assignable in law by any<br />
instrument of writing, and such assignment is<br />
to be recorded in the office of the Librarian of<br />
Congress within 60 days from its date. The fee<br />
for this record and certificate is $1, and for a<br />
certified copy of any record of assignment $ 1.<br />
Copies or Duplicate Certificates.<br />
9. A copy of the record (or duplicate certificate)<br />
of any copyright entry will be furnished, under<br />
seal of the office, at the rate of 5o cents each.<br />
Serials or separate Publications.<br />
10. In the case of lx>oks published in more than<br />
one volume, or of periodicals published in numbers,<br />
or of engravings, photographs, or other articles pub-<br />
lished with variations, a copyright is to be entered<br />
for each volume or part of a book, or number of<br />
a periodical, or variety, as to style, title, or inscrip-<br />
tion, of any other article. But a book published<br />
serially in a periodical, under the same general<br />
title, requires only one entry. To complete the<br />
copyright on such a work, two copies of each serial<br />
part, as well as of the complete work (if published<br />
separately), should be deposited.<br />
Copyright for Works of Art.<br />
11. To secure copyright for a painting, statue,<br />
or model or design intended to l>e perfected as<br />
a work of the fine arts, a definite description must<br />
accompany the application for copyright, and a<br />
photograph of the same as large as "cabinet size,"<br />
mailed to the Librarian of Congress not later than<br />
the day of publication of the work or design.<br />
The fine arts, for copyright purposes, include<br />
only painting and sculpture, and articles of merely<br />
ornamental and decorative art are referred to the<br />
Patent Office, as subjects for Design Patents.<br />
No Labels or Names Copyright.<br />
12. Copyrights cannot be granted upon trade<br />
marks, nor upon names of companies or articles,<br />
nor upon an idea or device, nor upon prints or<br />
labels intended to be used for any article of manu-<br />
facture. If protection for such names or labels is<br />
desired, application must be made to the Patent<br />
Office, where they are registered at a fee of §6 for<br />
labels and ?25 for trade marks.<br />
Foreign or International Copyright.<br />
13. The provisions as to copyright entry in the<br />
United States by foreign authors, &c, by Act of<br />
Congress approved March 3rd, 1891 (to take effect<br />
July 1st, 1891), are the same as the foregoing.<br />
The right of citizens or subjects of a foreign<br />
nation to copyright within the United States is not<br />
to take effect unless such nation permits to United<br />
States citizens the benefit of copyright on the same<br />
basis as to its own citizens, or unless such nation<br />
is a party to an international agreement providing<br />
for reciprocity in copyright, to which the United<br />
States may become a party. The Librarian of<br />
Congress can enter copyright for foreigners only<br />
after a proclamation of the President of the United<br />
States, certifying the existence of either of the<br />
foregoing conditions.<br />
The right of Americans to secure copyright<br />
abroad is unchanged by the new law, pending new<br />
legislation in foreign countries, or international<br />
agreements as to copyright between their govern-<br />
ments and that of the United States.<br />
Full Name of Proprietor required.<br />
14. Every applicant for a copyright should<br />
state distinctly the full name and residence of the<br />
claimant, and whether the right is claimed as<br />
author, designer, or proprietor. No affidavit or<br />
witness to the application is required.<br />
Office of tub Librarian of Congress,<br />
Washington, 1891.<br />
H.<br />
Robert Underwood Johnson.<br />
It is only natural and proper that English<br />
authors should wish to know more about the most<br />
ardent and active of those American friends to<br />
whom the passing of the Copyright Bill is due.<br />
It is no exaggeration, and it conveys no slight<br />
to other industrious promoters of the copvriglit<br />
movement, to say that, as Secretary of the American<br />
Authors' Copyright League and of the Joint<br />
Executive Committee or all the organizations<br />
<br />
<br />
## p. 8 (#412) ##############################################<br />
<br />
8<br />
THE AUTHOR.<br />
supporting the Bill, Mr. 11. U. Johnson had more<br />
than anyone else to do with the final victory. In<br />
signing the Copyright Bill, President Harrison<br />
used a large quill taken from an American eagle,<br />
procured for that purpose by Mr. Johnson, to<br />
whom the pen was then returned with the Presi-<br />
dent's compliments. Not many authors possess<br />
pens that so well deserve to become heirlooms.<br />
Robert Underwood Johnson was born on Capitol<br />
Hill, Washington, D.C., January nth, i853. He<br />
was named after his great-grandfather, Robert<br />
Underwood, one of the early settlers of Washing-<br />
ton, and a mathematician of ability. His maternal<br />
grandfather was John Underwood of that city,<br />
afterward for many years a resident of Wayne<br />
County, Indiana, with which Mr. Johnson's paternal<br />
grandfather, Dr. Nathan Johnson, was also long<br />
identified, having been one of the original Aboli-<br />
tionists of Eastern Indiana. On his mother's side<br />
the Underwoods and Ingles are of a Calvinistic<br />
strain, while on his father's side the Johnsons and<br />
Hoges who come from Loudon County, Virginia,<br />
are of Quaker stock of a liberal type, and of<br />
marked literary tastes.<br />
Mr. Johnson's father, the late Honourable<br />
Nimrod H. Johnson, in addition to his prominence<br />
in Eastern Indiana as an able lawyer and a just<br />
and discriminating jurist, was known among his<br />
associates for his wide and exact knowledge of<br />
history, poetry, fiction, and general literature. To<br />
him Mr. Johnson owes his literary temperament<br />
and predilections. After an ordinary high school<br />
education at Centreville, Indiana, where his boy-<br />
hood was passed, Robert matriculated at Earlham<br />
College, an institution of the Society of Friends,<br />
Richmond, Indiana, in 1867. In 1871, at the<br />
age of 18, he was graduated from that institution<br />
as Bachelor of Science, to which the college in<br />
1889 added the honorary degree of Ph.D. From<br />
college he went immediately into business as clerk<br />
in the Western agency of the Scribner educational<br />
books at Chicago. After nearly two years of this<br />
work (including the year of the great fire) he<br />
became connected, in 1873, with the editorial<br />
staff of the Century Magazine (then Scribner's<br />
Monthly), a connexion which still exists.<br />
On the death of the Editor-in-Chief, Dr. J. G.<br />
Holland, in 1881, Mr. R. W. Gilder became the<br />
Editor, and Mr. Johnson succeeded him as the<br />
Associate-Editor. This position he now occupies,<br />
with a large measure of responsibility, having<br />
also acted virtually as Managing Editor under<br />
Dr. Holland for a year in 1879-80, during Mr.<br />
Gilder's absence in Europe. In 18 83 Mr. Gilder<br />
intrusted to Mr. Johnson and Mr. C. C. Buel,<br />
the conduct of the well-known Century War<br />
Series, and they had charge of it both in the<br />
Magazine and in the enlarged and revised book<br />
publication of four volumes " Battles and Leaders<br />
of the Civil War," which was begun in 1887 and<br />
completed in 1889—Mr. Buel, however, having<br />
sole charge of the Magazine papers for a year<br />
during Mr. Johnson's absence in Europe in 1885-6.<br />
This trip was undertaken with the chief object of<br />
becoming acquainted with the best examples of<br />
European art and architecture, and included visits<br />
to the galleries of London, Paris, Holland, and<br />
Italy, and an inspection of the Greek monuments<br />
of Athens and Sicily.<br />
Mr. Johnson's literary work, in addition to his<br />
daily and exacting editorial duties, has been con-<br />
fined to editorial and critical articles and to verse.<br />
He h:is not yet collected his graceful poems into<br />
a volume, but has scattered them in the pages of<br />
the Century, Harper's Monthly, St. Nicholas,<br />
the Christian Union, the Tribune, and other<br />
periodicals. He is a member of the Authors'<br />
Club, the Century Club, and the Aldine Club<br />
of New York, and of the Civil Service Reform<br />
Association, and the Free Art League. Since<br />
1883 he has been actively connected with the<br />
International Copyright movement, having been<br />
for several years Treasurer of the American Copy-<br />
right League, and a member of its executive<br />
committee of five. In 1889 he exchanged the<br />
treasurership for the more responsible work of<br />
Secretary of the League, becoming by this office<br />
also Secretary of the Joint Executive Committee<br />
(of Authors and Publishers) which was in charge of<br />
the campaign for the Copyright Bill. He was<br />
active in urging the northward extension of the<br />
East River Park, New York, and the creation of<br />
the Yosemite National Park, and has recently<br />
devoted much attention to the movement in favour<br />
of securing a better supervision of the Yosemite<br />
Valley, which he visited in June 1889, during a<br />
trip of two months to California in the interest of<br />
the Century.<br />
In a letter just received, Mr. Johnson says:<br />
"The problem now is to establish the foundation<br />
for the President's proclamation. I have written<br />
officially to Mr. Blaine to see that no time is lost,<br />
and taking the ground that the Bill must 1k> made<br />
operative towards citizens of any country which is<br />
a signatory of the Berne Conference, whether that<br />
country gives America copyright or not. That<br />
was Simonds' intention in drafting that clause of<br />
Section XIII., but I fear our Secretary of State<br />
will not take that view of reciprocity. On your<br />
part, an Order in Council would, of course, put the<br />
thing beyond penulventure, and be simpler and<br />
easier than the Monkswell Bill, especially as Parlia-<br />
ment is likely to be prorogued, and even if it<br />
continue there may be a long debate on the Bill.<br />
Of course, we cannot with a good grace ask for<br />
more than we offer. NoImxIv could complain if we<br />
<br />
<br />
## p. 9 (#413) ##############################################<br />
<br />
THE AUTHOR.<br />
9<br />
got just what we offer, but our step is irretrievable<br />
now, and it is your move! As soon as I hear, if I<br />
do, what view our State .Department will take, I<br />
will let you know. Meanwhile, I should think the<br />
Order in Council the proper cue, if practicable,<br />
and in either case, prompt action would strengthen<br />
us here for a more liberal law in the future."<br />
In acknowledgment of his services in the Inter-<br />
national Copyright cause, the French Government<br />
has just conferred upon him the Cross of the<br />
Legion of Honour (Chevalier), and some of his<br />
associates in the Copyright cause have presented<br />
him with a handsome silver loving cup.<br />
E. G.<br />
III.<br />
The Passing of the Bill.<br />
In the midst of manifold business, I venture to<br />
send you a hurried and imperfect account of the<br />
passage of the Copyright Bill, and the "Ladies'<br />
Night of the Authors' Club " in New York.<br />
I find by the Author, which was here awaiting<br />
my arrival, that someone has kept you informed as<br />
to operations in Congress.<br />
While I was in Washington a friend in Congress<br />
said, "If you people want that Bill to pass, you<br />
will have to fight for it, as the printers, litho-<br />
graphers, &c, &c, an; lumbering it with all sorts<br />
of weights." Several of us went up; and I talked<br />
"Bill " most earnestly to members of Congress in<br />
the same house with us. Through the kindness of<br />
Senator Allen, of Washington (State), I had a<br />
seat in the Diplomatic Gallery, where I could see<br />
and hear all that was going on. A great many<br />
Senators spoke eloquently for the authors, but<br />
opposed the Bill, only on account of its clauses<br />
created by trade unions, &c. Several senators<br />
made fine pleas for us, notably, a young man from<br />
Colorado, and I have the pleasure of knowing that<br />
at least one vote was changed on my account.<br />
Imperfect as it is, it seems to me to be a step<br />
forward. We are recognised as authors, we have<br />
rights; and men who were ignorant before now<br />
know that publishers generally get richer and richer<br />
as authors get jworer and poorer.<br />
The Western Senators, (as a rule) broad-minded<br />
men from broad acres, favoured the Bill or some<br />
Bill tending towards justice. As one Senator said,<br />
"The printers, publishers, lithographers, &c. all<br />
have their unions; they are protected, but who<br />
protects the author?"<br />
We sat listening with beating hearts longing to<br />
correct some errors, and eager to put words of truth<br />
in the speakers' mouths. About one o'clock in the<br />
morning the roll was called on the vote, and at 1.3o<br />
Vol. II.<br />
we went home to bed thankful for little, hoping for<br />
more.<br />
I asked one of the Senators to forward you a<br />
copy of the Bill as revised and past. If you did<br />
not receive it, please let me know.<br />
From Washington I went to New York, to find<br />
that the Authors' Club, for the first time in their<br />
history, had issued invitations to the ladies, following<br />
your good example. I was induced to remain over<br />
for it, and was pleased to meet many of our noted<br />
and quoted men and women.<br />
Rider Haggard had left that day for England, to<br />
the regret of many who wished to see him.<br />
In conversation with Noah Brooks, Stedman the<br />
Poet, Kiehard Henry Stoddard, and others, I spoke<br />
of the English Society and its brave work for<br />
authors.<br />
Mr. Brooks, the President of the Club, did me<br />
the honour to say, "That, in his opinion, the three<br />
authors who were doing most to give clear, finished,<br />
and admirable pictures of New England life and<br />
philosophy were your correspondent, Sarah Ome<br />
Jeroett, and Mary E. Wilkins," encouraging tri-<br />
bute? from a man of Mr. Brook's standing and<br />
truthfulness.<br />
You speak of our little " Guild." Why not both<br />
men and women? Sure enough; but the men<br />
have "flocked by themselves," and we must do the<br />
best we can.<br />
As it is, I find some women averse to any move-<br />
ment. They say, "Good writers get all they want";<br />
"There is no need," &c, &c. I cannot take this<br />
narrow view, and therefore hope to make our<br />
Guild a quiet power for good.<br />
You would laugh, I am sure, could you hear the<br />
comments on our Society in Loudon. One pub-<br />
lisher says, "It is a sort of spite company gotten<br />
up by growlers, who cannot sell their work."<br />
Another remarks: "I observe by the papers that<br />
you are a member of that London Club. I advise<br />
you to keep out of it. They are an aggressive lot<br />
of men who want the earth." Meantime, I go<br />
steadily on doing my work.<br />
Kate Tannatt Woods.<br />
"Maple Nest," Salem, Mass.,<br />
April 8th, 1891.<br />
IV.<br />
The Bill enacts that not later than the day of<br />
publication anywhere, there must 1m- two copies<br />
of the work in question sent to the Librarian of<br />
Congress, and these copies must be printed in<br />
America. This is most, harrassing and unjust to<br />
foreign authors. It can only 1k> of profit to those<br />
who, having a great popular reputation, can secure<br />
V.<br />
<br />
<br />
## p. 10 (#414) #############################################<br />
<br />
10<br />
THE AUTHOR.<br />
beforehand a publisher in America. But all Iwoks<br />
which are ventures or risks, or not likely to sell<br />
extensively (as, for instance, a young author's first<br />
book) cannot be lienefited by the Bill. Should an<br />
author publish a book in England alone, and should<br />
it by chance turn out to be a success, there is<br />
nothing to prevent any American from taking it.<br />
There are a great many books which have a great<br />
success contrary to all expectations of both publisher<br />
and author, as I myself have experienced.<br />
There are also a great many l>ooks of immense<br />
value to the world which do not sell well. No one<br />
book ever had such influence on the American public<br />
as the " Political Economy of Henry Carey," yet it<br />
was 3o years before the first edition of 1,000 copies<br />
was sold; I having bought the very last one. I<br />
could enumerate many such works.<br />
According to this Bill, there can be no sending<br />
from England to America of small amounts of<br />
l»ooks—say 25o or 100—that is, if I understand<br />
the expression "prohibition of importation" in<br />
section 3, which seems to me to be very artfully<br />
contrived so as to prevent all such importation, and<br />
which certainly will be so carried out—making the<br />
position of the foreign author as regards America,<br />
on the whole, much worse than it now is. Thus I,<br />
personally, have just published a very expensive<br />
illustrated work. There is not the slightest pro-<br />
bability that any American firm would ever print it,<br />
but enough copies can now be sold to America to<br />
materially aid the cost.<br />
This Bill seems to me utterly adverse to all the<br />
best interests of literature. It is founded on the<br />
