450 | https://historysoa.com/items/show/450 | The Author, Vol. 03 Issue 12 (May 1893) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+12+%28May+1893%29"><em>The Author</em>, Vol. 03 Issue 12 (May 1893)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1893-05-01-The-Author-3-12 | | | | | 425–464 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-05-01">1893-05-01</a> | | | | | | | 12 | | | 18930501 | Che<br />
<br />
Fluthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
Vou. III.—No. 12.]<br />
<br />
Agreements<br />
<br />
Warnings ves ee<br />
How to Use the Society<br />
The Authors’ Syndicate<br />
Notices... oe cs<br />
Literary Property—<br />
<br />
MAY 1, 1893.<br />
<br />
[PRICE SIXPENCE.<br />
<br />
CONTENTS.<br />
<br />
PAGE. PAGE<br />
wee 427 Libraries—New and Old... ak os os ce eee .-. 444<br />
we 427 An Author's Experiences ... ec oe ae aes ae .. 446<br />
--» 428 Correspondence—<br />
<br />
. 428 1.—New Writers Re ee eae se ou is .. 449<br />
. 429 : Attack and Defence Sey en Se See Me ae 450<br />
<br />
<br />
<br />
3.—A Coincidence ca oe Ge a is nay wee 450<br />
4.—Prompt Payment<br />
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1<br />
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1.—Magazines and Copyright : ee ae<br />
2.—On Stamping Agreements 5.—Value of Criticism to Beginners : see a 3 451<br />
3.—The Right of Translation 6.—How to Help Young Writers... es ie te ae<br />
<br />
4.—Half Price and Half Royalty 7.—Dreams a ee ge fe 451<br />
<br />
5.—A Fair Agreement ... From the Fapers—<br />
<br />
6—Titles. =... ae ee 1.—Literature at the Chicago Exhibition. From the Chicago<br />
The Cost of Production aes can ee ox Dial and the New York Critic oe ee Se are sce 452 i<br />
Omnium Gatherum for May. By J. M. Lély ... 2.—The Rolled MS. From the New York Critic a i AOS |<br />
The Royal Literary Fund Dinner wa 3.—An American Paternoster Row... as cy oe 488 ie<br />
‘The Theft.” By F. B. Doveton... 4.—Dedications ... ote gis ise See ee ae 5. 454<br />
Notes and News. By the Editor... sea oe 5.—Filing Copyright ... ao aS oes aes ae ... 454<br />
+ Augustine.” By the Rev. Canon Bell, D.D.... he pea ae 6.—The Current Adjective... ous Ne a ea a abs<br />
Feuilleton.—The People of the Pages .By the Countess Galletti... 7.—Alas! Poor Yorick! a <n ae os See se D8<br />
Goodbye to April. By Lewis Brockman fe ae Ga “ At the Sign of the Author's Head” ... cae ea ee = 4b5<br />
Psychological Sentiments ... ane ies ee The Book Exchange... ul ous oie xe a ie on SBT<br />
Reminiscences of Taine. By Winifrede Wyse | New Books and New Editions Bs ne ae ae oe -.. 468<br />
<br />
PUBLICATIONS OF THE SOCIETY.<br />
a<br />
<br />
1. The Annual Report. That for January 1892 can be had on application to the Secretary. tH<br />
<br />
9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members.<br />
<br />
3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br />
the general subject of ‘Literature and its defence, held at Willis’s Rooms, March, 1887.<br />
<br />
4 Literature and the Pension List. By W. Morris CoLLes, Barrister-at-Law. (Henry Glaisher,<br />
gs, Strand, W.C.) 3s.<br />
<br />
5. The History of the Sociéte des Gens de Lettres.<br />
the Society. 1s.<br />
<br />
6. The Cost of Production. In this work specimens are given of the most important forms of type,<br />
size of page, &c., with estimates showing what it costs to produce the more common kinds of<br />
<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
7. The Various Methods of Publication. By S. Squire Spriace. In this work, compiled from the<br />
<br />
pepers in the Society’s offices, the various forms of agreements proposed by Publishers to MI<br />
<br />
Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 35.<br />
<br />
: Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
ment. With Extracts from the Report of the Commission of 1878, and an Appendix i<br />
<br />
| containing the Berne Convention and the American Copyright Bill. By J. M. Levy. Hyre a<br />
<br />
i and Spottiswoode. Is. 6d. '<br />
<br />
By S§. Squire SpriageE, late Secretary to<br />
<br />
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o<br />
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a ad<br />
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426 ADVERTISEMENTS.<br />
<br />
<br />
<br />
<br />
<br />
The Society of Authors (Sncorporated),<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
GHEORGHE MEREDITEH.<br />
<br />
COUNCIL.<br />
<br />
Str Epwin Arno, K.C.LE., C.S.I.<br />
ALFRED AUSTIN.<br />
<br />
J. M. Barris.<br />
<br />
A. W. A Broxerv.<br />
<br />
Rogert Bateman.<br />
<br />
Sir Henry Berenz, K.C.M.G.<br />
WALTER BEsAnrt.<br />
<br />
AUGUSTINE BIRRELL, M.P.<br />
<br />
R. D. BLackmoreE.<br />
<br />
Rev. Pror. Bonney, F.B.S.<br />
Lord BRABOURNE.<br />
<br />
James Bryce, M.P.<br />
<br />
Haut Carne.<br />
<br />
P. W. CLaypen.<br />
<br />
Epwakp CLopp.<br />
<br />
W. Morris Couugs.<br />
<br />
Hon. JoHn Courier.<br />
<br />
W. Martin Conway.<br />
<br />
F. Marion CRAWFORD.<br />
<br />
Austin Dogson.<br />
A. W. Dusoura.<br />
<br />
Epmunp Gossz.<br />
<br />
THomas Harpy.<br />
<br />
J. M. Leny.<br />
<br />
<br />
<br />
OswaLp CRAWFURD, C.M.G.<br />
Tue Earu or Desart.<br />
<br />
J. Eric Ericusen, F.R.S.<br />
Pror. MicHaEL Foster, F.R.S.<br />
HERBERT GARDNER, M.-P.<br />
RicHarp Garnett, LL.D.<br />
<br />
H. Riper Haaaarp.<br />
<br />
JERomE K. Jerome.<br />
Rupyarp Kiprina.<br />
Pror. E. Ray Lanxester, F.R.S.<br />
<br />
Rey. W. J. Lorri, F.S.A.<br />
<br />
Pror. J. M. D. Mrrxugsoun.<br />
Herman C. MEeRIvane.<br />
<br />
Rev. C. H. Mippteton-Waxe F.L.S.<br />
<br />
Lewis Morris.<br />
<br />
Pror. Max Miuuer.<br />
<br />
J. C. ParKInsoNn.<br />
<br />
THE Ear. or PEMBROKE AND Mont-<br />
GOMERY.<br />
<br />
Srz FREDERICK Pottock, Bart., LL.D.<br />
<br />
WALTER Herrizs Pouuock.<br />
<br />
A. G. Ross.<br />
<br />
GEoRGE AuGusTus SALA.<br />
<br />
W. Bapriste Scoonsgs.<br />
<br />
G. R. Sums.<br />
<br />
S. Squrre Spriaar.<br />
<br />
J. J. STEVENSON.<br />
<br />
Jas. SULLY.<br />
<br />
Wiui1am Moy Tuomas.<br />
<br />
H. D. Trarut, D.C.L.<br />
<br />
Baron HENRY DE Worms, M.P.,<br />
E.R.S.<br />
<br />
Epmunp Yates.<br />
<br />
<br />
<br />
Hon. Cownsel—K. M. UnpERpown, Q.C.<br />
Solicitors—Messrs Frenp, Roscor, and Co., Lincoln’s Inn Fields.<br />
Secretary—C. HeRBERT Turina, B.A.<br />
<br />
OFFICES.<br />
<br />
4, Portugat Street, Lincoun’s Inn Freips, W.C.<br />
<br />
Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br />
<br />
AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br />
<br />
From the Earliest Periods to the Present Time.<br />
WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY<br />
<br />
CoMPILED FRoM AUTHENTIC SOURCES BY<br />
<br />
GHORGEH HRNRY JRNNiNnGs<br />
CONTENTS.<br />
<br />
Part I.—Rise and Progress of Parliamentary Institutions.<br />
<br />
Part II.—Personal Anecdotes: Sir Thomas More to John<br />
Morley.<br />
<br />
Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br />
elnsion of Strangers; Publication of Debates.<br />
3. Parliamentary Usages, &c. 4. Varieties.<br />
<br />
APpPENDIXx.—(A) Lists of the Parliaments of England and<br />
of the United Kingdom.<br />
(B) Speakers of the House of Commons.<br />
(C) Prime Ministers, Lord Chancellors, and<br />
Secretaries of State from 1715 to<br />
- 1892.<br />
<br />
<br />
<br />
Opinions of the Press of the Present Edition.<br />
<br />
‘“‘ The work, which has long been held in high repute as a repertory<br />
of good things, is more than ever rich in doth instruction and amuse-<br />
ment. ”—Scotsman.<br />
<br />
‘It is a treasury of useful fact and amusing anecdote, and in its<br />
latest form should have increased popularity.”"—Globe.<br />
<br />
who may have occasion to assist as Speakers during the electoral<br />
vempaign, is incumparable.”—Sala’s Journal,<br />
<br />
“Tt is a work that possesses both a practical and an historica<br />
<br />
| value. and is altogether unique in character.”—Kentish Observer.<br />
<br />
‘* We can heartily recommend this work to the politician, whatever<br />
may be his party leanings.”—Northern Echo. =o<br />
‘‘Here we have the whole company of Parliamentary celebrities,<br />
<br />
| past and present, reduced to puppets, so to speak, and made to<br />
‘Its advantage to those who are seeking seats in Parliament, or |<br />
<br />
repeat their best and most approved rhetorical performances for our<br />
<br />
| leisurely entertainment, which is not less enjoyable from being allied<br />
| with edifleation.”—Ziverpool Courier.<br />
<br />
<br />
<br />
"2 Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br />
<br />
<br />
<br />
<br />
<br />
ecm<br />
<br />
a<br />
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<br />
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<br />
<br />
<br />
<br />
<br />
The Huthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. IT1.—No. 12.]<br />
<br />
MAY 1, 1893.<br />
<br />
[PRricz SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or parda-<br />
graphs must be taken as expressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, sec.<br />
<br />
<br />
<br />
notice that all remittances are acknow-<br />
<br />
ledged by return of post, and requests<br />
that all members not receiving an answer to<br />
important communications within two days will<br />
write to him without delay. All remittances<br />
should be crossed Union Bank of London,<br />
Chancery-lane, or be sent by registered letter<br />
only.<br />
<br />
é Secretary of the Society begs to give<br />
<br />
<br />
<br />
ee<br />
<br />
AGREEMENTS.<br />
<br />
<br />
<br />
<br />
<br />
as the vendor, has the absolute right of<br />
<br />
drafting the agreement upon whatever<br />
terms the transaction is to be carried out.<br />
Authors are strongly advised to stipulate for that<br />
right, and to exercise it. In every other form of<br />
business, the right of drawing the agreement<br />
rests with him who sells, leases, or has the ¢ ntrol<br />
in the property. Landowners draw the convey-<br />
ance upon a sale of their property. Landlords<br />
draw the lease when they let a house.<br />
<br />
7 is not generally understood that the author,<br />
<br />
<br />
<br />
<br />
<br />
os<br />
<br />
WARNINGS.<br />
<br />
ie: of the Author and members of<br />
the Society are earnestly desired to make<br />
the following warnings as widely known<br />
<br />
as possible. They are based on the experience<br />
<br />
of eight years’ work by which the dangers to<br />
VOL. III.<br />
<br />
<br />
<br />
which literary property is especially exposed have<br />
been discovered :—<br />
<br />
1. Serra, Rieuts.—In selling Serial Rights<br />
stipulate that you are selling the Serial Right for<br />
one paper at a certain time, a simultaneous Serial<br />
Right only, otherwise you may find your work<br />
serialized for years, to the detriment of your<br />
volume form.<br />
<br />
2. Stamp your AGREEmMENTS.—Readers are<br />
most URGENTLY warned not to neglect stamping<br />
their agreements immediately after signature. If<br />
this precaution is neglected for two weeks, a fine of<br />
£10 must be paid before the agreement can be used<br />
asa legal document. In almost every case brought<br />
to the secretary the agreement, or the letter which<br />
serves for one, is forwarded without the stamp.<br />
The author may be assured that the other party<br />
to the agreement never neglects this simple pre-<br />
caution. The stamp duty varies from 6d. up to<br />
Ios. or more, according to the form of agreement.<br />
The Society, to save trouble, undertakes to get<br />
all the agreements of members stamped for them<br />
at no expense to themselves except the cost of the<br />
stamp.<br />
<br />
3. ASCERTAIN WHAT A PROPOSED AGREEMENT<br />
GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br />
Remember that an arrangement as to a joint<br />
venture in any other kind of business whatever<br />
would be instantly refused should either party<br />
refuse to show the books or to let it be known<br />
what share he reserved for himself.<br />
<br />
4. Lirerary Acents.—Be very careful. You<br />
cannot be too careful as to the person whom you<br />
appoint as your agent. Remember that you place<br />
your property almost unreservedly in his hands.<br />
Your only safety is in consulting the Socicty, or<br />
some friend who has had personal experience of<br />
the agent. Do not trust advertisements alone.<br />
<br />
<br />
<br />
5. Cost OF Propucrion.—Never sign any<br />
agreement of which the alleged cost of pro-<br />
duction forms an integral part, until you have<br />
proved the figures.<br />
<br />
KK 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
428<br />
<br />
<br />
<br />
6. Cuorcr oF PuBLisuERs.—Never enter into<br />
any correspondence with publishers, especially<br />
with those who advertise for MSS., who are<br />
not recommended by experienced friends or by this<br />
Society.<br />
<br />
7. Futur—E Worx.—Never, on any account<br />
whatever, bind yourself down for future work<br />
to anyone.<br />
<br />
8. Royaury.—Never accept any proposal of<br />
royalty until you have ascertained what the<br />
agreement, worked out on both a small and a<br />
large sale, will give to the author and what to the<br />
publisher.<br />
<br />
g. Personat Risx.—Never accept any pecu-<br />
niary risk or responsibility whatever without<br />
advice.<br />
<br />
10. Resectep MSS.—Never, when a MS. has<br />
been refused by respectable houses, pay others,<br />
whatever promises they may put forward, for the<br />
production of the work.<br />
<br />
11. American Ricurs.— Never sign away<br />
American rights. Keep them by special clause.<br />
Refuse to sign any agreement containing a clause<br />
which reserves them for the publisher, unless for<br />
a substantial consideration. If the publisher<br />
insists, take away the MS. and offer it to<br />
another.<br />
<br />
12. Cession or Copyrieur.—Never sign any<br />
paper, either agreement or receipt, which gives<br />
away copyright, without advice.<br />
<br />
13. ADVERTISEMENTS.—Keep control over the<br />
advertisements, if they affect your returns, by a<br />
clause in the agreement. Reserve a veto. If you<br />
are yourself ignorant of the subject, make the<br />