vulgar and ignorant opinion, too prevalent in<br />
America, that a book is valuable exactly in propor-<br />
tion to its sale. It will deter authors from making<br />
efforts or taking risks. It is conceived entirely in a<br />
mere tradesman-like spirit. It is really and solely<br />
devised to favour publishers as much, and authors<br />
as little, as possible. Public opinion in Europe, and<br />
the complaints of American authors liave forced the<br />
American publishers and public to grant something,<br />
and so they give just as little as they possibly can.<br />
This Bill will deeply injure the best interests of<br />
culture and literature in America. But this will<br />
Ih» a matter of no consequence to legislators, who<br />
cannot see any difference to the public between the<br />
sale of a black letter book and its equal value in<br />
black tea.<br />
As I said before, this Bill allows the American<br />
publishers to wait and see whether books by un-<br />
known authors (or idl not copyrighted on a certain<br />
day) will succeed, and if they do, he can always<br />
reprint them.<br />
This is so peculiarly mean and contemptible, and<br />
also cruel. It is discouraging to young authors<br />
whose first works are always risks.<br />
However artfully it may be worded, the intent<br />
of this Bill is to allow no books to be sold in the<br />
United States unless they shall be printed there.<br />
According to section 3 an American publisher by<br />
depositing a printed title of any forthcoming<br />
English work can effectively stop its sale or its<br />
republication in America if he be so minded.<br />
That is, he can apply for a copyright, and either<br />
make his own terms, having obtained it, or else<br />
prevent its appearing altogether.<br />
The Bill protects the author as regards printing<br />
and publishing, but not against copyrighting his<br />
title. And this same infamous injustice exists in<br />
England. Thus, I know a publisher in Loudon,<br />
who, having advertised a book by a certain title,<br />
the title was copyrighted by another man who<br />
legally notified the publisher that he must not use<br />
his own title. I should say in conclusion, from my<br />
very soul, that men who could conceive, carry out,<br />
or approve of any such Bill as this, would be<br />
capable of anything contemptible or disreputable.<br />
It is altogether in the spirit of the great popular<br />
theory that the minority or the weak have no<br />
rights whatever which the majority or the strong<br />
are l>ound to respect.<br />
Chaiiles Godfrey Leland.<br />
Florence.<br />
V.<br />
I am not concerned with the purely legal side of<br />
the question. I leave that to Sir Frederick Pollock<br />
and other lights of the law, by whom it has already<br />
teen discussed. I would merely point out that the<br />
English publisher of an American book can protect<br />
it by the simple expedient of calling it a "copy-<br />
right edition." This may imply either that the<br />
book was published simultaneously in England and<br />
the United States, or that, at the time of its publi-<br />
cation, the author was in British territory. Lord<br />
Westbury and other authorities have expressed the<br />
opinion that observance of the first of the conditions<br />
secures the American author in his copyright; all<br />
agree that observance of the second does. And<br />
who can lie sure that Lord Westbury was mistaken,<br />
or that the moment the book was published in<br />
London the author was not on the Canadian side of<br />
the Niagara or the St. Lawrence, or elsewhere in<br />
the Queen's dominions? The question could only<br />
be conclusively tested by the production of a rival<br />
edition; and where is the publisher who would<br />
commit so great a folly? Though he might de-<br />
stroy the copyright of the book, he could in no<br />
circumstances acquire it for himself, while failure<br />
in the action which would doubtless be brought<br />
against him would involve payment of his adver-<br />
sary's legal costs as well as his own, in addition to<br />
<br />
<br />
## p. 11 (#415) #############################################<br />
<br />
THE AUTHOR.<br />
the cost of producing the rival edition, to say<br />
nothing of th«! worry, and the |>ossibility of being<br />
cast in damages. But an ounce of practice is tetter<br />
than a pound of theory; and, as a matter of fact, I<br />
lx-lieve that no American book described on its<br />
title page as " copyright" has ever been pirated in<br />
this country.<br />
"William Westall.<br />
VI.<br />
Mb. C. J. Longman on the Bill.<br />
Mr. C. J. Longman has contributed to the April<br />
number of the Economic Review (Percival & Co.)<br />
a very cogent article on the American Copyright<br />
Bill, which will be read with considerable interest.<br />
Mr. Longman points out that those writers whose<br />
published works are before the world, but have<br />
hitherto, from whatever cause, failed to attract the<br />
attention of pirates, will derive no advantage from<br />
the Act, and it is no doubt true that the enter-<br />
prising American publisher will not feel stimulated<br />
to engage in undertakings of this character now<br />
that the law makes him pay the authors. It is, as<br />
Mr. Longman puts it, impossible to make people<br />
read or buy unreadable books by Act of Congress.<br />
Mr. Longman thinks that British authors will also<br />
find that they liave to compete with books of their<br />
own and other authors which have been published<br />
previous to the date on which the Act comes into<br />
force, which will of course remain on sale at the<br />
old price, as the Bill is not retrospective. But as<br />
to this, it may be remarked that in the opinion of<br />
at least some authorities, copyright editions of all<br />
these books will appear, and if so, it is possible that<br />
the American public will buy the copyright edition<br />
and not the cheap one.<br />
As to the effects of the Bill upon British trade,<br />
Mr. Longman thinks that American printers are<br />
clever enough to adapt their type and methods of<br />
spelling to our needs; that plates will be sent over<br />
here, and, in some cases, l>ooks sent over in sheets.<br />
The loss therefore in his view will fall upon<br />
printers and subsidiary trades, as type founders,<br />
ink manufacturers, while binders will not be greatly<br />
affected. As for the publishing trade, Mr. Longman<br />
thinks that it will not be much affected in so far as<br />
publishers are concerned with the publication of<br />
books. It of course follows that the l>est British<br />
houses will open branches in New York or Boston,<br />
and Mr. Longman, at any rate, thinks that American<br />
publishers have quite as much to fear as British<br />
linns.<br />
VII.<br />
Regarding this Bill solely from my own point of<br />
view—that of a writer of historical l>ooksand works<br />
of reference not likely to have a rapid or immediate<br />
sale—I see no advantage to accrue from the provi-<br />
sions. It is unlikely that such books should come<br />
to be printed in America, as the publishers would<br />
prefer to print in England. Wages, I presume,<br />
are less; correction of proofs must be easier and<br />
cheaper. Lastly, consideration is due to the eccentric<br />
spelling of American printers, which would, in some<br />
cases, be a disfigurement of some moment to l>ooks<br />
intended to have an educational scope. But these<br />
are matters to be profitably discussed in an open<br />
meeting of the Society.<br />
H. G. Kekne.<br />
VIII.<br />
The point of faithful reproduction ought to be<br />
strenuously urged. If America desires to have<br />
English literature, she must accept it in the<br />
language in which it is written. The option of<br />
acceptance or refusal being in her own hands, she<br />
may better express her appreciation of an author's<br />
capacity in accepting him as he writes than by<br />
doing this violence both to his feelings and reputa-<br />
tion that unauthorised and, in many cases, un-<br />
educated alterations inflict.<br />
I do not know whether others consider this as<br />
important a point as I do, but I speak from the<br />
experience of comparing some of our standard<br />
writers' works with their American editions ; and in<br />
such perusal one cannot help recognising the<br />
malignant influence a "good book spoilt" would<br />
have on a future generation, whose circumstances<br />
might put it out of their power to see the work in<br />
its original form.<br />
B. H. H.<br />
<br />
PETITION TO THE HOUSE OP LORDS.<br />
THE following Petition, signed by Lord Tenny-<br />
son, President of the Society, was presented<br />
to the House of Lords by Lord Herschell on<br />
Monday the 10th of May :—<br />
In the House of Lords, Session of 1891.<br />
Copyright.<br />
To the Right Honourable the Lords Spiritual and<br />
Temporal of the United Kingdom of Great<br />
Britain and Ireland in Parliament assembled.<br />
The Humble Petition of the President, Fellows,<br />
Associates, and Members of the Incorporated<br />
Society of Authors—<br />
Sheweth as follows :—<br />
I. That a Bill entitled "An Act to amend<br />
and consolidate the Law relating to Copyright" has<br />
B if<br />
<br />
<br />
## p. 12 (#416) #############################################<br />
<br />
12<br />
THE AUTHOR.<br />
been introduced into and read a first time by your<br />
Right Honourable House.<br />
2. That your Petitioners were incorporated on<br />
the 20th June 1884 by a Board of Trade License,<br />
granted to the Association in pursuance of section 23<br />
of the Companies Act, 1867, under the name of the<br />
"Incorporated Society of Authors" for the follow-<br />
ing, amongst other, objects: " To represent, further,<br />
aid, and assist the objects, and to protect the rights<br />
and interests in their works, of authors, and every<br />
kind of literary, dramatic, artistic, scientific, tech-<br />
nical, educational, and musical works and publica-<br />
tions, and the rights and interests in the same of<br />
the assigns and representatives of such authors."<br />
3. That the present state of the Law of Copy-<br />
right is eminently unsatisfactory and injurious to<br />
the interests both of producers of, and dealers in,<br />
literary, dramatic, artistic, scientific, technical,<br />
educational, and musical works, and of the public<br />
in general. The existing law on the subject<br />
consists of no less than 18 Acts of Parliament,<br />
l>esides Common Law principles. Owing to the<br />
manner in which the Acts have been drawn, the<br />
law is, in many cases, hardly intelligible, and is full<br />
of arbitrary distinctions, for which it is impossible<br />
to find a reason.<br />
4. That the provisions of the said Bill have lieen<br />
prepared with careful regard to the recommenda-<br />
tions of the Copyright Commission of 1878, and<br />
with the assistance not only of authors, artists, and<br />
musical composers, but of persons well qualified to<br />
represent the various business interests concerned<br />
in the production of literary, dramatic, artistic,<br />
scientific, technical, educational, and musical works.<br />
Your Petitioners, therefore, humbly pray that it<br />
may please Your Right Honourable House to pass<br />
the said Bill into Law.<br />
And your Petitioners will ever humbly pray, &c.<br />
(Signed) Tennyson,<br />
President.<br />
<br />
COPYRIGHT.<br />
The Second Reading of the Bill.<br />
OUR Copyright Bill was read a second time in<br />
the House of Lords on Monday the 10th of<br />
May. Lord Monkswell, to whom the Bill<br />
had been entrusted many months ago, but who has<br />
never from the first received any encouragement<br />
from the Qovernment, did his work bravely and<br />
well, and our Society is under a deep obligation to<br />
him. In a speech full of facts and illustrations, he<br />
directed attention to the amazing confusion of the<br />
present law in point of form, to its many admitted<br />
defects in point of substance, and to the remarkable<br />
unanimity (considering the complications of the<br />
subject) with which all interested in the subject<br />
have agreed in supporting the amendments of the<br />
law which our draftsman had thrown into legal<br />
shape. He quoted, of course, again and again<br />
from the Report of the Royal Commissioners, three<br />
of whom—the Duke of Rutland, Lord Herschell,<br />
anil Lord Knutsford—were Members of the House<br />
he was addressing, to show on what a strong<br />
foundation the Bill had been built up. He duly<br />
went through the much-needed amendments—the<br />
substitution of "life and 3o years" for the pre-<br />
sent awkward term of copyright, the levelling up<br />
of artists with authors, the extinction of fraudulent,<br />
dramatisation of novels, the enfranchisement of<br />
newspapers, and so on. He was strong enough to<br />
admit his weak points, such as his inability to find<br />
a complete modus vivendi with Canada, whether<br />
by a licensing system or otherwise. Finally he,<br />
or rather Lord Herschell in his name, called upon<br />
the Government either to help him in carrying<br />
our Bill through Parliament, or forthwith to come<br />
forward with a better Bill of their own. A11<br />
irresistible attack!<br />
And what did the Government say to all this?<br />
Both Lord Balfour and the Lord Chancellor<br />
admitted to the full the case for the Bill, but for<br />
some inconceivable reason the Lord Chancellor<br />
(who was too prudent to take the responsibility of<br />
dividing the House) would consent only to a<br />
second reading on condition that the Bill should<br />
not be taken any further during the present Session.<br />
Difficulties were darkly hinted at, but with the<br />
exception of that in connexion with registration,<br />
not a single one was specifically mentioned. To<br />
5o clauses, it was said by Lord Balfour, certain<br />
draftsmen had objected. Not one of them teas<br />
named. On not a single one of the main amend-<br />
ments, not even on the proposed new term of<br />
"life and 3o years," was a word spoken. The<br />
Lord Chancellor merely observed, that if the Bill<br />
wont into Committee there would be much con-<br />
troversy on many parts of it, and that all such<br />
controversy would be renewed when the Bill<br />
should come again before the House. Truly, we<br />
are entitled to ask, What controversy, and on what<br />
parts? Perfect, of course, the Bill is not, but if<br />
this is all that can l>e said against it by critics so<br />
highly qualified and painstaking as Lord Halsbury<br />
and Lord Balfour, it is at least as perfect as any<br />
Government measure of the present session.<br />
Of course, the matter cannot be allowed to rest.<br />
As Lord Herschell finely said in his pointed speech,<br />
which will long be remembered by all interested in<br />
the subject, the Legislature exists for the purpose of<br />
remedying imperfect and mischievous legislation,<br />
such as that o:i copyright is universally admitted<br />
to be. "As far as indications go, the programme<br />
<br />
<br />
## p. 13 (#417) #############################################<br />
<br />
THE AUTHOR.<br />
of Hit Majesty's Government," observed the<br />
noble and learned lord, "is approaching its end.<br />
Why should they not take up such a subject as<br />
copyright and deal with it? It is a matter of<br />
interest to authors and the public alike that the<br />
question should be settled, and the law amended.<br />
I lielieve a great many of the supposed difficulties<br />
will vanish if once a resolute and earnest endeavour<br />
be made to grapple with them. What the 5o points<br />
of objection to which the noble lord (Lord Balfour)<br />
referred an1 I do not know, but for my part I<br />
lielieve the real difficulties would be found to be<br />
not more than three or four. If once these are<br />
settled, there will be no difficulty about a consoli-<br />
dation of the law."<br />
<br />
THE COST OF A STAMP.<br />
I.<br />
"MT^HE article in the April numl>erof the Author<br />
I on the cost of a stamp did not make clear<br />
what I think is very desirable to have known:<br />
that is, what the law requires in the matter of the<br />
stamping of agreements.<br />
"I have just signed an agreement to which a<br />
sixpenny stamp was affixed.<br />
"Is this mode of stamping agreements sufficient?<br />
Is it legal? Would documents so stamped be held<br />
valid in a court of law? Or ought they to be<br />
submitted to and stamped by the authorities of<br />
Somerset House?<br />
"I am sure that many would like a competent<br />
opinion in the matter."<br />
A. B.<br />
II.<br />
Deab Sib,<br />
We have received your letter of yesterday<br />
and enclosures. We think there can be no doubt<br />
as to the meaning of sub-section I. of section i5 of<br />
the Revenue Act, 1889, to which attention is called<br />
in the article in the April edition of the Author.<br />
The sub-section runs: "any contract or agreement<br />
made in England or Ireland under seal or under<br />
hand only, or made in Scotland for<br />
the sale of any equitable estate or interest in any<br />
property, or for the pale of any estate or interest in<br />
any property .... (with certain exceptions,<br />
among which the sale of Copyright or any interest<br />
in Copyright is not mentioned) shall 1m> charged<br />
with the same ad valorem duty to l>e paid by the<br />
purchaser as if it were an actual conveyance on<br />
sale of the estate, interest, or property agreed or<br />
contracted to be sold." It follows therefore that<br />
since the passing of this Act the same ad valorem<br />