Society your adviser.<br />
<br />
14. Never forget that publishing is a business,<br />
like any other business, totally unconnected with<br />
philanthropy, charity, or pure love of literature.<br />
You have to do with business men. Be yourself a<br />
business man.<br />
<br />
Society’s Offices :—<br />
4, Portuean Street, Lincotn’s Inn Freips.<br />
<br />
OO<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
<br />
<br />
1. Every member has a right to advice upon<br />
his agreements, his choice of a publisher, or any<br />
dispute arising in the conduct of his business or<br />
the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the<br />
<br />
THE AUTHOR.<br />
<br />
Society’s solicitors. If the case is such that<br />
Counsel’s opinion is desirable, the Committee will<br />
obtain for him Counsel’s opinion. All this with-<br />
out any cost to the member.<br />
<br />
z. Remember that questions connected with<br />
copyright and publishers’ agreements do not<br />
generally fall within the experience of ordinary<br />
solicitors. Therefore, do not scruple to use the<br />
Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
<br />
3. Send to the office copies of past agreements<br />
and past accounts with the loan of the books repre-<br />
sented. This is in order to ascertain what has<br />
been the nature of your agreements and the<br />
results to author and publisher respectively so<br />
far. The secretary will always be glad to have .<br />
any agreements, new or old, for inspection and<br />
note. The information thus obtained may prove<br />
invaluable.<br />
<br />
4. If the examination of your previous business<br />
transactions by the Secretary proves unfavour-<br />
able, you should take advice as toa change of<br />
publishers.<br />
<br />
5. Before signing any agreement whatever,<br />
send the proposed document to the Society for<br />
examination.<br />
<br />
6. The Society is acquainted with the methods,<br />
and—in the case of fraudulent houses—the tricks,<br />
of every publishing firm in the country.<br />
Remember that there are certain houses which live<br />
entirely by trickery.<br />
<br />
7. Remember always that in belonging to the<br />
Society you are fighting the battles of other<br />
writers, even if you are reaping no benefit to<br />
yourself, and that you are advancing the best<br />
interests of literature in promoting the inde-<br />
pendence of the writer.<br />
<br />
8. Send to the Editor of the Author notes of<br />
everything important to literature that you may<br />
hear or meet with.<br />
<br />
oc<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
SPECIAL report of the Authors’ Syndi-<br />
<br />
cate has been prepared and issued to<br />
<br />
those members of the Society for whom<br />
the Syndicate has transacted business.<br />
<br />
Members are informed:<br />
<br />
1. That the Authors’ Syndicate takes charge of<br />
the business of members of the Society. With,<br />
<br />
when necessary, the assistance of the legal advisers<br />
of the Society, it concludes agreements, collects<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 429<br />
<br />
royalties, examines and passes accounts, and<br />
generally relieves members of the trouble of<br />
managing business details.<br />
<br />
2. That the expenses of the Authors’ Syndi-<br />
cate are defrayed entirely out of the commission<br />
charged on rights placed through its intervention.<br />
This charge is reduced to the lowest possible<br />
amount compatible with efficiency. Meanwhile<br />
members will please accept this intimation that<br />
they are not entitled to the services of the Syndi-<br />
cate gratis, a misapprehension which appears to<br />
widely exist.<br />
<br />
3. That the Authors’ Syndicate works for none<br />
but those members of the Society whose work<br />
possesses a market value.<br />
<br />
4. That the business of the Syndicate is not to<br />
advise members of the Society, but to manage<br />
their affairs for them.<br />
<br />
5. That the Syndicate can only undertake<br />
arrangements of any character on the distinct<br />
understanding that those arrangements are placed<br />
exclusively in its hands, and that all negotiations<br />
relating thereto are referred to it.<br />
<br />
6. That clients can only be seen personally by<br />
appointment, and that, when possible, at least<br />
four days’ notice should be given. The work of<br />
the Syndicate is now so heavy, that only a limited<br />
number of interviews can be arranged.<br />
<br />
7. That every attempt is made to deal with the<br />
correspondence promptly, but that owing to the<br />
enormous number of letters received, some delay<br />
is inevitable. That stamps should, in all cases,<br />
be sent to defray postage.<br />
<br />
8. That the Authors’ Syndicate does not invite<br />
MSS. without previous correspondence, and does<br />
not hold itself responsible for MSS. forwarded<br />
without notice.<br />
<br />
There is an Honorary Advisory Committee,<br />
whose services will be called upon in any case of<br />
dispute or difficulty. It is perhaps necessary to<br />
state that the members of the Advisory<br />
Committee have no pecuniary interest whatever<br />
in the Syndicate.<br />
<br />
De<br />
<br />
<br />
<br />
NOTICES.<br />
<br />
<br />
<br />
HE Editor of the Author begs to remind<br />
members of the society that, although the<br />
paper is sent to them free of charge, the<br />
<br />
cost of producing it would be a very heavy<br />
charge on the resources of the society if a great<br />
many members did not forward to the secretary<br />
the modest 6s. 6d. subscription for the year.<br />
<br />
The Editor is always glad to receive short<br />
papers and communications on all subjects con-<br />
nected with literature from members and others.<br />
Nothing can do more good to the society than<br />
to make the Author complete, attractive, and<br />
interesting. Will those who are willing to nid<br />
in this work send their names and the special<br />
subjects on which they are willing to write ?<br />
<br />
Communications for the Author should reach<br />
the editor not later than the 21st of each month.<br />
<br />
All persons engaged in literary work of any<br />
kind, whether members of the Society or not,<br />
are invited to communicate to the Editor any<br />
points connected with their work which it would<br />
be advisable in the general interest to publish.<br />
<br />
Members and others who wish their MSS. read<br />
are requested not to send them to the Office with-<br />
out previously communicating with the Secretary.<br />
The utmost practicable despatch is aimed at, and<br />
MSS. are read in the order in which they are<br />
received. It must also be distinctly understood<br />
that the Society does not, under any circum-<br />
stances, undertake the publication of MSS.<br />
<br />
The Authors’ Club is now opened in its new<br />
premises, at 3, Whitehall-court, Charing Cross.<br />
‘Address the Secretary for information, rules of<br />
admission, &c.<br />
<br />
Will members take the trouble to ascertain<br />
whether they have paid their subscriptions for<br />