duty will lie charged on a contract for the sale of<br />
Copyright or any interest in it as on a conveyance<br />
of Copyright. If this view is right, the 6d. stamp<br />
is no longer sufficient, and whether a 6d. adhesive;<br />
stamp is used or the document actually stamped<br />
at Somerset House, wh( re a 6d. stamp might well<br />
be jmssed by inadvertence, the document will Ik?<br />
insufficiently stanq>ed, and the excess and £10<br />
penalty and interest will be charged on it l>efore it<br />
can be received as evidence in any court of law.<br />
The Act, we think, applies not only to agreements<br />
to sell some interest in Copyright, but also to many<br />
licences to publish; but as the terms of licences<br />
vary so much it would be a matter for consideration<br />
on each document whether it came within 1 lit* Act.<br />
We return you Mr. A.B.'s letter and the Author.<br />
Yours truly,<br />
Field, Roscoe, & Co.<br />
♦-<>.♦<br />
NOTES AND NEWS.<br />
THE Right Honourable Baron Henry de<br />
Worms has joined the Council of the Society.<br />
Mr. Robert Bateman, in consequence of<br />
leaving town, has been unfortunately compelled to<br />
resign his post on the Committee.<br />
The number of new Members elected since<br />
December last—inclusive, because the elections in<br />
that month were for 1891—amounts to g5. This<br />
must be acknowledged to be very satisfactory. Our<br />
numbers, however, ought now to increase at a<br />
much more rapid rate. We look for a roll of<br />
Members, before the lapse of many years, number-<br />
ing thousands. Let it lie remembered that the<br />
Society is concerned with every form of literature,<br />
and works for Authors in every branch.<br />
Let me call attention very particularly to the<br />
directions for securing Copyright issued at Congress,<br />
ami printed on page 5 of this number of the<br />
Author.<br />
In March last there was a large rise in the<br />
wages of compositors, to be followed, if it has not<br />
already been followed, by a rise in the wages of<br />
machinists. This fact alters the figures given in<br />
the " Cost of Production." Those who can "do<br />
sums" may amuse themselves by adding io per<br />
cent, to the charges of "composing" and "print-<br />
ing." The other figures remain. If authors are<br />
<br />
<br />
## p. 14 (#418) #############################################<br />
<br />
»4<br />
THE AUTHOR.<br />
told, as they have been told, that the prices are<br />
incorrect, that the work cannot he done for the<br />
money, and so forth, let them understand that<br />
this is said with intent. I tested the figures the<br />
other day with a well-known London firm, who had<br />
not previously seen them. "We will willingly do<br />
the work," said their manager, " under your prices."<br />
The American Government have sent copies of<br />
the new International Copyright Law to all their<br />
foreign Ministers, with instructions to bring it to<br />
the attention of the respective Governments to which<br />
they are accredited. The least that our Government<br />
can do is to take care that our own laws satisfy the;<br />
conditions on which the privileges of the Act can<br />
be granted to ourselves. These conditions are<br />
simply the securing to American authors of the<br />
same powers of obtaining Copyright as we ourselves<br />
enjoy. Practically, these powers are already<br />
secured for them, but perhaps the President may<br />
require the additional security of removing a certain<br />
doubt which now exists. This must be done<br />
without the least delay.<br />
The following extract from the Times of May<br />
the 20th seems very significant. Lord Monkswell's<br />
Bill contains no clauses such as that contemplated<br />
by the writer to the Solicitor and the Attorney<br />
General, but could be added without altering the<br />
structure of the Bill.<br />
Thk Law op Copyrioiit.—The Attorney-General has<br />
replied ns follows to a correspondent with reference to the<br />
law of copyright:— " The Attorney-General's Chambers,<br />
2, Pump Court, Temple, E.C., May 15, 189?.—Dear Sir,—<br />
The subject to which your letter refers is of great interest.<br />
I have always been of opinion that protection should be<br />
secured to the results of intellectual labours, whether for<br />
the author or the mechanic. You are no doubt aware that<br />
the question is one surrounded with difficulty, but I can<br />
promise you that it shall not escape my attention in the<br />
event of any opportunity arising of furthering that object.<br />
—I am, yours faithfully, Richard Wkbsteb."<br />
Writing on the same subject, the Solicitor-<br />
General says :—<br />
"Royal Courts of Justice, May ij, 1891.—Dear Sir,—I<br />
have a strong opinion in favour of some steps being taken<br />
to protect Knglish labour against such unfair treatment as<br />
it is subjected to by the new American copyright law, but<br />
I do not feel at liberty to express more than a general<br />
opinion on the subject.—Very faithfully yours, Kdward<br />
Clarke."<br />
Mr. William Black has been good enough to<br />
associate myself, among others, with him in the<br />
formation of a new publishing firm. It will be<br />
established in New York, and its object will be<br />
to print and publish books bv English authors<br />
in conformity with the new Law of Copyright.<br />
This notable scheme has l*?en hatched in silence<br />
and secrecy. So silent and secret have been the<br />
preliminary steps, that neither Mr. William Black<br />
himself nor any one of his associates has even heard<br />
of the scheme, which is gravely announced in a New<br />
York paper. Now, if such a scheme were attempted<br />
it would be founded on the belief that it could do<br />
for English authors what American publishers will<br />
not do. Perhaps it is quite conceivable that a<br />
plan of this kind, launched at. a great expense of<br />
capital, could be worked—provided the manager<br />
could be found. It is also quite conceivable that<br />
a similar scheme could be launched and worked<br />
in this country—provided a manager could be<br />
found. But such a manager, possessed of abilities<br />
capable of conducting such auenterprise successfully,<br />
would, probably, very soon find out that he could<br />
do better for himself, and would therefore proceed<br />
to set up for himself. And unless success was<br />
assured from the l>eginiiing, the plan would certainly<br />
not enlist the confidence of authors. I think,<br />
therefore, that Mr. William Black, like myself,<br />
prefers existing arrangements, where agreements<br />
are fair to both sides, and fairly carried out.<br />
Unfortunately the list of publishers in the " London<br />
Directory," as readers of the Author very well know,<br />
contains a great many gentry whose agreements<br />
are never by any chance fair, and never by any<br />
chance fairly carried out.<br />
"The Society of Authors, I assure yon, my<br />
dear, does no good, no good at all. Only last,<br />
week, for instance, a dear young friend of mine, a<br />
girl of 17, who had just left school, sent them, for<br />
an opinion, a MS. novel which she had written for<br />
her own amusement in leisure moments. She<br />
spent a whole six weeks upon it, and it was<br />
her first attempt. Would you l)elieve it? The<br />
reader of the Society sent lmck the papers with<br />
the most cruel remarks you ever saw. He said<br />
that there was no possibility of considering the<br />
piece seriously; he found fault with the plot,<br />
and the characters, and the construction, and<br />
advised the writer to study the Art of Fiction<br />
seriously if she wished to succeed. Absurd!<br />
And after that lovely article in the Spectator,<br />
which proves that there is no study wanted<br />
at all, but that story-making comes by nature,<br />
"like the song to the skylark." It was in<br />
this case doubly absurd, and it will show how<br />
ridiculous the Society is, when I tell you that a<br />
most respectable publisher, on receiving the MS.<br />
actually offered to bring out and sell 5,ooo copies,<br />
and to give her half the profits if she would only<br />
advance £100 to begin with. It was the same<br />
publisher who once gave my husband £10—a<br />
<br />
<br />
## p. 15 (#419) #############################################<br />
<br />
THE AUTHOR.<br />
whole £10—for the profits on his book. Of<br />
course he was most unwilling to rob the poor<br />
dear man by taking it. Well, the dear child has<br />
jumped at the offer. She is delighted at her<br />
good fortune, and counts on making £1,000 at<br />
least, and means to devote herself henceforth<br />
entirely to literature. Whereas, my dear, if she<br />
had listened to that mischievous and meddlesome<br />
Society!"<br />
"The Society of Authors is a mischievous body,<br />
Sir. It does nothing but encourage a parcel of<br />
school girls to put their miserable trash into the<br />
hands of scoundrels who make them pay for having<br />
their books produced. The markets are flooded<br />
with trash entirely through the efforts of this<br />
Society. Say they do quite the contrary? I don't<br />
believe it. I have heard from a very good authority,<br />
t he leading partner in Barabbis, Ananias, & Co.—<br />
very active new firm—that this is all they even<br />
attempt to do."<br />
"We consider the Society of Authors a meddle-<br />
some body. They may have some good men<br />
among their numbers. I don't know. But they<br />
are distinctly meddlesome. They actually want<br />
authors to know the meaning of their agreements.<br />
Why, that's our business. We are the publishers;<br />
we act entirely in the author's interests ; why does he<br />
want to know the meaning of his agreement? And<br />
the actual Cost of Production? Can't he trust us?<br />
And the meaning of Royalties? Are they going<br />
to destroy all confidence between man and man?<br />
Trust my words, Sir, if that Society goes on,<br />
Literature is doomed."<br />
What a dreadful thing it is to have such a<br />
bad character—and to deserve it!<br />
Mr. George Gissing ought to be publicly<br />
thanked for introducing to the world a form of<br />
literary life which has long been known to all who<br />
have penetrated into the by-ways and slums of this<br />
many-sided calling. He presents to us several well<br />
defined and by no means uncommon types. There<br />
is the young man of literary aspirations who rashly<br />
attempts to make of letters his livelihood, encou-<br />
raged by the success of a single first novel. He<br />
has no education to speak of; he has no know-<br />
ledge of society; he has no personal ex]>erienees;<br />
he has no travel. In fact, he is absolutely<br />
devoid of any equipment except a true feeling for<br />
Art, and a burning desire to succeed. He cannot<br />
succeed. It is not jwssible for such a man to<br />
succeed. He fails dismally, and he dies. In real<br />
life such a man would not die. He would sink<br />
lower—lower—until he became the wretched<br />
drudge and hack of a penny novelette publisher,<br />
which is Malebolge itself. Next, there is the<br />
young man who looks about him, sees what will<br />
pay, and how men get on in the literary pro-<br />
fession. He enters upon his work with the<br />
intention of succeeding, and he does succeed. In<br />
real life such a man might succeed in the way<br />
indicated, but not quite so easily. He Incomes an<br />
Editor. Now, one of the chief requisites in a<br />
modern Editor is that he should know many men,<br />
and belong to certain social circles. This young<br />
man, with no social position, would certainly not be<br />
made an Editor quite so easily. On the other<br />
hand, his career illustrates the advantages to be<br />
derived from accepting the existing conditions, and<br />
trading upon them. But the truest, saddest figure<br />
in the book is that of the old litterateur, a critic<br />
of the former school, who hangs on to letters,<br />
getting more and more soured every day, having<br />
a paper accepted now and then, doing a stroke of<br />
work here and another there, living a life of<br />
absolute dependence upon publishers and Editors,<br />
whose work nobody wants, whose whole history<br />
has lieen one of humiliations, disgusts, and dis-<br />
appointments, who waits humbly on publishers and<br />
hopes for their "generosity." Truly, as his<br />
daughter says, his is a loathsome profession. It is<br />
the utter degradation of letters; it is Grub Street<br />
with us still. But he degrades his profession still<br />
more, for he meditates constantly upon the pride of<br />
being the Editor of a literary journal, and his only<br />
thought, in that capacity, is how he will tear and<br />
rend his brother writers. "I will show them,"<br />
he says, "I will show them how to scarify." Yes,<br />
that is still the thought of certain authors. As it<br />
was in the days of Churchill, so it is now. Because<br />
a man follows the calling of letters, he must,<br />
by other followers of that profession, be slated,<br />
scarified, torn to pieces. Every other profession<br />
has its unwritten laws of decency and politeness.<br />
That of literature, none. I do not supj>ose that<br />
Mr. Gissing's book can become popular, but from<br />
my own knowledge I can testify to its truth. I<br />
know them all, personally,—two or three of<br />
each—Mr. Yule—Jasper—Edwin—and the fidelity<br />
of Mr. Gissing's portraits makes me shudder.<br />
Zola has been passed over in favour of "Loti."<br />
The choice of the French Academy is surprising<br />
and disappointing. For if we grant everything<br />
that has been said in favour of Pierre Loti, the fact<br />
remains that he is a head and shoulders below<br />
Zola. I have purposely abstained from reading<br />
Germinal and one or two of Zola's last. But.one<br />
A<br />
<br />
<br />
## p. 16 (#420) #############################################<br />
<br />
i6<br />
THE AUTHOR.<br />
can never forget L'Assommoir, a work of sur-<br />
prising power and genius. Nor can we forget La<br />
Curie, not to speak of those short tales in which<br />
he has hardly an equal. When all is said and done<br />
about Zola, he will take, I am convinced, a very<br />
high place, far higher than the author of the<br />
charming Madame Chrysantheme is likely to<br />
achieve. The election is not one which can be<br />
defended by those who would like to see an<br />
Academy in this country. But then we want an<br />
Academy of our own, not slavishly copied from the<br />
French, and able to steer clear of the shoals and<br />
rocks which are always bringing that august vessel<br />
into danger and ridicule.<br />
An American gentleman is making application<br />
to various authors for the manuscript originals of<br />
their works. Unpublished MSS., indeed, authors<br />
have never shown any unwillingness to part with;<br />
but published MSS. !—there is the difference. Very<br />
few living writers now can predict with certainty the<br />
value of their MSS. in ten, twenty, thirty years'time.<br />
Surely it is best to take the chance, refuse to sell<br />
the things, and keep them for the lienefit of heirs.<br />
If an autograph work be worth anything now, its<br />
value will be multiplied by ten in as many years'<br />
time, supposing the book to live. Besides, there is<br />
the sentiment of the thing. One would like to<br />
give to one's heirs the very work in one's own<br />
handwriting, out of which some fame, as well as<br />
some fortune, has been achieved. Let us keep our<br />
MSS., brethren, and lock them up.<br />
Ouida has perpetrated a long two-column small<br />
print letter in the Times. She is very angry<br />
because people syndicate their novels. She is very<br />
angry that literary agents are allowed to exist. She<br />
is very angry that so many books are published.<br />
She is very angry that this Society exists. She is<br />
very angry that a certain very clever young writer<br />
is acknowledged to 1k> clever. She is very angry<br />
that authors find it desirable to look after their<br />
property. She is so very, very angry with every-<br />
thing, that one suspects the sham indignation of<br />
the satirist which compels him—poor man !—to<br />
make verses.<br />
The genesis of the literary agent is quite natural.<br />
Owing to the chaotic condition of publishing, while<br />
the publisher depends upon the author for material;<br />
and while the author depends upon the publisher<br />
for proceeds of his work; the publisher has no<br />
recognised principles on which to lmse his proffered<br />
agreement, and is therefore in the false position<br />
of being taken for a screw or a cheat, when,<br />
perhaps, he is only desirous of being fair ami<br />
just* The author, owing to the absence of<br />
recognized principles, has to go to the publisher<br />
and make a targain in ignorance and dependence.<br />
This dependence is loathsome and humiliating to<br />
him; he hates the conduct of his own business;<br />
he considers himself cheated and cajoled — as<br />
very often he is. All this would be avoided if<br />
authors knew what is meant by cost of pro-<br />
duction, trade price, royalties; in fact, what<br />
are actually meant by the clauses of the agree-<br />
ments they are called upon to sign. So long as<br />
secrecy on these points is maintained, there will<br />
remain the humiliation of the author in l>cirig<br />
dependent on what they call the "generosity" of<br />
the publisher. Now the literary agent who takes<br />
up the conduct of an author's affairs is, or should<br />
l>e, a business man as much as "the publisher.<br />