the year? If they will do this, and remit the<br />
amount, if still unpaid, or a banker’s order, it will<br />
greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
<br />
Members are most earnestly entreated to attend<br />
to the warning numbered (3). It is a most foolish<br />
and a most disastrous thing to bind yourself to<br />
anyone for a term of years. Let them ask them-<br />
selves if they would give a solicitor the collection<br />
of their rents for five years to come, whatever<br />
his conduct, whether he was honest or dishonest ?<br />
Of course they would not. Why then hesitate<br />
for a moment when they are asked to sign<br />
themselves into literary bondage for three or five<br />
years ?<br />
<br />
Those who possess the “Cost of Production”<br />
are requested to note that the cost of binding has<br />
advanced 15 per cent. This means, for those who<br />
do not like the trouble of ‘doing sums,” the<br />
addition of three shillings in the pound on this<br />
head. In other words, if the cost of binding is<br />
set down in our book at eight pounds, to this must<br />
now be added twenty-four shillings more, so that<br />
it now stands at £9 4s. The figures in our book<br />
<br />
are as near the exact truth as can be procured :<br />
but a printer’s, or a binder’s, bill is so elastic a<br />
thing that nothing more exact can be arrived at.<br />
<br />
<br />
<br />
<br />
430<br />
<br />
Some remarks have been made upon the amvunt<br />
charged in the “Cost of Production” for<br />
advertising. Ofcourse, we have not included any<br />
sums which may be charged for inserting adver-<br />
tisements in the publisher’s own magazines, or in<br />
other magazines by exchange. As agreements<br />
too often go, there is nothing to prevent the<br />
publisher from sweeping the whole profits of a<br />
book into his own pocket, by inserting any<br />
number of advertisements in his own magazines,<br />
and by exchanging with others. Some there are<br />
who call this a form of fraud: it is not known<br />
what those who practise this method of swelling<br />
their own profits call it.<br />
<br />
— ee<br />
<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
I.<br />
MaGaZINES AND COPYRIGHT.<br />
<br />
AM pleased that my letter, signed ‘ P.,”<br />
inserted in December, has been thought of<br />
sufficient interest and importance to call<br />
<br />
forth valuable remarks in every subsequent num-<br />
ber, and I may now try to sum up the knowledge<br />
we have gained thereby.<br />
<br />
The essence of the provision in the Act is as<br />
follows :—<br />
<br />
When any proprietor shall employ any person to compose<br />
articles on the terms that the copyright therein shall belong<br />
to such proprietor, and such articles shall be paid for by<br />
such proprietor, the copyright shall be the property of<br />
such proprietor.<br />
<br />
Here, as Mr. Harold Hardy (p. 313) points<br />
out, in order that the proprietor shall be entitled<br />
to the copyright, three conditions must be<br />
fulfilled :—<br />
<br />
(1) Employment.—The writer must have been employed<br />
to write the article.<br />
<br />
(2) Terms.—The article must be written on the terms<br />
that the copyright therein shall belong to the proprietor.<br />
<br />
(3) Payment.—The writer of the article must be paid for<br />
it by the proprietor.<br />
<br />
Now let us put a few cases to see how this will<br />
work,<br />
<br />
A.—Suppose I write an article according to my<br />
own fancy, and send it to a magazine. It is<br />
inserted and paid for, but nothing is said about<br />
copyright by either party.<br />
<br />
There clearly the conditions 1 and 2 are absent,<br />
and the copyright, by the general Act, should be<br />
wholly mine.<br />
<br />
Mr. Armstrong (p. 277) mentions an obiter<br />
dictum of the Vice-Chancellor to this effect, that<br />
“the payment is evidence of a thing at least<br />
tantamount to the employment,” but this cannot<br />
<br />
THE AUTHOR.<br />
<br />
reasonably apply here, as the Act is so very<br />
explicit in requiring not only payment, but<br />
distinct and positive employment under specified<br />
terms.<br />
<br />
B.—But suppose the proprietor or editor of a<br />
cyclopedia or review sequests me to write an<br />
article for him on a given subject; this is after-<br />
wards paid for, but still nothing has been said<br />
about copyright.<br />
<br />
Here we have distinct employment, and there-<br />
fore conditions 1 and 3 are fulfilled. But how<br />
about condition 2? By the hypothesis it is<br />
assumed to be wanting, but it may be argued<br />
that my acceptance of the duty involves my con-<br />
forming to the usual practice of the periodical,<br />
which may be to retain the copyrights. And<br />
here, I fancy, the case of Sweet v. Benning, cited<br />
by Mr. Hardy and Mr. Charteris, might come in,<br />
it being held that an express contract was not<br />
necessary, if the “terms” might primd facie be<br />
implied.<br />
<br />
It would seem, therefore, that here the owner-<br />
ship of the copyright may depend on the special<br />
circumstances of the case.<br />
<br />
C.—Finally, suppose that in the first instance<br />
I write to the editor, and ask him if he would<br />
like me to send him an article on a subject<br />
named? He answers me in the affirmative, and<br />
the article is sent, inserted, and paid for.<br />
<br />
Does this constitute “ employment?” I should<br />
think not; for the position of the author is<br />
essentially different. In case B., he is a servant,<br />
paid for his work ; here he is a volunteer, and his<br />
work may be thrown away by the rejection of what<br />
he sends.<br />
<br />
All these three cases are of frequent occur-<br />
rence—in A. and C., the author's ownership<br />
seems clear, in B. it may be uncertain.<br />
<br />
There is, I believe, a common impression that<br />
the copyright in magazine articles belongs jointly<br />
to the proprietor and the author, and, as“ J.”<br />
has said, it is frequently assumed, as a matter of<br />
courtesy, that both parties should concur in<br />
allowing a reprint. But such an impression can-<br />
not over-ride the Act of Parliament, when the<br />
latter clearly gives the property to the author.<br />
<br />
It is also worthy of notice that, even when the<br />
copyright rests with the proprietor, he cannot<br />
publish the article separately without the<br />
author’s consent; and after twenty-eight years<br />
the full right of such separate publication<br />
“reverts”? to the author. So that, unless the full<br />
copyright is specially transterred, an important<br />
control by him over the publication is always<br />
maintained.<br />
<br />
Witiiam Pote.<br />
<br />
Atheneum Club.<br />
<br />
April 17, 1893.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 431<br />
<br />
EL<br />
On Srampinec AGREEMENTS.<br />
<br />
Readers are constantly warned, in _ these<br />
columns, not to neglect the stamping of their<br />
agreements. An ordinary agreement, under hand,<br />
for the publication of a book is liable to the duty<br />
of 6d. If the contract is im duplicate, one part<br />