Therefore, when he arranges an agreement, it is<br />
one business man making a business agreement<br />
with another, both l>eing entirely acquainted with<br />
the nature of the transaction in all its details.<br />
Such a man is invaluable. To find a good literary<br />
agent, and to place all affairs in his hands is a great<br />
step towards independence. The next great step<br />
will 1m1 when we have at last discovered iv method<br />
of publication fair to all sides, recognised and<br />
adopted by all sides. Perhaps then the literary<br />
agent may no lonjrer l>e wanted.<br />
Even then there will be required someone to<br />
arrange with Editors for serial rights of novelists.<br />
Everybody knows that magazines vary in their<br />
payments for serials: those which have but a small<br />
circulation cannot pay much: those that circulate<br />
largely pay more for one writer than for another.<br />
It will always be the work of the literary agent to<br />
arrange these things for his clients. I recommend<br />
everybody who has any business arrangements of<br />
importance to transact them by means of an agent.<br />
But—and here the greatest care must be exercised<br />
—do not go to any agent unless he is thoroughly<br />
well recommended, if possible, by this Society.<br />
I do not see that we need use up much space in<br />
discussing the other points of this angry lady's letter.<br />
She calls this Society a " Caricature of Literature,"<br />
without explaining how a Society can be a cari-<br />
cature. She says that its Members are " makers of<br />
books." So they are. So they are. So is Ouida her-<br />
self, if she conies to that—she has made 3o l>ooks,<br />
I am told. In the same way Mr. Watts is a maker<br />
of pictures. She feels that literature must not be<br />
a trade. So long as literature in its making is<br />
allowed to lie an Art, I care nothing what it is called<br />
in its selling. The publisher is a tradesman or<br />
a professional man, just as anybody pleases, pro-<br />
vided that the poet remains an artist. We will<br />
think of Art while we are engaged on Art, and we<br />
will think of nothing else. When our work—our<br />
<br />
<br />
## p. 17 (#421) #############################################<br />
<br />
THE AUTHOR.<br />
17<br />
artistic work—is in our hands, completed and ready<br />
for issue, we will think of the property that it<br />
represents, and we will defend that property, after<br />
the example of Dickens, Thaekeroy, George Eliot,<br />
Wilkic Collins, Anthony Trollope, Charles Reade,<br />
and others, now numbered with the illustrious<br />
dead.<br />
Evidences are daily poured into the office to<br />
prove my statement that in the modern fashion<br />
publishers seldom take any risks. I have lx-fore<br />
me, for instance, an agreement by which the author<br />
in a half profit system is made to take 100 copies at<br />
a certain price, viz., the full trade price, without<br />
the discount or reduction always given to the trade.<br />
This was only a little book. The cost of production<br />
was set down at £36, including advertising. The<br />
sides are said to have produced £16, and the author<br />
is charged £18, showing a loss of £2. This, as<br />
everybody will understand, is no loss at all, if for<br />
no other reason, because the publisher keeps all the<br />
rest of the edition. This is supposed to lx' a good<br />
house of the second rank.<br />
He sent his article to a certain journal. It had<br />
an attractive title; it was on a subject that he<br />
thought might also seem attractive; it was signed;<br />
he hoped that it would lie accepted, and that its<br />
appearance would help his name. The Editor kept<br />
the MS. three weeks and sent it Iwick: "Editor<br />
very sorry, pressure too great already." On looking<br />
at the paper he found it was dirty, and there were<br />
marks as of an inky thumb on the back of two<br />
pages. "This," he said, " looks as if it had been<br />
in the hands of the compositor." He then sent it<br />
to a second paper. It came back after three weeks<br />
with more marks as of an inky thumb, and with a<br />
similar letter: "Thanks. No room." Now, the<br />
compositor always has an inky thumb. If it were<br />
not for his inky thumb, he would not be a<br />
compositor. The writer therefore grew curious,<br />
and began to take in these two journals. In a<br />
fortnight he was pleased to find his article in each<br />
of the papers, unsigned, and under another title.<br />
There may be a conclusion to this story.<br />
The Automatic Book Company has been long<br />
talked alxmt, and is now apparently setting to<br />
work seriously. You put in a penny and you take<br />
out a l)Ook; when you have read the book you<br />
put it back again. This is simple, and I lndieve<br />
that everybody would Ik; glad to see it, succeed, but<br />
for one reason. The directors propose to till their<br />
boxes with none but books published by themselves!<br />
The result, therefore, if the Company gets its boxes<br />
introduced on railways will be the total destruction<br />
of the whole l)ook trade now carried on at the<br />
railway bookstalls. This is an enormous trade; it<br />
means the diminution of the side of popular liooks<br />
by perhaps 3o per cent. This is a lively prospect<br />
for authors and publishers alike. But one cannot<br />
believe that any railway company will grant such<br />
a monopoly. It means a great deal more than if<br />
such a monopoly were granted to one great<br />
publishing house. For every great publishing<br />
house has all its old books to offer. The new<br />
Company will have to create its literature, which<br />
cannot be done in a year. Fancy reducing the<br />
choice of readers from the thousand volumes in all<br />
branches of literature that till the stall at a London<br />
terminus to half-a-dozen books in so many boxes<br />
in the railway carriage!<br />
The Reproduction of a Fourteenth Century<br />
Poem: an Account of a French Family: a volume<br />
of Essays: a Manual on Boating: a Catalogue of<br />
Ancient Deeds: a History of Children's Books: a<br />
Book on Angling: a Book on the Telescope: a<br />
Dictionary of Authors: a new Novel by George<br />
Meredith. Now, of all these books, which is<br />
the most important? Which is most striking?<br />
Which represents the greatest event in the<br />
literary history of the week? There can be no<br />
doubt of the reply. It is the novel. There can be<br />
no doubt, further, of the respect with which—if<br />
only for his previous achievements—the book<br />
singled out of this list should be received by those,<br />
who review as well as those who read. The<br />
position of George Meredith is that of the heir<br />
apparent to the crown of English Letters. There<br />
is no one who can venture to dispute with him<br />
that rank. Now, a certain literary paper has<br />
selected the bundle of books above named with<br />
half-a-dozen other novels for review in the issue<br />
of May the 23rd. Of course it gives the first<br />
place to George Meredith. Not at all. The first<br />
place is given to the Fourteenth Century Poem.<br />
Then it gives, at least, a separate notice, a place of<br />
honour, to George Meredith. Not at all. It re-<br />
views him a.s one of the batch. As for the review<br />
itself that is not the question, though the reviewer<br />
shows himself utterly out of sympathy with his<br />
author from the outset. Fancy, at this time of day,<br />
a reviewer of George Meredith writing "In his<br />
former l>ooks Mr. Meredith did often succeed in<br />
writing clever passages and smart epigrams "! The<br />
point is, that in such a paper such a writer should<br />
be classed and reviewed with Mr. Ready-to-Halt<br />
and Mr. Feeble Mind, and little Miss Buttercup,<br />
fresh from school! This comes of the Iwtch prin-<br />
ciple. On ]>age 19 another beautiful example will<br />
be found of the blessings of the batch method.<br />
It will be seen from the communications pub-<br />
lished elsewhere in this number, that complaints<br />
<br />
<br />
## p. 18 (#422) #############################################<br />
<br />
i8<br />
THE AUTHOR.<br />
are rife about the reviewing of novels—perhaps,<br />
also, about the reviewing of books in other branches<br />
of literature, though these have not yet been con-<br />
sidered. Among all the complaints that have<br />
reached me—many of them only repetitions—I<br />
have found none against the daily papers. On<br />
looking more closely into the question, it becomes<br />
apparent that the best friends of literature, as if they<br />
had not enough already on their backs, are quite<br />
certainly the daily papers. To have a review in the<br />
Times has generally been received as a mark of<br />
special honour. It is much to be hoped that this<br />
old practice may be continued. Hitherto, it has<br />
always l>een considered beneath the dignity of the<br />
paper to " slate " a lx>ok or a writer. And it showed<br />
the dignity of the paper, that it never took up a<br />
book except to do it honour. The Daily News, the<br />
Morning Post, the Standard, all keep literature<br />
steadily to the front, and all in a spirit of appre-<br />
ciation, willing to recognise good work, and fully-<br />
aware that bad books die of their own accord.<br />
The Telegraph has its book column every week<br />
and sometimes oftener. The Daily Chronicle has<br />
its literary supplement and its weekly feuilleton.<br />
The evening papers seldom appear without a review<br />
of some new books. Of provincial jwpers, the<br />
Scotsman has long been a stalwart friend of litera-<br />
ture by criticism that is for the most part kindly and<br />
always sensible. The Bradford Observer contains<br />
excellent papers on current literature, and there are<br />
many other country papers of great help to letters.<br />
In fact, the daily papers, in their readiness to<br />
note the book of the clay, their general kindliness<br />
and appreciation, are of very much greater im-<br />
portance to us than the weeklies.<br />
Walter Besant.<br />
<br />
My name and country were—Why care to know?<br />
High was my hirth—What, if it had been low?<br />
Glory 1 won, and died—What, if no glory?<br />
I now lie here—Who tells to whom my story?<br />
Srns.<br />
Oinfta jMi—T» o-f ■nvTi; vdrpis hi /*',<—«'{ tt hi rmno;<br />
Y.\(i*m V fifM yiwvi—d ya.p dxpavporarov;<br />
ZijVa? eVWf&jf "Xiirax f$!o»—(2 yap aSofai?;<br />
Kiiy.ai h',h6a$t wr—ti; tiVi Tavra Xeym;<br />
PAULUS SlLENTIARIlTS.<br />
■ ♦ ■»■+<br />
Those who are interested in literature for the<br />
Blind will please take note that a new magazine<br />
called Playtime will be issued by the British and<br />
Foreign Blind Association. The magazine is in-<br />
tended for blind children. It will be edited by<br />
Miss Florence Nevill, and will appear every two<br />
months. The address of the Association is<br />
33, Cambridge Square, Hyde Park.<br />
<br />
IN THE DAYS OF THE MERRY<br />
MONARCH.<br />
""Jk IfY Master having now had some expe-<br />
Y/l rience in this way of printing, was<br />
resolved to play above board, and get<br />
some Copy or Copies to print, that he might own;<br />
which in short time he did, and glad was he to see<br />
his name in print, supposing himself now to be<br />
somebody.<br />
"My Master having now printed two or three<br />
things, did look upon himself as somebody; and<br />
though he had not such good success in his last<br />
undertakings as before, yet he made a shift to get<br />
what they cost him for paper and print, and had<br />
many of them still by him to sell when he would,<br />
or exchange; but he having but two or three sorts<br />
of books, could not do much good upon that: he<br />
seeing this, and observing what books sold lx'st, it<br />
being at the beginning of the late Wars, found<br />
that factious Sermons, and such like things would<br />
do the business; he thereupon bestirs himself, and<br />
gets acquainted with most of the factious Priests<br />
about Town, by often hearing them and frequent-<br />
ing their Companies, and having learned to write<br />
short-hand, took notes of their Sermons, which he<br />
collected together, and now and then he would get<br />
them to revise one of them, and print it; by this<br />
means spending much time and mony amongst<br />
them, he grew very intimate, and was Ix-come the<br />
general publisher of most of their Sermons and<br />
Controversies. This was that which brought him<br />
great gain, in a short time he could vie with the<br />
best, what he sold not for mony, he exchanged for<br />
books: and now he could command any book in<br />
all the Company without money, upon account, as is<br />
the Cnstome. His Shop ln-ing well furnished, he<br />
gets a Ware-house, where he bestowed his books in<br />
quires; and being thus furnished, he was first<br />
spoken to by some Country lwoksellers, and then<br />
writ to by them and other, for severall l>ooks, so<br />
that any thing that he printed he coidd sell off well<br />
enough; for having good hap to print some very<br />
good selling books, they helped away the other<br />
that were not so good, and still were thrust into<br />
the parcel among the rest: and now having some<br />
good Authors, he would not accept of every one;<br />
and as he formerly had sought for, and courted<br />
Authors to write lx>oks for him, now they (knowing<br />
his way of preferring and selling of l>ooks) followed,<br />
and courted him to print their l>ooks. If a stranger<br />
came with a Copy to him, though never so good,<br />
he would tell them he had books enough already;<br />
but however, if they would give him so much<br />
money, he would do it, and they should have two,<br />
or three, or six books for themselves and friends:<br />
many a one did he thus j>erswade out of their<br />
<br />
<br />
## p. 19 (#423) #############################################<br />
<br />
THE AUTHOR.<br />
19<br />
mony, licing desirous to be in print. If he had a<br />
desire to have any tiling writ in History, Poetry, or<br />
any other Science or Faculty, he had his several<br />
Authors, who for a glass of Wine, and now and<br />
then a meals Meat and half a Crown, were his<br />
humble servants; having no other hire but that,<br />
and six or twelve of their books, which they pre-<br />
sented to friends or persons of Quality; nay, and<br />
when they have had success, if they wanted any<br />
more books, they must pay for them: further I<br />
have known some of our Trade, that when a poor<br />
Author hath written a book, and being acquainted<br />
with some Person or persons of Quality whereto he<br />
Dedicates and presents it, the Book-seller will go<br />
snips and have half shares of what is so given him.<br />
There is no Trade that I ever heard of, that gets<br />
so much by their Commodity for whatever they<br />
print, if it sels, they get eight pence in the shilling:<br />
and for those that deal with Country-Chapmen,<br />
they put off the bad well enough at one time or<br />
another; and if they are very bad, then a new<br />
title is printed as if it were a new book; and what<br />
with this and changing, they march off in time.<br />
He would also frequent the Schools, and by drink-<br />
ing with the School-masters, and discoursing of<br />
l>ooks ftnd learned men, he would get their cus-<br />
tome to serve them with School-books. There<br />
was one famous Country-Parson whom he much<br />
desired to be acquainted with, and to him he rid,<br />
telling him he was troubled in mind, and desired<br />
him to satisfie him in a case of Conscience, the<br />
which he did; and then for his satisfaction, and to<br />
oblige him, he prayed and courted him to see him<br />
when he came to London, the which he did, and<br />
all this was to get the printing of his books. My<br />
Master having had a book written for him by a<br />
Poet, the Author (not having the wit to make his<br />
liargain, and know what he should have before-<br />
hand) when he had finished it, desired payment<br />
for his pains: Nay, said my master, you ought<br />
rather to pay me for printing it, and making you<br />
famous in print. Well then, said the Author, if<br />
you will not give me money, I hope you will give<br />
me some twoks. How, said my master, give you<br />
liooks, what will you have me forswear my Trade,<br />
and 1>e a lx>ok-givcr? I am a book-seller, and to<br />
you I will sell them assoon as to another, if you<br />
will give me money, paper and print costs money,<br />
and this was all the Author could have for his<br />
pains. My Master is now one of the Grandees of<br />
the Company, and that liesides the ordinary way<br />
gets hiin something. Not long since, he and<br />
others went a searching, and finding an impression<br />
of unlicensed l>ooks, seized them, but instead of<br />
suppressing and turning them to wast paper, they<br />
divided the greatest part of them amongst them-<br />
selves, and immediately my Master sent some of<br />
them away to all his Chapmen, and the rest we sell<br />
in the Shop. It so fell out lately; that a book<br />
lieing to lie Printed, my Master repaired to the<br />
Author to get the Copy, but another of the same<br />
Trade had been then; before, to whom it was in<br />
part promised; but however (out of respect to my<br />
Master) the other lieing sent for, it was agreed that<br />
they should have the printing of it between them;<br />
whereupon one printer was iniployed by them both<br />
to do the work. My Master soon after sent for<br />
the Printer, and tells him, You must do ine a kind-<br />
ness: Yes Sir, said the printer. It is this, said my<br />
Master, I am to give away to the Authour some<br />