to be held by the publisher, the other by the<br />
author, both must be stamped with 6d. Ifa 6d.<br />
adhesive stamp—the ordinary 6d. postage stamp<br />
—is used, it should be affixed to the document<br />
before signing, and the signature written across it,<br />
and the date, say 1-4-93, should also be written on<br />
<br />
the stamp, thus:<br />
|<br />
<br />
J 3. Jone's.<br />
1-4-93<br />
<br />
You will then have complied with the strict<br />
requirements of the law as to stamping and can-<br />
cellation of the stamp. Remember that it is useless<br />
to stick a 6d. adhesive stamp on to the agreement<br />
after it has been signed by the party who first<br />
signs it; the law requires that the adhesive<br />
stamp shall be cancelled by the person who first<br />
executes the agreement.<br />
<br />
If the contract is contained in a_ series of<br />
letters, a stamp on any one of them will suffice ;<br />
but it will be most convenient to stamp the letter<br />
from the publisher containing the acceptance of<br />
terms, and in that case the stamp should be a 6d.<br />
impressed stamp, obtainable at Somerset House<br />
within fourteen days from the date of the letter.<br />
<br />
If the agreement inter partes has been signed<br />
without a stamp, take your part to Somerset<br />
House (No. 25, Inland Revenue), or send it to<br />
the Comptroller of Stamps and Stores, with six-<br />
pence in stamps, and a request to get it stamped,<br />
so that it may be stamped with an impressive 6d.<br />
stamp within fourteen days from the date ; the<br />
actual date not counting as one of the fourteen<br />
days. But Sundays and holidays count, @.e., if<br />
the fourteenth day falls on a Sunday, you will be<br />
“out of time’? onthe Monday.<br />
<br />
The maximum penalty for stamping an agree-<br />
ment under hand after the fourteen days is £10.<br />
But the authorities usually mitigate this consi-<br />
derably, unless stamping 1s sought in contempla-<br />
tion of legal proceedings, or in the course of pro-<br />
ceedings already commenced. If the document<br />
is produced unstamped in court you will have to<br />
pay £11 os. 6d. (£10 penalty, & fee, 6d. duty)<br />
before it can be used in evidence. Anagreement<br />
of this kind under seal, which is rare, is liable to<br />
a duty of at least 10s. as a “deed” at least, and<br />
may be liable to further duty according to its terms.<br />
<br />
The time for stamping a deed is thirty days from<br />
date of first execution. Other remarks apply.<br />
<br />
——<br />
<br />
EL<br />
Tur Riegut oF TRANSLATION.<br />
<br />
Under Article V. of the Berne Convention, it<br />
is provided that an author shall have the exclu-<br />
sive right of translation until the expiration of<br />
ten years from publication of the original work ;<br />
but when we turn to the International Copyright<br />
Act, 1886, we find it provided (clause 5 (1) ) that<br />
he shall have the same right of preventing un-<br />
authorised translations which he has of prevent-<br />
ing piracy of the original work. The only lmi-<br />
tation I can find is that, in the next sub-division<br />
of the clause, it is provided that, if after ten<br />
years no authorised translation has been produced,<br />
the author's right to forbid unauthorised trans-<br />
lations shall cease.<br />
<br />
In other words, the author’s right in respect of<br />
translation appears, by the Berne Convention, to<br />
be absolute for ten years; whereas by the Inter-<br />
national Copyright Act it seems to be extended<br />
to the full term of literary copyright on the sole<br />
condition that an authorised translation shall be<br />
published within ten years.<br />
<br />
T observe that the Order in Council (Nov. 28,<br />
1887), by which Great Britain was made a party<br />
to the Berne Convention, provides (sect. 8), that<br />
this order shall be construed as if it formed part<br />
of the International Copyright Act, 1886.<br />
<br />
I should be glad if someone more learned in<br />
these matters would explain to me how these<br />
different provisions can be reconciled. F. T.<br />
<br />
<br />
<br />
TY.<br />
Tur “Har Price” CLavse.<br />
<br />
We have spoken already of a certain “ half<br />
price ”’ clause, and what it means. As our obser-<br />
vations were not quite understood, the following<br />
figures will help to explain. The clause, in sub-<br />
stance, though the wording is sometimes different,<br />
runs as follows: ‘ But if the publisher thinks fit<br />
to sell the book under half the advertised price<br />
the above royalty of so much per cent. shall be<br />
reduced by one half.”<br />
<br />
This seems plausible. The author ignorantly<br />
thinks that if the publisher halves his price the<br />
royalty ought also in justice to be halved, so he<br />
signs.<br />
<br />
Let us illustrate the clause by taking a two-<br />
volume novel, nominally 21s. price, subject to a<br />
royalty of 15 per cent. It is really sold at about<br />
irs. to the libraries (sometimes for less), t.€., S1X-<br />
pence over half price. It costs about 4s. a copy<br />
for an edition of 500.<br />
<br />
os<br />
<br />
<br />
<br />
<br />
432<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
If the bovk is sold at its. the case stands<br />
thus : s. d.<br />
Author gets for each copy sold... 3 «14<br />
Publisher gets’<br />
Less cost Se<br />
Author ... 3 414 7 14<br />
oe 77 3 105<br />
But if he sells at 1os., which is just under half<br />
price. s. dd.<br />
The author gets only per copy... I 625<br />
Publisher... 4, 4, 10 6<br />
Less cost re<br />
Author ... ro 68.<br />
5 8%<br />
4 570<br />
<br />
So that it is to the publisher’s interest, by<br />
6%d., per volume to sell at ros. rather than rts.<br />
That is to say he pockets close upon 7d. a copy<br />
more by the second arrangement than by the<br />
first. This was pointed out to a certain publisher<br />
in a certain case. He explained that he did not<br />
know that such would be the result.<br />
<br />
<br />
<br />
V.<br />
A Farr AGREEMENT.<br />
<br />
A pleasing agreement has been brought to light<br />
in which the author agreed to cede the whole of his<br />
rights ina book, whatever they should prove to<br />
be, not for half profits, or for two-thirds profits ;<br />
not for a royalty of 20 per cent., or 25 per cent.<br />
on the advertised price, but for 124 per cent. on the<br />
amount realised by the sale of the work. To<br />
make it look pretty it was called a “ royalty ”—a<br />
royalty of 124 per cent. on the amount realised<br />
by the sale of the work. Suppose, to put this<br />
neat little job into figures, the whole edition of<br />
1000 copies of a book under such an agreement<br />
—taking, as usual, a 6s. book—had gone off, the<br />
net proceeds would have been £175. (See “ Cost<br />
of Production.”) The author’s share would have<br />
been £23. The publisher’s profit would have<br />
been £52. Suppose another edition of 3000<br />
copies had gone, the proceeds would have been<br />
£575. The author’s share would have been<br />
£72. The profits would be £355, and the pub-<br />
lisher’s share £283. Now this is no invention of<br />
something that might have happened. It is an<br />
agreement actually drawn up and signed.<br />
<br />
<br />
<br />
VI.<br />
TITLEs.<br />
<br />
Such a newspaper title as The Journal is<br />
of so general a class as scarcely to afford pro-<br />
mise of a leading case, if dispute arose. How-<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
ever, the company which has since July, 1892,<br />
run the large Paris daily sheet called Le Journal<br />
has recently had to defend an action brought (for<br />
£2000 damages and a penalty of £8 a day) by<br />
one Gregori, who on Feb, 4th, 1886, had regis-<br />
tered the title, and who, between then and April,<br />
1892, had published at irregular dates five<br />
numbers of his paper. Then, when the other<br />
Journal was announced, he made a spurt with a<br />
few more numbers.<br />
<br />
The Commercial Court has now decided that<br />
Gregori’s publication was neither daily, weekly,<br />
monthly, nor in any sense periodical; ani,<br />
further, that the mere registration of a title (in<br />
this dog-in-the-manger fashion, as one might say)<br />
without giving practical and current effect and<br />
consequence to the act, does not in equity confer<br />
an exclusive right to the title. And so Gregori<br />
has “carried coals” for nothing, and may now<br />
“bite his thumb.”<br />
<br />
THE COST OF PRODUCTION.<br />
<br />
<br />
<br />
HE statement lately made by Mr. Heinemann,<br />
that he could not get work done at the<br />
same terms as those quoted in the “Cost<br />
<br />
of Production ”’ has made it desirable, despite the<br />
great care with which those figures were obtained<br />
and published, to submit, once more, the figures<br />
there given to other printers. The firm to whom<br />
they have been referred is one which is certainly<br />
above all suspicion of being a sweating house ; at<br />
the same time, its work is quite in the first line,<br />
as would be acknowledged by anyone, were it<br />
possible to give their name.<br />
<br />
It appears, from an examination made by this<br />
firm, that the figures-are perfectly trustworthy,<br />
viz., that, although a printer’s estimate is<br />
necessarily an elastic document, work offered on<br />
our terms would be accepted not only by that<br />
firm, but, as the manager frankly stated, by<br />
dozens of other firms.<br />
<br />
Note, however, that th figures represent net<br />
prices, not the prices off which heavy discounts<br />
are taken.<br />
<br />
On page 19 of the ‘‘ Cost of Production ”’ there is<br />
an estimate for an edition—5oo copies only—of a<br />
one-volume novel. “The total,” said the printer,<br />
“of £166 10s. is about what we should charge,<br />
deducting the amount set down for binding and<br />
advertising ; but instead of 5s. 6d. for printing,<br />
we should want 6s. 6d.” That is a trifling<br />
<br />
difference, because few respectable publishers<br />
would care to produce a one-volume novel of which<br />
only 500 copies would be printed, the number not<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 433<br />
<br />
being sufficient to pay the initial cost. This<br />
estimate, in fact, might as well be struck out,<br />
unless we consider the case of a writer paying to<br />
produce his own work regardless of pecuniary<br />
success. Again, the figures; given for very small<br />
editions of three-volume novels could only be<br />
accepted, according to this authority, in cases<br />
where the publisher gives a good deal of work to<br />
a printing firm. But, then, respectable firms do<br />
not often bring out a three-volume novel in an<br />
edition of 350 copies and no more. Such a book<br />
is not worth bringing out. Again, this estimate<br />
is practically useful only to those who pay for their<br />
own work. They ought not to be encouraged in<br />
so foolish a practice, and the estimates might very<br />
well disappear. Yet, in the case of a firm sending<br />
in a great deal of work, the figures would stand.<br />
<br />
The sum of the matter is this :—<br />
<br />
Under modifications of numbers, work can be<br />
done by a firm of first-class printers at the prices<br />
quoted for printing in the “ Cost of Production.”<br />
<br />
In other words, private persons and small<br />
publishers, who have little work to give out,<br />
would probably have to pay somewhat higher<br />
rates. But the “Cost of Production” does not<br />
pretend to represent either private persons or<br />
small publishers.<br />
<br />
It may be added to the above that a private<br />
person, publishing a short time ago a book at his<br />
own expense and risk, took it, by the advice of<br />
the secretary, to a certain London firm—a very<br />
high-class firm—and that their estimate and their<br />
bill proved to be actually less than the estimate<br />
given in the “ Cost of Production” for the same<br />
form of book.<br />
<br />
The following may also be added. It is a story<br />
now four or five years old. A. B., bringing out a<br />
little book on commission, was informed by the<br />
publisher to whom he offered it that it would<br />
cost £120 to print and bind. He then obtained<br />
an estimate for himself from a firm of c>untry<br />
printers whom he knew, and found that it would<br />
cost no more than £60. He informed the pub-<br />
lisher of the difference, but was told that if the<br />
house did not have the conduct of the printing they<br />
could not publish the book. In other words,<br />
<br />
<br />
<br />
OMNIUM GATHERUM FOR MAY.<br />
<br />
<br />
<br />
Suggestions for Books or Articles.—The dangers<br />
to every combination from the rivalry of its<br />
leaders ;—The extension of the principle of the<br />
Directors’ Liability Act of 1890 to unpaid presi-<br />
dents of distinction, and to directors Jaineant ;<br />
_Jreland as a holiday resort, with special refe-<br />
<br />
VOL. III.<br />
<br />
rence to the attractions of Portrush, Bray,<br />
Killarney, and Maam ;— Altruism in railway<br />
travelling ;—The functions of an Editor (by<br />
one);—The cultivation of the Quince ; — The<br />
legitimation of children born before marriage,<br />
with special reference to the Scotch and Conti-<br />
nental law of the subject, the “nolunt leges<br />
Angliz mutare” of the Lords at Merton when the<br />
Bishops ‘ instanted ” them, and Mr. McLaren’s<br />
Bill now before Parliament ;—The use and abuse<br />
of Patent Medicines (with a few words on the<br />
dangers and expense of rouge and other cos-<br />
metics) ;—Librarianship as a profession.<br />
<br />
Demurrage.—It is submitted as possible that<br />
demurrage might be contracted for in respect of<br />
MSS. held over for more than a reasonable time,<br />
and not used.<br />
<br />
Index.—It is submitted as possible that a short<br />
table of contents, printed on a paper or cloth<br />
label, pasted on the back of a binding, may<br />
serve many of the purposes of an index in the<br />
case of thick books of reference.<br />
<br />
Prefaces. — Prefaces should be always two<br />
pages long, neither more nor less; more being<br />
tiresome, and less being uncomplimentary.<br />
There should be a careful division into para-<br />