Books, wherefore I would have you to print 200<br />
for me above the number, and do not tell my<br />
Partner, and I will pay you: Yes, said the Printer,<br />
and so he did, and was paid for them accordingly.<br />
But the Printer seeing the knavery of his imployers<br />
(for the other had been with him; and engaged<br />
him to print the same number of 200 over, pre-<br />
tending some private use he had for them) he<br />
likewise printed 400 over for his own use, and<br />
publiquely sold them; and neither of them could<br />
or would complain of him to the other, because<br />
they knew themselves guilty of the same crime."<br />
<br />
REVIEWS AND REVIEWERS.<br />
I.<br />
"TTTHAT a blessed thing it is that Nature,<br />
Y V when she invented, manufactured, and<br />
patented authors, contrived to make critics<br />
out of the chips that were left! Painful as the<br />
task is, they never fail to warn the author, in the<br />
most impressive manner of the probabilities of<br />
failure in what he has undertaken. Sad as the<br />
necessity is to their delicate sensibilities, they never<br />
hesitate to advertise him of the decline of his<br />
powers, and to press upon him the propriety of<br />
retiring before he sinks into imbecility."<br />
O. W. Holmes.<br />
11.<br />
In the year 1889 a novel was produced by an<br />
unknown writer. On March 3oth of that year the<br />
liook was reviewed — or noticed — in a certain<br />
paper, as one of a batch. Evidently the reviewer<br />
had read it with pleasure, for after telling the story<br />
—which never ought to be done in reviewing a<br />
novel—he added these words, " If this is 's<br />
first novel, she has done extremely well. . . .;<br />
Her characters have the stamp of good breeding,<br />
<br />
<br />
## p. 20 (#424) #############################################<br />
<br />
20<br />
THE AUTHOR.<br />
her situations are probable, her conversations are<br />
natural and lively, and she has a good style." This<br />
was very satisfactory for the author, and perhaps<br />
caused some readers to ask for the book.<br />
This year the lady's publishers brought out a<br />
new edition, and on April 18th last another review<br />
—or notice—of the work appeared in the same<br />
paper. It was reviewed as a new book, an accident<br />
which might happen to any reviewer. The review<br />
again took the form of telling the story—which<br />
as was said above never ought to l>e allowed in<br />
reviewing a novel—but this time without any word<br />
of comment whatever; and so telling it as, in the<br />
opinion of the author and some others, to condemn<br />
the book. One may be wrong, but in reading<br />
the review there seemed, distinctly audible, a kind<br />
of a sniffing.<br />
Referring again to an article in the Saturday<br />
Review which was noticed in last number of the<br />
Author, one reads these lines, " The really curious<br />
thing is that the author of this paper should fail<br />
to perceive that even the briefest judgment of a<br />
competent critic is based upon, and necessarily<br />
implies, the study and knowledge of the art which<br />
he denies to reviewers."<br />
No one had denied "the study and knowledge of<br />
the art " to such reviewers. But never mind that.<br />
The point is, which of these two opinions is by the<br />
competent critic, and which by the other. Because<br />
one sniffs and the other praises. Perhaps there is<br />
a third way out of it. Critics of equal competency<br />
may have reviewed the" book on both occasions,<br />
and the second man did not really mean to sniff at<br />
the book. He only had a cold.<br />
III.<br />
"M W is a story of incident,<br />
located in Scotland, and somewhat loosely written<br />
in three languages—for there is a large admixture<br />
of Gaelic, and enough French to show that the<br />
author is not too pedantic in his employment of a<br />
foreign tongue. The Gaelic is not scrappy, like<br />
the. French, but occurs in long conversations, and<br />
in many successive pages. It is, moreover, suffi-<br />
ciently uncompromising to puzzle a reader."<br />
This is taken from a leading Review. Will it<br />
l»e. believed that the " Gaelic" is ordinary Lowland<br />
Scotch, the language of Walter Scott and Robert<br />
Burns? That good old familiar language is so<br />
strange to a reviewer in this Journal that he<br />
thinks it is Gaelic! As to the French, the author<br />
writes that it. is simply confined to half-a-dozen<br />
ordinary expressions, such as savoir faire, tout<br />
ensemble, Ac.<br />
But Gaelic !—Shade of Sir Walter !—Gaelic!<br />
IV.<br />
May ist.<br />
"May I add my mite to the subject, under<br />
discussion, i.e., Reviewers and Novels? Last year a<br />
novel was published, the joint work of another<br />
writer and myself. The reviews were, save for one<br />
or two smaller papers, remarkably good, but this is<br />
apart from the question. What I would emphasize<br />
is this :—At the request of the publishers, there<br />
was added a short preface. This preface is sup-<br />
posed to have been written by one of the characters<br />
in the book, a High Church clergyman, and this<br />
is readily understood by anyone who has read either<br />
the first or the last chapter, let alone the rest.<br />
However, if the preface only is read, the mistake<br />
is easily made of supposing him to be instead a<br />
'real live' vicar, and into this innocently laid trap<br />
no less than four reviewers, three of them on well-<br />
known London papers, fell headlong. Now I know<br />
the poor, sad-eyed reviewer is a much-to-be-pilied<br />
individual, and I quite acknowledge the book in<br />
question was but a little one and only light reading,<br />
but editors live to boast of the correctness of their<br />
paper, and surely therefore ' The preface of'— only<br />
three words—should have been added to the sage<br />
remark, 'This book is amusing, or dull, or clever,<br />
or utterly impossible, or far-fetched, &c., <fec.'<br />
I should not have written this egotistical epistle,<br />
however, only 1 am just a little behind the scenes<br />
of the. journalistic stage, and I believe and dare<br />
avow that this one proven case is only one of many,<br />
and also that the preface system of reviewing is not<br />
confined to the smaller fry of the sea of literature.<br />
And yet not only the public but the authors them-<br />
selves are dependent on such reviews for learning<br />
the true value of their work—for what author can<br />
judge his own writings impartially ?—and they are<br />
also exacted to accept such lazy critic's praise or<br />
blame as the judgment of Solomon. It is well,<br />
surely, to review a few books properly than many<br />
carelessly. It is time, surely, there was a school<br />
of novelists, if only that young writers might<br />
have an opportunity of obtaining fair, truthful,<br />
thoughtful, and really helpful criticism, instead<br />
of a few hurried words written by guesswork from<br />
a short preface. Wishing all success, therefore, to<br />
the new school, for which, spite of adverse opinion,<br />
I prophecy a future."<br />
A. E. S.<br />
V.<br />
"'An Obscure Novelist's' questions open up<br />
fresh ground for research. Are there half-a-dozen<br />
papers which can be said to review in the real<br />
<br />
<br />
## p. 21 (#425) #############################################<br />
<br />
THE AUTHOR.<br />
21<br />
sense of the word at all? In the vast majority<br />
of eases it seems the correct thing to turn<br />
on the latest-acquired printer's devil, or some<br />
half-educated hack, whose slipshod English, poverty<br />
of ideas, and stark inability to grasp even the<br />
most elementary points of the work lieneath his<br />
dissecting pen, are things'to shudder at. Hence, I<br />
take it, the unanimity wherewith our 'reviewers'<br />
invariably set themselves to expose the whole plot,<br />
or at any rate enough of it to spoil the reader's<br />
interest; that of the male reader at any rate, who<br />
does not make a point of looking at the end of a<br />
book first. Such a hashed-up resume as can be<br />
gleaned from a casual glance into the beginning<br />
and end of the book answers every purpose, since<br />
it serves to conceal their own complete lack of the<br />
critical faculty, and makes 'copy.' The author is<br />
credited with characters and scenes he never<br />
invented; if there is scope for it, only too<br />
frequently, with a geographical ignorance that<br />
would disgrace a second form boy, the allotted<br />
paragraph is filled up somehow, and our merry<br />
'critic' (?) splashes out of his wallow and shakes<br />
himself blithely preparatory to plunging into a fresh<br />
one.<br />
Another thing. When is fiction going to lie<br />
relieved of those most idiotic and utterly unmeaning<br />
terms 'hero' and 'heroine '? In the first place,<br />
speaking with all due deference, I believe there is<br />
no satisfactory definition extant as to what con-<br />
stitutes a 'hero' and his feminine counterpart.<br />
Certainly, with considerable opportunities of<br />
observing human nature, both civilised and savage,<br />
in many lands, I have never fallen across any man<br />
or woman who came within measurable distance of<br />
the popular conception of this nondescript animal.<br />
But he is a very marrow-bone to our friend the<br />
'horse-reviewer' who jumps around him, falls<br />
upon him, and cracks him, and from his spoils<br />
extracts succulent 'copy.' He objects that your<br />
'hero' is not a hero at all. Well, you never<br />
intended that he should lie, taking the term to<br />
mean an impersonation of perfectibility. And<br />
your 'heroine' is faulty and given to failure at<br />
the crucial moment. So she is. But you intended<br />
her to 1k>. The reviewer, however, cannot, to save<br />
his dear life, grasp the fact that the principal male<br />
and female characters of the lx>ok need not<br />
necessarily lie aspirants to heroic virtues, whatever<br />
these may lie, and that if they did happen to realise<br />
his idea of heroics they would lie as insipid and<br />
wholly uninteresting as perfect people must<br />
necessarily prove. 'Our hero'!! In the name<br />
of the Prophet, away with this fool of a word!"<br />
Another Novelist.<br />
VI.<br />
"As one of the apparently hated class of reviewers,<br />
may I lie allowed to state that I have the honour<br />
to review for a weekly journal, which does consider<br />
reviewing of some importance, and also, that I<br />
take special pains to do my work in a responsible<br />
manner? My editor does not wish the liooks to<br />
be scamped. He gives me space for extracts, and<br />
also I am allowed a free hand. I am not obliged to<br />
praise; books by a popular author if I do not<br />
consider them worthy of praise, or because the<br />
publishers of the books sent in advertise; in the<br />
journal for which I write. And I may add, that I<br />
have by the letters from authors (absolutely unknown<br />
to me personally) who have taken the trouble to write<br />
to me through my editor, to thank me for sympa-<br />
thetic notices. I always do my best to get a glimpse<br />
into an author's mind—if he has one—through his<br />
work, and then to give as intelligent a reason as<br />
my powers of expression will admit for praise or<br />
blame. I should like to quote some of the letters<br />
from authors, but it would lie an unjustifiable<br />
outbreak of vanity on my part."<br />
A Member.<br />
VIL<br />
"A letter in the Author for February on ' Kinds<br />
of Criticism' recalls an experience that is instruc-<br />
tive, therefore I sent it to you to use or not, as you<br />
please.<br />
Some years ago I was in treaty with the editor<br />
of a leading paper to become a reviewer on his<br />
staff. I had sent some specimens of work, of<br />
which he had approved, and was nsked to call at<br />
his office by appointment for my instructions. He<br />
received me courteously; praised my work; then<br />
gave me a three-volume novel he wished me to<br />
review at length. As he handed it to me, he said<br />
significantly: 'Do you know Mrs.''<br />
(speaking of the writer) ' I hate that woman.'<br />
I knew at once what he meant. I was to lie<br />
Balaam to this journalistic Balak. Bless his<br />
friends and curse his enemies! Unfortunately I<br />
possess a conscience. I read the book carefully,<br />
and said what I thought, regardless of Balak's<br />
hint. The review was favourable on the whole, so<br />
much so, that from it the publishers extracted a<br />
quotation for advertisement. With this result to<br />
myself, however, that I was never again employed<br />
by the editor in question, who forgot, moreover, to<br />
pay me for the review.<br />
He is no longer editing a paper in this world,<br />
therefore I may venture to give this experience<br />
without provoking him to say of me to some more<br />
facile reviewer as he hands my liooks for review:<br />
'I hate that woman '!" B.<br />
<br />
<br />
## p. 22 (#426) #############################################<br />
<br />
THE AUTHOR.<br />
LIBRARY SECRETS.<br />
BELONGING to literary metaphysics is that<br />
idea of the personality of a house or room.<br />
Nathaniel Hawthorne treated this bizarre<br />
notion successfully in his wonderful romance of the<br />
"House with the Seven Gables," and Edgar Poe<br />
even more so in the " Fall of the House of Usher,"<br />
and while other writers have made inanimate<br />
objects breathe, these are the only two English<br />
writers who have given to houses what Mr. Pater<br />
would call "soul." It is true now that some of<br />
our art guilds profess to give this quality of<br />
strangeness to furniture directly it leaves the<br />
workshop; and nineteenth century decorators<br />
claim to leave much of it in our modern<br />
rooms along with the paint and ]>aj>er frieze.<br />
Mr. James Payn tells of a young shopman who<br />
described a sideboard "as not Chippendale, but<br />
with a Chippendale feeling," and this expresses<br />
the more modern phase of what originally was a<br />
very pleasing conceit.<br />
Human mind has been compared to a kingdom,<br />
and with equal felicity a room may be comjmred<br />
to a person. If rooms could talk, how much<br />
they would have to tell us! What useful witnesses<br />
they would be in the Divorce Court—on a Royal<br />
Commission — or when politicians are differing<br />
about the words used at an interview. "Walls<br />
have ears" is only a metaphor at present, but<br />
doubtless some future Edison will discover a<br />
machine no less dangerous than the phonograph<br />
by which we may recover all the conversations—<br />
all the secrets a room has been the involuntary<br />
witness of. Philologists have never paid sufficient<br />
attention to the word "Room." No other synonym<br />
of equal force has been discovered. Apartment—<br />
what could ever happen in an apartment?<br />
Chamber—that, too, is impossible without some<br />
epithet as green, or blue, or red. But Room stands<br />
alone; for poets it is particularly useful, as it is<br />
one of the few rhymes to gloom.<br />
Of all rooms in a house the library should have<br />
most to tell us. Unlike its owner it would have<br />
read all the books on the shelves, those the casual<br />
visitor sees and those he does not see—the books<br />
behind the shelves. We are often told that a<br />
man's character can bo discovered by his library.<br />
I do not think this is always the case. If the<br />
books are very beautifully bound in Venetian and<br />
Levant, and have the work of Grolier and Derome<br />
on their backs, or the delicate tooling of Mr.<br />
Zaehnsdorf or Mr. Cobden Sanderson, we may be<br />
assured that the owner is either a bibliophile<br />
(one who likes books and reads them) or a<br />
bibliomaniac (one who likes books but does not<br />
read them); if the library had a tongue it would<br />
tell us which.<br />
If one sees a library full of standard authors, as<br />
Shakespeare, Johnson, Pope, Macaulay, all bound<br />
in red morocco with gilt edges, one feels sure<br />
they an? never read. It is almost fatal to have a<br />
standard author well bound; even a large paper<br />
copy (edition de luxe) is a little suspicious. But I<br />
may be judging others by myself, for I never can<br />
read a standard author (in red morocco and gilt<br />
edges). I always suspect the owner has bought it<br />
because it was the right thing to do.<br />
Another sure sign of unread books is a library<br />
of first editions. They have been purchased not<br />
because the first edition of some author had better<br />
type, or passages omitted in subsequent editions, or<br />
plates of which the impressions were inferior—but<br />
simply because they were first editions. Art critics<br />
talk about "art for art's sake," and bibliomaniacs<br />
might have a similar cant phrase of "first editions<br />
for first editions' sake." I myself have a library<br />
skeleton in the shape of a first edition which I<br />
bought some years ago, hoping that its value would<br />
increase. From time to time I take it the round<br />
of the booksellers—but in vain. Nay, the very<br />
wretch who sold it to me (he called it a bargain, I<br />
remember, and it certainly was for him) now tells<br />
me he would not give two shillings for it. I will<br />
not reveal the name of the book, for I still live in<br />
hope, and I show it to my friends as the greatest<br />
treasure in my collection, for I place it back on<br />
the shelf on my return from the goblin market of<br />
the book-selling trade. Booksellers are only<br />
prodigal of digits when selling books.<br />
But if my library has its secrets, those of my<br />
friends have theirs as well. A literary acquaintance<br />
of mine who has made some mark in the world,<br />
and writes delicate essays (pastels, he calls them),<br />
often talks in public and private about classical<br />
literature. When I speak of the achievements of<br />
one of our modern English poets, he tells me that<br />
Theocritus or Pindar have done the same thing<br />
much ln'tter. On his shelves are all the Leipzig<br />
series of the Greek poets, and Apollonius Bhodius<br />
lies open on the table, but behind the shelves, invisible<br />
to vulgar gaze, are Mr. Bonn's translations. I have<br />
forgotten all my classics, but I reineml>er in Horace<br />
there is a line altout rare sitting behind a horseman;<br />
so it is with the library of my friend, "Behind<br />
his classics sits blue Bohn." I hold my pence,<br />
however, for hare I not the first edition on my<br />
conscience?<br />
Zola, I am told, has a large circle of admirers in<br />
England, yet how many of them are acquainted<br />
with him in the original? Mr. Vizetelly's versions<br />
of realistic fiction have found a place in many a<br />
private library, where they corrupt our educated<br />
youth just as much as the bank clerk and<br />
<br />
<br />
## p. 23 (#427) #############################################<br />
<br />
THE AUTHOR.<br />
23<br />
hairdresser. English people lire always attacking<br />
translations, because to them they are indebted for<br />
any acquaintance with foreign literature. Here<br />
again I may be judging others by myself. As I<br />
am for being candid, let me hasten to admit that<br />
I have as large and goodly a collection of Bohns<br />
and Vizetellies as any man living. Bohn has been<br />
to me what Mary Stuart was to Mr. Swinburne,<br />
"Red star of boyhood's fiery thought."<br />
Bohns have solaced, have instructed, have enter-<br />
tained me as I feel sure they have many others.<br />
What a splendid language our English is, to be sure!<br />
There is really no necessity to learn any other. I<br />
feel I am a fine example to be held up by those<br />
who are for abolishing Greek from the schools and<br />
Italian from the Civil Service? examinations. Many<br />
a translation of Dante have I reviewed; "Te duce,<br />
Longfellow," and have not Messrs. Heinemann<br />
and Walter Scott placed Scandinavian literature in<br />
my reach? Petronius, Herodotus, Pausanias are no<br />
longer closed books for me. Mr. Bohn and his<br />
fellow workers, like the angel in Revelation, have<br />
broken the seals of a dead language. When I talk<br />
of such masterpieces familiar to me only in an<br />
English form, that I have pricks of conscience I do<br />
not deny. I am consoled, nevertheless, when I<br />
think that writers greater than I have secrets no<br />
less dark and base. What man of letters reveals<br />
his books of reference? True, one novelist,<br />
eminent for Scotch local colour, has confided to<br />
me that he lias never been north of the Tweed.<br />
Nor should I be surprised to learn some day that<br />
Mr. Haggard only edited "She," in spite of his<br />
assertion to the contrary, that the MSS. are per-<br />
fectly genuine, but with the insidious art of the<br />
storyteller he palmed them off as his own. In<br />
his library perhaps are concealed the letters of<br />
Mr. Allan Quatermain. Has Mr. Besant ever<br />
teen further east than the Mansion House? Does<br />
Mr. Hardy live in Wessex? These are questions<br />
likely to raise some future literary controversy.<br />
They are now library secrets. Long may they<br />
remain so.<br />
There are other kinds of books besides works of<br />
reference and translations that a man who possesses<br />
them would hesitate to show to any but an intimate<br />
friend; but I trust no married men own such things.<br />
Their price has placed them beyond my modest means,<br />
and that original virtue in all of us would have pre-<br />
vented my acquiring them had I the chance. I refer<br />
to those suspicious little works published in Belgium<br />
with delicate etchings on hand-made paper;<br />
English volumes (privately printed, 25o copies only)<br />
which have on the title-page the legend that they<br />
were printed at Benares by the blameless Ethiopian.<br />
And those offered at fancy prices, which all tear the<br />
title of "Seqient Worship," clothed in the modest<br />
language of a scientific brochure. I trust that a<br />
very small per-centage of private libraries keep such<br />
books as these. Our pure and noble literature<br />
has fortunately supplied few examples wherewith to<br />
swell such a depraved catalogue.<br />
R. R.<br />
~*~^4<br />
MAURICE MAETERLINCK.<br />
fl^HAT amalgam of races now called Belgian<br />
I has produced a dramatist of great and original<br />
power. He writes in French, but his style<br />
raises a suspicion even in a foreigner, that it is not<br />
his native tongue. Apart from the language, the<br />
treatment of his three plays, "La Princesse<br />
Maleine," "L'lntruse," and "Les Aveugles," is<br />
sufficient proof that he is not a Frenchman.<br />
Whatever their merits or their faults, neither are<br />
French. They contain, even more than the work<br />
of his countrymen Van Beers, Huysmann, and<br />
Knopff, an element wholly foreign to French art.<br />
No doubt none of this work would liave been<br />
produced without French influence, but it all bears<br />
a mark of strong native individuality. The three<br />
plays which Maeterlinck has already written give<br />
him a claim to the highest place among contem-<br />
porary dramatists. So much attention has teen<br />
devoted to detecting new schools of the drama<br />
elsewhere, that it is a surprise to find such a school<br />
arising in Belgium. The Flemish races are,<br />
however, proving that they possess a reserve of<br />
force, revived, but in no sense re-constructed, by<br />
foreign example.<br />
A special peculiarity in Maeterlinck's work is<br />
the important part which he assigns to accessory<br />
effects. He animates dead matter, he humanizes<br />
his animals by some mysterious power of metem-<br />
psychosis, and his atmospheric phenomena are real<br />
Powers of the Air. He achieves even more than<br />
this, for the visions of his youths, and the dreams<br />
of his old men incorporate themselves in sounds<br />
and shapes that am be j>erceived by healthier or<br />
soberer senses. Out of this very peculiarity arises<br />
a rare and immense dramatic merit. With him<br />
accessories never usurp a more important place.<br />
No one of them is necessary to the construction of<br />
the story, but all assist materially to develop it.<br />
They explain the situations and emphasize the<br />
characterization, but they never distract the atten-<br />
tion due to either. In this way Maeterlinck's is<br />
art of the highest order, perfectly simple and direct<br />
in construction, adorned but never burdened with a<br />
wealth of ornament.<br />
The special sphere of Maeterlinck's genius is dark-<br />
ness, the darkness of hopeless destinies and sightless<br />
eyes. So far, he is fatalist, and only so far, for<br />
<br />
<br />
## p. 24 (#428) #############################################<br />
<br />
24<br />
THE AUTHOR.<br />
his work is wholly free from any trace of didactic<br />
fatalism; if he founds a new school it will not be<br />
for purposes of instruction. It is noticeable that<br />
though darkness and the fears that accompany it<br />
till his dramas, he never has recourse to super-<br />
natural agencies. The terror which he inspires,<br />
he draws, as it were, from the brains of his own<br />
characters, and expresses in the forces of nature.<br />
For pure concentrated fear I do not know<br />
anything more powerful than the death of La<br />
Princesse Maleine. You may read the play in a<br />
brightly lit room full of people, and tremble over<br />
it, when you have read "Melmoth" even, alone<br />
and at night. The murder scene recalls and<br />
surpasses the most dramatic scene in " Uncle Silas."<br />
It is, however, improbable that Maeterlinck knows<br />
the too little appreciated novelist Le Fanu. The<br />
comparison between them need not be pressed<br />
further, for Maeterlinck is superior in almost every<br />
point.<br />
To attempt any detailed examination of the three<br />
plays would be impossible in a short space. It will<br />
be sufficient to consider how wonderful is the little<br />
scene "L'Intruse." It does not take more time<br />
to read than a quarter of an hour, it contains no<br />
episode, it is founded on no plot that can be<br />
properly so allied, and yet it is absorbingly<br />
interesting, full of delicate characterization, and<br />
careful, skilful touches. It is not only the creations<br />
of the writer's brain that interest you, but the<br />
creations of his creatures' brains. This subtle<br />
compound influence upon the reader has never been<br />
achieved in the same degree of intensity and<br />
sustained so long. The blood that Lady Macbeth<br />
sees upon her hands does not leave a deeper stain.<br />
The whole of " L'Intruse" is full of this influence,<br />
the least incident in it becomes prophetic. The old<br />
Grandfathers fancies seem even to precreate inci-<br />
dents in harmony with his own melancholy, incidents<br />
which would not so much be noticed at the time, as<br />
remembered afterwards as having accompanied an<br />
evening full of very sad memories. There was the<br />
wind that came out from the cypress wood, and the<br />
trembling in the trees, and the scaring of the swans<br />
and the fishes, and the house dog that sat silent in<br />
his kennel, and the gardener who stood in the<br />
shadow and whetted his scythe, and the door that<br />
no one could shut, and the door that opened of<br />
itself, and the carpenter to come in the morning,<br />
and the dim burning of the half-spent lamp, and<br />
the physician waiting until midnight, and at mid-<br />
night the hurrying footsteps and the cry of the<br />
dumb child, and emphasizing these trivial incidents,<br />
re-creating them as omens, the blind fear of the<br />
old man. All so perfectly natural and all super-<br />
naturalized by his sick fancies.<br />
Nor are the two similar characters of the brothers<br />
without special merit for delicate distinctive touches.<br />
Both are kind-hearted, matter-of-fact men. It is<br />
so natural for them to regret the time when the<br />
Grandfather was as "reasonable" as they were,<br />
and "never said anything extraordinary." The<br />
Father is an excellent domestic man who keeps<br />
everything in order in the house during his wife's<br />
illness. He knows all the freaks of the furniture,<br />
and expects the servant to know them too. He<br />
sees the lamp filled himself, and professes all the<br />
faith of a true housewife in it that " it will burn<br />
better presently." We are not surprised that his<br />
ultimate conclusion concerning the blind should be<br />
"II est certain qu'ils sont a plaindre." The Uncle<br />
is rather clever and inclined to be strict, but the gift<br />
he most prides himself on is common sense. He<br />
cannot endure mystery, he detects it lurking even in<br />
the voice. When the Grandfather asks, " What is<br />
that at the door?" he says, "You must not ask<br />
that in such an extraordinary voice." He has an<br />
explanation, good or bad, ready for everything.<br />
If there is a sound of mowing it is the gardener,<br />
though gardeners do not mow at night. If feet<br />
are heard on the stairs he recognises his sister's<br />
footstep at once, although she is not there. His<br />
standard of appeal is the doctor. He even has a<br />
certain sympathy for his sister's monastic order,<br />
because "the rule applies to all alike." His worst<br />
epithet is " useless," and his sagest counsel "to 1 e<br />
reasonable." In his eyes truth and logic are<br />
synonyms. No wonder that when the blind<br />
Grandfather says, <; I can see clearly there is some-<br />
thing "that he answers a little sharply, "Then<br />
you can see better than we can."<br />
And here we come to another characteristic of<br />
Maeterlinck, a hint of secret inevident forces,<br />
triumphing out of obscurity. Here, the irrational<br />
sight of the blind; the insight of the idiot and the<br />
animal, in " La Princesse Maleine "; and the last<br />
ray of hope falling on the new-born child, in<br />
"Les Aveugles"; these are examples of what I<br />
mean. In "Les Aveugles " indeed the climax of<br />
the drama is the appeal of the utter powerlessness<br />
of the blind, the deaf, the mad, and the dead to a<br />
powerlessness seemingly more complete still. In<br />
this scene the darkness of Maeterlinck is at its<br />
deepest. Short as it is, so much might be said<br />
about it, that it is too long to notice here.<br />
w. w.<br />
■ ■<br />
LITERATURE IN IRELAND.<br />
n^HE miracle performed at the request of<br />
I Hezekiah may be daily observed by the traveller<br />
from Holyhead to Kingstown. As the shadow<br />
of old went back on the dial of the Hebrew King,<br />
so apparently Time retreats as the visitor from<br />
<br />
<br />
## p. 25 (#429) #############################################<br />
<br />
THE AUTHOR.<br />
25<br />
England approaches the shores of the Emerald<br />
Isle, anil if he is a lover of order, he must in<br />
consequenee put back bis watch five-and-twenty<br />
minutes. Our relationship to tbe sun is not unlike<br />
our condition in other matters. The visitor to<br />
Ireland must be prepared to find the inhabitants a<br />
little behind the times. It may be that Hibernia<br />
has the same complaint to make of Britannia that<br />
Diogenes made of Alexander, when he requested<br />
that monarch, who stood at the aperture of the<br />
philosopher's tub with an offer of gifts, to stand<br />
out of his sunshine. To fully realize how small<br />
the progress made by Ireland during the centuries<br />
which have elapsed since her conquest has been,<br />
one has only to turn to Spenser's "View of the<br />
Present State of Ireland," the greater part of<br />
which description is as true to-day as it was in<br />
1599. Ireland has never enjoyed the "Piping<br />
times of peace" in which art flourishes. Like<br />
Moloch, she has always been in favour of "Open<br />
war." She has cherished so many delusive hopes,<br />
nursed so many futile rebellions, and been so much<br />
occupied in endeavouring to shake off what her<br />
demagogues designate the "yoke" of England,<br />
that she has had no time to devote to "the arts of<br />
peace." As a natural consequenee, such of her<br />
children as loved the paths of wisdom, left behind<br />
them the "drums and trampliugs" of petty<br />
political struggles, and found in "a land of settled<br />
government" the quiet which they sought. Thus<br />
it comes that Goldsmith's name is associated more<br />
closely with Fleet Street than with Lissoy; Burke<br />
and Berkeley and Swift are English rather than<br />
Irishmen of Letters; and the names of George<br />
Darley and Edward Fitzgerald are almost unknown<br />
in their native land; while Moore, "our western<br />
bulbul, half Cupid and half tom-tit," is still<br />
considered our "sweetest lyrist" although he has<br />
been succeeded in his post of Irish Laureate by at<br />
least one poet, the latchet of whose shoes he would<br />
be unworthy to unloose. Living Irish writers, it<br />
would seem, have, like their predecessors, adopted<br />
Punch's recipe, and endeavoured to make home<br />
happy by leaving it. Many years have elapsed<br />
since Mr. Lecky was resident in Ireland. Lesser<br />
lights have also departed from amongst us. Lady<br />
Wilde, who as Speranza fired many hearts with<br />
enthusiasm, lives in a land against which the most<br />
impassioned of her lyrics were directed. The<br />
author of "Dorian Gray," like another prodigal<br />
son has taken his journey into a far country. Rosa<br />
Mulholland has also taken flight, and Dr. Tod-<br />
hunter sings of Greece in the midst of London.<br />
Justin McCarthy, father and son, perhaps live more<br />
in London than among their constituents. But<br />
some writers still remain with us. Professor<br />
Dowden, for whom the Yankees made a bid when<br />
they failed to obtain Shakespeare's house, has, we<br />
believe, taken out a perpetuity in the Protestant<br />
burial ground, a fact which may be fairly con-<br />
sidered a sign of his inclination to abide; permanently<br />
with us. Dr. Mahaffy's rambles in Greece have<br />
evidently not proved sufficiently attractive to tempt<br />
him to pitch his tent on the plains of Marathon.<br />
Professor Salmon labours alternately at theology<br />
and mathematics in the Provost's house, Trinity<br />
College. J. B. Bury, "the marvellous boy," has<br />
recently electrified scholars by his edition of "The<br />
Nemean Odes of Pindar." The author of "The<br />
Wearing of the Green" writes three volume novels<br />
within sound of the sea at Blackrock; and<br />
Katherine Tynan, whose "Louise de la Valliere"<br />
and " Shamrocks" are creditable volumes of verse,<br />
lives in quiet old Clondalkin. Sir Robert Ball,<br />
whose " Story of the Heavens" might lead readers<br />
to the rash conclusion that he dwells among the<br />
stars, resides at Dunsink; and Edwin Hamilton,<br />
the Dublin Aristophanes, lives in one of the houses<br />
which overlook—<br />
"That vast enclosure, called for brevity ' The Green.'"<br />
We can also count among the representatives<br />
of literature resident in Ireland the following<br />