graphs, and the last paragraph of the first page<br />
should run over into the second, otherwise the<br />
reader may lose your best bits.<br />
<br />
Dedications.—These, which I touched on in<br />
March, are exhaustively dealt with in the Lite-<br />
rary World column of the St. James’s Gazette of<br />
April 8, at p. 12. As to quality, the two best of<br />
recent times—that of Tennyson’s Idylls, and that<br />
of Mill on Liberty—were to memories of the<br />
dead. As to quantity, I counted seven in a row<br />
of twenty-six quite new books the other day, but<br />
T think I must then have hit upon a dedicated lot,<br />
for in another similar row of about forty, I could<br />
only find four ; and, looking to the difficulties of<br />
the thing, perhaps the lesser average may be the<br />
more desirable one.<br />
<br />
Interview with the Printer.—If it be possible,<br />
have an interview with the head printer in charge<br />
of your book as soon as you have read through<br />
the first proof. See that each proof and proof<br />
duplicate is dated, and ascertain generally to what<br />
extent corrections may be made without “ running<br />
over.” I believe the expense of marginal notes<br />
has caused their disuse across the Atlantic. In<br />
many cases, but not all, the cheaper “ inlet ”’<br />
will serve the purpose of the marginal note<br />
<br />
equally well.<br />
<br />
<br />
<br />
Reviewing. — A reviewer should always be<br />
anonymous ; a review should never be solicited ;<br />
the desirability of universal machine-cutting of<br />
<br />
it<br />
<br />
eee<br />
<br />
en<br />
<br />
aa<br />
<br />
<br />
<br />
<br />
434 THE<br />
<br />
<br />
<br />
pages is in no ease so self-evident as in the case<br />
of a book sent for review.<br />
<br />
Advertisements—The disguise of advertise-<br />
ments as literary matter, and the interfusion of<br />
advertisements with magazine stories, are surely<br />
being carried too far. The object of the advertiser<br />
is no doubt to force the advertisement upon the<br />
notice of the reader, who, however, is more<br />
likely to be repelled than not from the pills of X<br />
by their ill-judged intrusion into the novelette of Z.<br />
<br />
Copyright.—The 18th section of the Copyright<br />
Act of 1842 is a disgrace to civilisation.<br />
<br />
J. M. Lety.<br />
<br />
THE ROYAL LITERARY FUND DINNER.<br />
<br />
<br />
<br />
HIS dinner was held on April 25, the chair<br />
being taken by Mr. Arthur Balfour,<br />
Among the men of letters present were<br />
<br />
Sir Frederick Pollock, Sir Theodore Martin,<br />
Professor Jebb, Canon Ainger, Mr. F. Locker<br />
Lampson, Mr, Austin Dobson, Mr. Thomas<br />
Hardy, Mr. J. M. Barrie, Mr. W. J. Courthope,<br />
Mr. Edward Dicey, Mr. Edmund Yates, Mr. J.<br />
C. Parkinson, Mr. Henry Arthur Jones, and<br />
Professor Norman Lockyer. The following, as<br />
reported in the Times, is that part of Mr.<br />
Balfour’s address which was concerned with<br />
literature :—<br />
<br />
“But I fear that on the present occasion I<br />
have dealt too long with this special topic.<br />
My business is rather to talk to you, not of the<br />
political future of the country, but of matters<br />
connected with literature—of matters, in other<br />
words, which those who belong to this Society<br />
may be supposed to take an especial interest<br />
in and have especially under their charge. I do<br />
not know that I have anything to say which<br />
may interest you on this topic. We have all felt<br />
that the great names which rendered illustrious<br />
the early years of the great Victorian epoch are<br />
one by one dropping away, and now perhaps but<br />
few are left. I do not know that any of us can<br />
see around us the men springing up who are to<br />
occupy the thrones thus left vacant. I should<br />
not venture to say—and indeed I do not think—<br />
that we live in an age barren of literature. But<br />
none of us will deny that, at all events at the<br />
present moment, we do not seea rising generation<br />
of men of letters likely to rival those of old<br />
times. (Hear, hear.) I was born, I suppose, too<br />
late to join in the full enthusiasm which I have<br />
known expressed for the writers whose best works<br />
were produced before 1860 or 1870. Pergon-<br />
ally I have known many who found in the<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
writings of —whom shall I say? — Carlyle,<br />
Tennyson, Browning, and George Eliot every-<br />
thing that they could imagine or desire, either in<br />
the way of artistic excellence, or ethical instruc.<br />
tion, or literary delight. I have not myself ever<br />
been able to surrender myself so absolutely to<br />
the charm and the greatness of these great and<br />
charming writers. I have sometimes thought<br />
that the age of which [ speak may perhaps have<br />
been inclined unduly to exalt itself in comparison<br />
with that despised century, the eighteenth.<br />
(Cheers.) Whoever may be right or wrong in<br />
these matters, at all events the fact remains that<br />
the authors to whom I have alluded would have<br />
rendered any reign illustrious; that they have<br />
departed ; and that we do not at present see<br />
among us their successors. (Hear, hear.) It is<br />
a most interesting situation, because I am not<br />
prepared to admit that we live in an age which<br />
bears upon it the marks of decadence. (Hear,<br />
hear.) Undoubtedly there is more knowledge of<br />
literature, more command of literary technique,<br />
both in prose and poetry, at the present moment,<br />
than has been often the case, or perhaps ever the<br />
case before. You will find a true literary instinct<br />
pervading the whole enormous and even over-<br />
whelming mass of contemporary literature.<br />
Therefore it certainly is not from ignorance nor<br />
indifference that the present age fails, if, indeed,<br />
I am right in thinking that it does fail. Neither<br />
has the present age another mark which has been<br />
characteristic of previous ages of decadence. There<br />
have been periods when the love of literature was<br />
very widely spread through the community, when<br />
a knowledge of literature and a command of<br />
literary forms was prevalent among the educated<br />
classes ; but when, at the same time, the admira-<br />
tion of past works of genius was so overwhelming<br />
that it seemed almost impossible to bring forth<br />
new works of genius in competition with them.<br />
The old forms, in fact, commanded and mastered<br />
whatever imaginative and original genius there<br />
may have been at the time of which I am<br />
speaking. I do not believe that that is the case<br />
now. My own conviction is that at this moment,<br />
not only is there no dislike of novelty, not only is<br />
there no prejudice in favour of ancient models,<br />
but any new thing of any merit whatever is likely<br />
to be accepted and welcomed at least at its true<br />
value. (Hear, hear.) I recollect an artist friend<br />
of mine, who had studied for some time in the<br />
cosmopolitan studios of Paris, saying that in his<br />
Opinion we were on the very verge of a great<br />