writers :—J. K. Ingram, best known as the author<br />
of the song "Who fears to speak of '98 ?";<br />
R. Percival Graves, the friend of Wordsworth,<br />
and biographer of Sir W. Rowan Hamilton; A. P.<br />
Graves, author of "The Blarney Ballads" and<br />
other volumes of verse; T. Caufield Irwin, the<br />
poet; Robert Yelverton Tyrrell, whose translations<br />
include a marvellous rendering into Greek of<br />
Tennyson's "Lotus Eaters "; G. T. Stokes, whose<br />
"Irish Ecclesiastical History " is a standard work;<br />
G. F. Armstrong, author of many volumes of verse,<br />
of which the most popular is "Tales of Wick-<br />
low " ; Mrs. Hartley, better known as May Laff'an;<br />
the Hon. Miss Emily Lawless, author of "Hogan,<br />
M.P. "; Professor Bastable; Mrs. Cashel Hoey,<br />
whose novels have won her an enviable reputation;<br />
and W. J. Fitzpatrick, author of "The Sham<br />
Squire." We have also Douglas Hyde, whose<br />
hatred of " The proud Invader " forbids his signing<br />
his name in English; the author of "Molly<br />
Bawn" and many other popular novels, who<br />
declines to grace the title pages of her books with<br />
her name; J. T. Gilbert, the historian of Dublin,<br />
and Aubrey de Vere, the veteran poet and his<br />
brother, Sir Stephen de Vere, one of the few<br />
successful translators of Horace; Sir Charles<br />
Gavan Duffy, who was early "forced to roam,"<br />
and has continued to do so from habit; George<br />
Sigerson, author of "Poets of Munster." Hannah<br />
Lynch, whose tales have attracted much attention;<br />
P. W. Joyce, author of " Irish Names of Places ";<br />
T. W. Lyster, translator of Dunster's "Life of<br />
Goethe," and J. H. Bernard, translator with<br />
<br />
<br />
## p. 26 (#430) #############################################<br />
<br />
26<br />
THE AUTHOR.<br />
Dr. Mahaffy of Kant's "Critique of Pure Reason."<br />
Mary Fitzpatrick, the novelist, and C. G. O'Brien,<br />
author of much pleasing verse. This list of names<br />
might include many others of less note, but it has<br />
already become too like the catalogue of the ships<br />
in the Iliad to tempt any reader to ask for more.<br />
It is not to be assumed that because these writers<br />
reside in Ireland that therefore their books are<br />
published in Dublin or Belfast. With the sole<br />
exception of T. Caufield Irwin, all the above-<br />
mentioned have publishers in London. The books<br />
published in Dublin are either Roman Catholic<br />
Books of Devotion or school books. Dublin<br />
cannot, like Edinburgh, boast of a Nimmo or a<br />
David Douglas, or of such a firm as A. & C. Black.<br />
Her chief publishers occasionally publish a "Jus-<br />
tice of the Peace" or a "Law of Land Tenure."<br />
No work of art ever issues from the University<br />
Press. Popular discontent and the turmoil which<br />
springs from discontent have banished Art from<br />
Ireland. Will Ireland ever be contented? She<br />
will, when the old days return, days in which, as<br />
Landor says,—<br />
"Tara rose so high<br />
That her turrets split the sky,<br />
And about her courts were seeu<br />
Liveried Angels robed in green,<br />
Wearing, by Saiut Patrick's bounty,<br />
Emcraldn big as half a county."<br />
Ramsay Coixes.<br />
"A WORD FROM YOU, SIB."<br />
EVERY man known to be actively engaged as<br />
as a litterateur counts upon receiving half-<br />
a-dozen letters every week from people,<br />
generally young people, and in most cases young<br />
ladies who are ardently desirous of getting their<br />
works published. Sometimes they send manu-<br />
scripts for perusal, assuming as a perfectly natural<br />
thing that a busy man can afford to give a day to<br />
everybody who asks; sometimes they ask advice:<br />
most often they say that they have sent the work to<br />
this person and to that, to the editor of this or that<br />
magazine, and that it always comes kick rejected.<br />
The reason, they an; persuaded, is not in any<br />
defects or faults of the work itself (as will 1h(<br />
easily understood when the manuscript has la-en<br />
carefully read), but in the difficulty of getting a<br />
manuscript read by any publisher or editor what-<br />
ever. This being so, all that is wanted is a little<br />
personal interest from one who can influence<br />
publishers and editors. "A word from you, sir,<br />
whose influence is so great, would at once remove<br />
all difficulty from my path and ensure the accept-<br />
ance of my work." Or, as sometimes happens, the<br />
work has been actually issued and has fallen<br />
flat. Then the single word of influence is asked<br />
to induce editors to give the book a favour-<br />
able notice. Nay, if they happen to know or to<br />
find out—their ingenuity in finding out these little<br />
details is enormous—that a man is a personal friend<br />
of any editor, they will even ask him to use his<br />
influence with that editor, so that against his honour<br />
and his conscience, he shall direct a critic against<br />
his honour and his conscience, to write a favourable<br />
review of a worthless book. Not only this, but<br />
they believe tliat the thing is actually done, and<br />
done every day. It is a curious sign of the times<br />
that such a Ixdief is prevalent; but there is no<br />
doubt about it. A large section of the world has<br />
no belief in the honour of any class of mankind at<br />
all. They believe that trickery rules everything,<br />
from the little suburl>an shop to the editorial chair.<br />
It is impossible to answer such people, but those<br />
who honestly believe in the inaccessibility of editors<br />
and publishers unless persuaded by " a single word<br />
from you," may at least be asked to consider that<br />
Itooks are not published by caprice, or in order to<br />
gratify anyone, or out of kindness, but wholly and<br />
solely for mercantile reasons. Fortunately good<br />
work of all kinds has its mercantile value. There-<br />
fore the only thing to advise is that they should<br />
produce good work. The tears and entreaties<br />
which accompany many of these letters are most<br />
grievous to hear. A girl who is struggling to keep<br />
herself, to help others dependent upon her, to<br />
whom even the most miserable dole of the most<br />
cruel of sweating publishers would la; gratefully<br />
received, can only be told the same thing. Poverty<br />
will not make a writer. It is not enough to yearn<br />
ardently after a little money; if the gift has lx>en<br />
denied another way must he found. The "single<br />
word from you," even if it could l>e spoken, would<br />
not move editor or publisher in the slightest<br />
degree, except to wonder how one could l>e such a<br />
fool as to utter that single word. The number of<br />
those who l)esiege the gates of literature increases<br />
daily, and will continue to increase, both here and<br />
in America. Indeed, where there are hundreds of<br />
pens at their futile work in Great Britain there<br />
are thousands in the United States. All we can<br />
do is to hope that their disappointment may come<br />
speedily and while there is still time for them to<br />
turn to other things.<br />
■*-+•+<br />
MB. GEORGE MOORE AND HERR IBSEN.<br />
No doubt there is much in dramatic criticism<br />
to incline a man of any taste or discrimination to<br />
adopt views opposed to the critic's, and no doubt<br />
the irrelevancies of professed Anti-ibsenites have<br />
produced some able defences of the "master."<br />
Perhaps Mr. George Moore's appearance in the<br />
Ibsenite camp may be partly explained in this way.<br />
<br />
<br />
## p. 27 (#431) #############################################<br />
<br />
THE AUTHOR.<br />
27<br />
It is, however, disappointing to find a really just<br />
and delicate critic drawn from liis judicial attitude.<br />
He would be the last to maintain that adverse<br />
criticism by Mr. Clement Scott necessarily proves<br />
the excellence of a play. He may remember also<br />
that the school in whose company he finds himself<br />
for the moment, is not wholly unrepresented in<br />
bogus prophecy. It is to be hoped, however, that<br />
he will yet examine Herr Ibsen's prose dramas for<br />
us solely on their dramatic merits, by clearing the<br />
ground of moral questions and Ibsenitc controversy.<br />
No English critic is more fit to do so.<br />
Mr. George Moore will surely allow that Art<br />
is essentially absolute and dogmatic in principle,<br />
having no knowledge of contradiction. Argument<br />
or didacticism therefore, by acknowledging resist-<br />
ance to it, violate its elementary laws. That is to<br />
say, all works of art which purpose to illustrate<br />
theories or drive home arguments are so far bad<br />
art, or rather not works of art at all. This fault<br />
is what the Ibsenitc school appear to claim as a<br />
merit in Herr Ibsen. It appears to assert that Herr<br />
Ibsen's prose dramas enunciate a certain philosophy<br />
of which it approves. With the quality of this<br />
philosophy dramatic criticism has no concern at all,<br />
indeed, in so far as a critic praises or blames it he<br />
shows himself careless of the canons of Art. He<br />
has to decide whether the author is guilty of the<br />
merit of didacticism. It would be imi>ertinent to<br />
remind Mr. George Moore, but it is necessary to<br />
remind many professed Ibsenites, that anti-Christian<br />
philosophy is not exempt from the rule against<br />
didacticism in Art. What Art abhors is teaching<br />
not the lesson, all lessons alike are beyond its<br />
sphere.<br />
I am not, however, prepared to accept the<br />
Ibsenite claim that Ibsen is an intentional moralist,<br />
and I imagine that Mr. George Moore does not<br />
consider him so either. If he did he would<br />
scarcely praise "Hedda Gabler" so highly. The<br />
morality enunciated by the Ibsenites as a system,<br />
and deduced from Herr Ibsen's plavs, is as obvious,<br />
and therefore as inartistic, as the morals drawn by<br />
Mr. Barlow for the benefit of Sandford and<br />
Merton. The Ibsenite system may present to the<br />
vulgar an appearance of profundity, but it is none<br />
the less subject to the artistic charge of didacticism<br />
on that account. Having regard, however, to the<br />
acknowledged power of Herr Ibsen's work, I<br />
cannot imagine he would have fallen into so glaring<br />
an artistic fault. Is it possible to account for the<br />
opinion of his followers regarding him, in this<br />
way? I l>elieve that inquisitiveness is the most<br />
powerful quality of his mind, and has led him<br />
to the perpetual setting of riddles to which he<br />
would abhor to receive any answer. Certainty—<br />
even probability—represents to his mind a vacuum.<br />
Nothing can lx- more foreign to such a mind than<br />
an intention to teach, indeed the obviousness of<br />
such a charge should have protected from it a<br />
dramatist of such subtle effects. To harp on a few<br />
strings may at last become wearisome, but it is a<br />
fault against taste rather than against the canons<br />
of Art. The more serious charge of deliberate<br />
didacticism may fairly be shifted upon the commen-<br />
taries of his followers.<br />
It cannot, however, be concealed that there are<br />
other considerable faults in Herr Ibsen's prose<br />
dramas. Perhaps the most glaring is the unreality<br />
of his protagonists. They are not human; they<br />
are not even capable of evoking human sympathy.<br />
All they touch in humanity is the inquisitive cells<br />
of the brain. They also afford illustrations of<br />
theories which can now command approval. It is<br />
true that all dramatis persona are but types to Ixi<br />
personalized by the actor. Curiously enough, Herr<br />
Ibsen leaves less to the actor in this respect than<br />
perhaps any other dramatist. But, apart from this<br />
necessity of the drama, Herr Ibsen's heroes and<br />
heroines are intrinsically unnatural, unreal, and in-<br />
consistent. There are exceptions, perhaps Dr.<br />
Stohmar is the most like life—but Nora, Hedda<br />
Gabler, and Rebckka West are notable examples.<br />
Hedda Gabler especially contains no drop of " the<br />
milk of human kindness" in her composition. She<br />
has no more contact with humanity than the<br />
vegetable to which Mr. George Moore implicitly<br />
compares her. He admires her as the product of<br />
Nature, which never swerves from its own ends.<br />
She was, as he says, "born to kill herself." With<br />
all deference to his judgment be it said: She is<br />
therefore not a subject for dramatic art; a nettle<br />
would be as suitable. Some plants indeed, the<br />
pansy for instance, are said actually to possess this<br />
suicidal property. They poison their own soil and<br />
die. The objection to Hedda Gabler is not that<br />
she is monstrous; Medea, Lady Macbeth, La<br />
Cousine Bette, Melmoth, Frankenstein's Monster,<br />
Caliban, are all monstrous, but each has some<br />
trait in touch with man; Hedda Gabler has none.<br />
She is not even an animal; Brer Rabbit and the<br />
pantomime lieasts "are men of like passions to our-<br />
selves" compared with her. She is a vegetable fit<br />
to sow in one's enemy's garden.<br />
Surely an essence of dramatic art is contrast and<br />
effort, primarily between the characters, secondarily<br />
within them. By praising a mere natural force as<br />
a dramatis persona, Mr. George Moore seems to<br />
ignore the latter. The triumph of a suicidal<br />
tendency is a splendid subject for dramatic art,<br />
but there can be no triumph where there is no<br />
opposition, and no opposition in "a product of<br />
Nature" "born to kill itself," for suicide then<br />
Ceases to l>e a tendency and becomes a law. "Man<br />
cannot yield even unto death utterly save only by<br />
the weakness of the feeble Will." By eliminating<br />
<br />
<br />
## p. 28 (#432) #############################################<br />
<br />
28<br />
THE AUTHOR.<br />
the Will altogether, Nature is robbed of its triumphs,<br />
ami dramatic art rendered almost impossible.<br />
J. D.<br />
<br />
"AT THE AUTHOR'S HEAD."<br />
Mr. Meredith's "One of our Conquerors" is<br />
hardly a new book by this time. It is naturally<br />
one of the great literary events of the year, and it<br />
will be the. end of the year before we have found<br />
out all its surpassing merits, its wit, and character-<br />
isation hidden under that curious club-like style<br />
which Mr. Meredith wields like a rapier. Intoler-<br />
able in another writer, it seems the only possible<br />
expression for one of our greatest living novelists.<br />
We could never think of his writing in any other.<br />
The critics have already had their say. Let us<br />
hope he may be saved from disciples who even now<br />
are conspiring.<br />
The appearance of Herodotus under the auspices<br />
of Sir John Lubbock recalls what many have<br />
forgotton, the amusing lists in the Pall Mall<br />
Gazette of the Best hundred books, chosen by<br />
eminent writers. Herodotus was a very safe one<br />
to commence with, as he appeared in nearly all of<br />
them. I wonder if the working men, for whom<br />
the selection was made, will read each best book as<br />
it comes out. Sir John's list was the first and the<br />
best in a way. Other authors forgot the object in<br />
view, and simply wrote down the books they pre-<br />
ferred, with little thought, I fear, of the working man.<br />
The Pall Mall Extra is before me, and among<br />
books I rind recommended for these " factors" in<br />
the British Constitution are the Poems of Hafiz and<br />
Sadi—admirable poets let me add, but hardly<br />
suitable for the British or even the Persian working<br />
man, if there is such a thing.<br />
"Eric Brighteyes" will, I think, rank with<br />
"Cleopatra " and "She" as among Mr. Haggard's<br />
finest works. Perhaps it will not 1m» so popular<br />
among boys, who naturally prefer " Mr. Quatermain"<br />
and his adventures in Africa. But more critical or<br />
older readers will appreciate not only the splendid<br />
romance of " Eric," but the really beautiful writing<br />
in some of its passages, and which I do not think<br />
can be entirely attributed to Icelandic originals<br />
(parallel passages of course excepted). Of course<br />
the Author has been plagiarizing as usual; though<br />
I am the first to denounce him, I shall not be the<br />
last. It is the title this time. There are two other<br />
Erics I can remember, "Eric; or the Golden<br />
Thread" and "Eric; or Little by Little "; flat<br />
plagiarism on the title page' In the next century<br />
we shall have "Little Eric Brighteyes; or the<br />
Golden Thread."<br />
Mr. Oscar Wilde's "Intentions" (Osgood and<br />
Mellvaine) is not only one of the most amusing and<br />
delightful volumes that have come out recently,<br />
but is a valuable contribution to English criticism.<br />
The general "intention" which Mr. Wilde is<br />
anxious to enunciate is that criticism is a creative<br />
art, and not a destructive art. Mr. Wilde will, no<br />
doubt, learn with regret that he has converted<br />
his readers. The estimate of Browning is far the<br />
most tempered and critical that has appeared since<br />
the poet's death.<br />
Certain very young men on the press are<br />
naturally annoyed to find that Mr. Saintsbury knew<br />
all about Flaubert, and the realists and the<br />
naturalists long before they were born, so they<br />
have not found his Essays on the French novelists<br />
exhilarating. Even the "adorable" Verlaine is<br />
not so new as they would have us think.<br />
Although the French Academy has not yet<br />
recognised the poet of the Decadence, a benefit has<br />
l>een given for him at the Vaudeville in Paris. It<br />
was an interesting and very miscellaneous perform-<br />
ance, attended by an interesting and miscellaneous<br />
audience. There is a very marvellous portrait of<br />
Verlaine by Eugene Carriere in the Champs de Mars<br />
this year. It should be brought to England and<br />
exhibited (adults only admitted).<br />
At the Academy M. Loti certainly had greater<br />
claim than Henri de Bornier, who is to l>e condoled<br />
with, however. His play of Mahomet was prohibits!<br />
by the Government not long ago, and his election to<br />
the Academy might have compensated him for his<br />
disappointment. The French Republic is very<br />
delicate about the susceptibilities of Mahomedans<br />
and Atheists. M. Francois Coppee's Le Pater met<br />
with a like fate because it showed Christianity in<br />
too favourable a light. Thermidor is the last of<br />
the offending plays. Many, I hear, are anxious for<br />
the suppression of the Ainmergau Passion Play, as<br />
it is calculated to wound the Jewish community in<br />
Europe.<br />
Of recent verse, "Lapsus Calami," by J. K. S.,<br />
has already gained a deserved reputation for its<br />
author, who comes from a Cambridge college already<br />
distinguished for its minor poets—minor only from<br />
the quantity, not the quality of their work.<br />
"Pearl," an English poem of the Fourteenth<br />
Century, edited by Israel Gollancz, is a beautiful<br />
<br />
<br />
## p. 29 (#433) #############################################<br />
<br />
THE AUTHOR.<br />
29<br />
poem, which was worth resuscitating, and not<br />
merely a philological conundrum. The name of Mr.<br />
Crollanez is a passport for scholarship. "Pearl"<br />
is embellished with a delightful frontispiece by<br />
Mr. Holman Hunt.<br />
Mr. James Baker's "John Westacott" and also<br />
his " By the Western Sea " liave both just appeared<br />
in a cheap popular edition, and are again receiving<br />
exceptional notice from the Press. The author has<br />
just returned from a tour in Austria, where he has<br />
been completing his studies for the " Great For-<br />
gotten Englishman," upon whose life he lately<br />
published some articles in the Leisure Hour.<br />
The Quarterly Review has been cratostratizing<br />
again. Sir John Maundeville is now the victim of<br />
its inateh-box. With the aid of Colonel Yule and<br />
Mr. Warner it has reduced his claims to existence,<br />
to dust and ashes. One of the great trio of<br />
credible travellers has been banished into the<br />
shades of myth. We do not know how soon<br />
Herodotus and Marco Polo nmy follow his flight<br />
liefore the impartial light of modern history held<br />
aloft by Mr. Froude and Professor Freeman, and<br />
the trusty guidance of modern travel, supplied at<br />
first-elass prices by Mr. Stanley. Fortunately for<br />
Marco Polo, we l>elieve he has a friend at court.<br />
As for the Quarterly and Mr. Warner, we can<br />
only wish them the success which has crowned the<br />
efforts of their Ephesian antitype. Perhaps even<br />
they may be contented with a reputation no longer<br />
nor more brilliant than the fame of the whilom<br />
father of English prose.<br />
Dr. Momerie's lecture on the " Corruption of the<br />
Church," was given at Prince's Hall on the evening<br />
of May 25th. It was the most interesting theolo-<br />
gical event of the year. The Hall was well tilled<br />
in anticipation of the lecturer's skill in dealing with<br />
questions which have to do with advanced thought,<br />
already proved by the brilliant sermons delivered by<br />
him at the Foundling upon "Church and Creed"<br />
and "Inspiration." The lecture of the 20th was<br />
introductory, but it will be followed, should the<br />
public show interest in the subject, by others to<br />
illustrate the mischievous effects of Ecclesiasticism<br />
upon Art, Science, Literature, and Social Institu-<br />
tions. Dr. Momerie is ready in the future to give<br />
these lectures free to working men if they wish to<br />
hear him.<br />
Apropos to the alwve, it may interest some of<br />
our readers to hear that the June number of<br />
Messrs. Eglington & Co.'s popular "Men and<br />
Women of the Day" contains a portrait of<br />
Dr. Momerie by Barnaul, and a short biographical<br />
sketch.<br />
<br />
ON SOME CASES.<br />
EVERY case, on being sent in to the Society<br />
and read, is either dealt with at once by the<br />
Secretary, or, in case of any doubtful point<br />
arising out of the facts, the case is sent to the<br />
Society's solicitors for advice. The expense<br />
of obtaining such advice is, of course, the greatest<br />
charge upon the Society's income, but no part of<br />
it is expended to greater advantage or with better<br />
results. At a late meeting of the Committee, the<br />
following resume of recent work was laid before<br />
the Committee—it must be observed that the Com-<br />
mittee are not usually informed of the names<br />
concerned—never, if the author desires secrecy. In<br />
that case the Chairman and Secretary only know,<br />
or perhaps the Secretary alone.<br />
I.<br />
1. A.B., a young author, commissioned another,<br />
CD., to revise his work, find a publisher, and see<br />
it through the press in consideration of certain<br />
payments. A.B. refused to carry out the contract.<br />
CD. submitted the case to the Society. It was<br />
decided that the contract had not been fairly carried<br />
out, and that A.B. should not be called upon to<br />
pay.<br />
2. A.B. agreed with CD. (editor of a magazine)<br />
to write certain papers on certain terms. The<br />
proprietor, though pledged by his editor, refused to<br />
pay more than about two-thirds the price agreed.<br />
Result: Full payment.<br />
3. A.B. was to receive a certain payment by a<br />
certain date. She lived at a considerable distance<br />
from London, and had to conduct her business<br />
entirely by correspondence. She parted with her<br />
MS. on condition of receiving a certain sum at a<br />
certain date. When the time came she could get<br />
neither money nor any reply to her letters. She<br />
referred the case to the Society.<br />
Result: Payment in full.<br />
4. A.B. sent MS. to an editor who accepted it,<br />
and promised payment on publication. He left it<br />
with him for a year, when the editor returned it,<br />
stating that the magazine was coming to an end.<br />
Had he any right to compensation? Reply : None<br />
whatever. He should have taken his MS. out of<br />
the hands of the editor long before.<br />
<br />
<br />
## p. 30 (#434) #############################################<br />
<br />
3°<br />
THE AUTHOR.<br />
5. A.B. (author) v. CD. (publisher).<br />
The hook had been published for some time, but<br />
no accounts could be obtained. A writ was issued.<br />
The l»oks were audited, and the accounts cleared<br />
up.<br />
6. A.B. (author) v. CD. (publisher).<br />
Author was induced to pay in advance for the<br />
production of his book a sum of money repre-<br />
sented as half the actual cost. It was in reality<br />
about £i5 more than the whole sum actually<br />
expended. The Secretary demanded the return<br />
of the £i5 and all the copies. This was refused.<br />
A writ was issued.<br />
Result: Return of £i5 and all the copies.<br />
7. A.B. v. CD. (editor).<br />
A disputed claim. A.B. demanded £40. CD.<br />
denied the indebtedness.<br />
Result: CD. paid £20 in settlement.<br />
8. A publisher, on receiving a MS. sent it to be<br />
printed, and issued it without even consulting the<br />
author or submitting any agreement with him.<br />
Result: An agreement very much better for the<br />
author than would have been made but for the fact<br />
that the author was able to procure an injunction<br />
and bring an action.<br />
9. A.B. (author) v. CD.<br />
No accounts to be obtained by letter. Society's<br />
solicitor intervened.<br />
Result: Accounts rendered.<br />
10. Question submitted—<br />
In the case of a royalty system, has the publisher<br />
the right to give away books to his private friends<br />
(not for press puq>oses) without paying the<br />
royalty?<br />
Reply: Certainly not. All copies except those<br />
sent to press and those presented to author or any-<br />
one else by agreement must be regarded as sold.<br />
Here is the publisher's little account rendered<br />
to himself in the most favourable event, viz., the<br />
sale of all copies :—<br />
The sale of 2,000 copies at is. lod. produces<br />
£2 83 6s. Sd.<br />
Cost of production<br />
Less author's share<br />
Author's royalty<br />
Publisher's profit<br />
Author's return :—<br />
By royalties -<br />
Less share of expense<br />
Profit<br />
£<br />
s.<br />
d.<br />
160<br />
0<br />
0<br />
55<br />
0<br />
0<br />
io5<br />
0<br />
0<br />
62<br />
10<br />
0<br />
n5<br />
16<br />
8<br />
£2 83<br />
6<br />
8<br />
£<br />
«.<br />
d.<br />
■ 62<br />
10<br />
8<br />
- 55<br />
0<br />
0<br />
• £7<br />
10<br />
8<br />
So that the author by this beautiful arrangement<br />
stands to win, under the most favourable circum-<br />
stances, the enormous sum of £7 1 os. Sd., while the<br />
publisher stands to win £115 16*. Sd.<br />
Now woidd the author have signed the agree-<br />
ment had he been able to do this little sum?<br />
Another case. The publisher says: "I will<br />
give you a 10 per cent, royalty unless I sell the<br />
book for less than half price, and then I will give<br />
you 5 per cent."<br />
How does this work out? The book was of a kind<br />
sometimes sold for just over half price, and often<br />
sold for just under half price. The difference to<br />
the publisher might mean a few pence on each<br />
volume. To the author it made a difference of I*.<br />
In other words, by lowering the price a few pence<br />
so as to bring it under the half price, the publisher<br />
actually gained money." This the author did not<br />
know or he would not have signed the agreement.<br />
II.<br />
A certain worthy publisher -wrote as follows:<br />
"To print and produce 2,000 copies of your work<br />
will cost £140. If we add £20 for advertising,<br />
that makes £160. Give me £55 towards this initial<br />
expenditure and I will give you 12^ per cent, on<br />
the nominal price, 5s., for all copies sold." There<br />
was another clause about a decreased (!) royalty for<br />
copies over and above the 2,000, but let us be<br />
content with this.<br />
The author accepted the proposal.<br />
Needless to say that he did not work out the<br />
little sum in multiplication and addition which this<br />
proposal presented. Let us do so.<br />
The trade price of a 5.?, book is about 2*, lod.<br />
III.<br />
From the Law Reports. «<br />
On April 24th, in the Queen's Bench Divi-<br />
sion, before Mr. Justice Smith and Mr. Justice<br />
Grantham, judgment was delivered in the case<br />
of Maul and another v. Greenings. Mr. Justice<br />
Smith said it was a test action to ascertain<br />
the true construction of section 6 of the Inter-<br />
national Copyright Act of 1886. The county<br />
court judge of Brighton found for the defendant,<br />
and the -question to lie decided was whether a<br />
foreign composer of a piece of music, protected<br />
according to the law of the composer's country,<br />
but not protected iti the United Kingdom, could<br />
claim the protection afforded to foreign composers. *<br />
<br />
<br />
## p. 31 (#435) #############################################<br />
<br />
THE AUTHOR.<br />
3'<br />
by the International Copyright Act as against a<br />
bandmaster who had purchased the piece and<br />
performed it in public with his liand prior to<br />
December 1887, when the Act came into force.<br />
He came to the conclusion that although neither<br />
the publisher of the piece in the country nor the<br />
defendant had any "rights" under the section<br />
they had "interests," and, therefore, the learned<br />
county court judge was right in entering judgment<br />
for the defendant. The appeal must l)e dismissed<br />
with costs.—Mr. Justice Grantham concurred.—<br />
Appeal dismissed.<br />
■<br />
CORRESPONDENCE.<br />
I.<br />
IN the March numl)er of the Author, women<br />
writers are accused by "No Pay, No Pen " of<br />
cheapening the literary market. I wish to<br />
point out that it is often difficult to know what it<br />
the market price of one's wares. I write a<br />
good deal of verse. From one magazine I receive<br />
5*. a poem, from another firm 10*., from another<br />
magazine 15*., from yet another £1 is. I believe<br />
these all to l>e regular prices, which those particular<br />
editors and publishers would not alter to any con-<br />
tributor. But after receiving such different rates<br />
of pay, when a new employer asks me for my<br />
charge, is it not a little difficult to fix this? And<br />
perhaps from fear of losing the employment, one<br />
may fix the price too low rather than too high. I<br />
wish more uniform rates were paid.<br />
I like much the idea, in the April numlxr, of<br />
the register for translators, verifiers, &c. But<br />
could not fellow authors help each other some-<br />
times without paving for services? I should l>e<br />
glad (living in the country) of someone to look<br />
up points in the British Museum occasionally. In<br />
return I could do translations. Indeed, I would<br />
l>e quite willing (within due bounds) to help a<br />
fellow author without return of pay or help. And<br />
I think such services would promote a fraternal<br />
feeling in our Society. Why, in the proposed<br />
register, should not an asterisk be placed against<br />
certain names, which should signify, Willing to<br />
help a fellow mcml>er gratuitously?<br />
ROSSIGNOL.<br />
II.<br />
In the Author of March I made some remarks<br />
re Advertising. I wish to state that I had no<br />
intention of making any charge against the firm<br />
alluded to, and if what 1 said contained anything<br />
that might be supposed to do that, I hereby express<br />
my regret.<br />
My point was, that where advertisements appear<br />
is of great importance to authors. I had and have<br />
no animus in the matter. I am informed by the<br />
publishers that the amount charged to the book for<br />
advertising in the ]>aper supjwsed to lx> referred to<br />
was 5*. 3d., therefore I admit that my remarks, so<br />
far as that journal is concerned, are pointless, and<br />
I hereby withdraw them.<br />
Pachyderm.<br />
<br />
BOOKS FOR SALE.<br />
Oxberry's Flowers of Literature, 4 vols.<br />
Reflections upon the Politeness of Manners, &c.<br />
(1710).<br />
New Year's Gift. Alice Watts, 1829. Illus-<br />
trated by Cruikshank, &c.<br />
Acting Charades. Brothers Mayhew. Illustrated<br />
by Haine and Cruikshank.<br />
The Dangers of the Deep. Published by Orlando<br />
Hodgson.<br />
Australian Tales and Sketches.<br />
Beaumont and Fletcher. First complete edition.<br />
Address—H. G. W.<br />
♦■»■♦<br />
MACHINE-CUT BOOKS.<br />
IT is greatly to be wished that the practice, now<br />
very little observed, but slightly on the increase,<br />
of issuing machine-cut l>ooks will before long<br />
Income general. We have inquired carefully into<br />
this matter. The cost of machine cutting is<br />
infinitesimaUy small. Where we have lieen able to<br />
get the cost estimated, a shilling for every hundred<br />
copies is the highest amount we have heard named.<br />
The average time expended by amateurs on<br />
cutting by hand we believe to be 20 minutes per<br />
octavo volume of 1000 pages. If any of our<br />
readers (always excepting Mr. W. H. Smith's very<br />
expert boys) can accomplish the task of cutting<br />
more quickly, we shall be glad to hear from them.<br />
Moreover, very few amateurs can cut with pro]>er<br />
neatness, and efficient paper-cutters are often (as<br />
on a railway journey) not to be had by the reader.<br />
But stay! Perhaps the present foolish system is<br />
kept up for the benefit of those who do not like<br />
to have their lx>oks cut quickly for them by other<br />
people, but rather cut by themselves only with<br />
extreme slowness in order to lengthen out the<br />
process of reading. If we hare any such amongst<br />
our readers, we should like to hear from them.<br />
To reviewers the machine cutting would be an<br />
unmixed boon, for a reviewer never, or at least<br />
hardly ever, reviews a book which he has not first<br />
cut.<br />
<br />
<br />
## p. 32 (#436) #############################################<br />
<br />
32<br />
ADVERTISEMENTS.<br />
<br />
ELECTROTYPES OF ENGRAVINGS<br />
FOR SALE<br />
A THE attention of Authors, Publishers,<br />
and others is directed to the large<br />
and varied Collection of Engravings<br />
in the possession of Cassell and Com-<br />
pany, Limited, from which they offer<br />
Electros for Sale. The Collection<br />
embraces every class of subject--<br />
History, Topography, Natural History, Scientific,<br />
Figure Subjects, &c., &c. produced by the best Artists<br />
and Engravers.<br />
Call and examine this Collection, or apply for<br />
specimens, giving íull particulars of the subjects and<br />
sizes required to-<br />
CASSELL & COMPANY, LIMITED,<br />
LA BELLE SAUVAGE, LUDGATE HILL, E.C.<br />
All applications relating to Advertisements in this<br />
Journal should be addressed to the Printers and<br />
Publishers,<br />
EYRE & SPOTTISWOODE,<br />
East Harding Street, Fetter Lane, London, E.C.<br />
LONDON: Printed by EYRE and SrottiSWOODE, Printers to the Queen's most Excellent Majesty. | https://historysoa.com/files/original/5/252/1891-06-01-The-Author-2-1.pdf | publications, The Author |