artistic revival. He said that he found among<br />
the students with whom he associated such a zeal<br />
for art and such a knowledge of art, so great a<br />
desire to bring forth some new thing which should<br />
be worthy of the everlasting admiration of man-<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
kind, that in his judgment it was absolutely<br />
impossible that so much talent, so much zeal, and<br />
so much readiness to accept new ideas, should not<br />
ultimately issue in the formation of a great and<br />
original school of painting. (Hear, hear.) What<br />
he said of painting we may surely say at the<br />
present day of literature. (Hear, hear.) It only<br />
requires the rise of some great man of genius to<br />
mould the forces which exist in plenty around us,<br />
to utilise the instruction which we have almost in<br />
superabundance, and to make the coming age of<br />
literature as glorious or even more glorious than<br />
any of those which have preceded it. (Cheers. )<br />
Whether that genius will arise or not I cannot<br />
say. ‘The wind bloweth where it listeth, and no<br />
man knoweth whence it cometh or whither it<br />
goeth.” So it is with genius; and no man can<br />
prophesy what is to be the literary future of the<br />
world. “My friend Lord Kelvin has often talked<br />
to me of the future of science, and he has said<br />
words to me about the future of science, which are<br />
parallel with the words I have quoted to you<br />
about the future of art and with the hope which<br />
I have expressed to you with respect to literature.<br />
He has told me that, to the men of science of to-<br />
day, it appears as if we were trembling upon the<br />
brink of some great scientific discovery which<br />
should give to us a new view of the great forces<br />
of nature among which and in the midst of which<br />
we move. If this prophecy be right, and if the<br />
other forecasts to which I have alluded be right,<br />
then, indeed, it is true that we live in an<br />
interesting age; then, indeed, it is true that we<br />
may look forward to a time full of fruit for the<br />
human race—to an age which cannot be sterilised<br />
or rendered barren even by politics.<br />
<br />
THE THEFT.<br />
<br />
<br />
<br />
The Little God upon a day was sleeping<br />
Among the roses in a garden fair,<br />
<br />
The wand’ring winds of June were softly sweeping<br />
The tangled mazes of his golden hair ;<br />
<br />
Beside him lay his quiver and his bow,<br />
<br />
But he was dreaming in the noontide summer glow.<br />
<br />
Then, Friendship came from roaming by the river,<br />
And, gently creeping to the sleeper’s side,<br />
Stole his bright bow, and eke his dainty quiver,<br />
And like the wind to Flora’s bower hied !<br />
There, through the leaves that hid her place of rest,<br />
He lodged an arrow in her milk-white breast.<br />
<br />
The maiden woke, her bosom newly riven,<br />
But, after all, it was delicious pain,<br />
Whilst the old wound the Rosy God had given<br />
Full well she knew would never smart again.<br />
The birds—the blooms—the cloudless skies above,<br />
All knew that Friendship had been turned to Love.<br />
<br />
Easter. F, B, DovEeron.<br />
<br />
VOL. IIl.<br />
<br />
AUTHOR. aes<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
T will be seen, by reference to p. 452, that<br />
the Congress of Authors fixed for next<br />
July, at Chicago, is assuming an impor-<br />
<br />
tance which may produce very serious results.<br />
The head of the Chicago Committee is Mr. F. F.<br />
Browne, editor of the Chicago Dial. A com-<br />
mittee of co-operation has been formed in New<br />
York, whose chairman is Oliver Wendell Holmes,<br />
and its members are Edmund C. Stedman,<br />
Charles Eliot Norton, Charles Dudley Warner,<br />
William Dean Howells, Colonel Higginson, H. H.<br />
Furness, Richard Watson Gilder, Thomas Bailey<br />
Aldrich, George W. Cable, Maurice Thompson,<br />
Thomas Nelson Page, Frank Sherman, and<br />
Hjalmar Boryesen. That is to say, most of the<br />
leading American writers are lending their<br />
active co-operation to the Congress.<br />
<br />
<br />
<br />
The topics for discussion are announced gene-<br />
rally in the preliminary circular.. To this has<br />
since been added a section on American Litera-<br />
ture. Under the head of “ Aspects of Literature”<br />
are now included new sub-divisions, such as<br />
“Standards of Literary Criticism,” ‘ Moral<br />
Purpose in Literature,” ‘“ Realism,” &c. I hope<br />
to be entrusted with a sheaf of papers and<br />
opinions to take out with me. Mr, Sprigge will<br />
read a paper on the “ Methods of Publishing ”—<br />
no one is more competent or has had greater<br />
opportunities of studying the subject. Mr.<br />
Hodges, Hon. Sec. of our Copyright Comunittee,<br />
will send a paper on the present condition of<br />
Copyright. There will be, I believe, a paper on<br />
the History of Publishing, another on the<br />
History of Copyright in Literary Property, one<br />
on the present and the future relations of Author<br />
and Publisher. Mr. Gosse will send a paper on<br />
the Present Position and Prospects of Poetry.<br />
I have ready, and will send out, at once, a short<br />
paper stating the points under discussion as<br />
regards the relations of Author and Publisher.<br />
As regards the points mentioned above, and other<br />
points connected with the Pursuit or Calling of<br />
Letters which may suggest themselves, I invite<br />
our members to consider them. It may be, if the<br />
response to this invitation proves as real and as<br />
wide as I hope, that our contributions to the<br />
Congress may amount to a volume of far reaching<br />
and lasting importance.<br />
<br />
<br />
<br />
Elsewhere will be found part of Mr. Balfour’s<br />
speech at the Royal Literary Fund Dinner—that<br />
part which concerns Literature. It was not in<br />
<br />
nn 2<br />
<br />
pecans<br />
<br />
<br />
<br />
<br />
436<br />
<br />
his happiest vein; nor did it show much know-<br />
ledge of, or sympathy with, modern literature<br />
It is a commonplace in every age to say that it<br />
has no great men in this branch or in that. Yet<br />
the speaker would not admit the outward signs<br />
of decadence, especially the continual com-<br />
parison with the past, and he congratulated<br />
his hearers on the fact that our living writers<br />
are not overburdened with the past. It is a<br />
mark—a sign of the vitality—of English litera-<br />
ture, that we have never been burdened with<br />
the past; that we leave it behind us, and that<br />
we turn to it when we will, but do not live<br />
in it; that we still press on. The ideas that<br />
were new when Tennyson and Carlyle first gave<br />
them utterance are commonplace now—hence Mr.<br />
Balfour—who had inherited them, not received<br />
them—spoke of these great men failing wholly to<br />
satisfy him. As for the Art of the present day,<br />
in whatever form expressed, it seems to lack<br />
greatness. | When an artist draws a picture<br />
charged with the strong passions which formerly<br />
appealed to everybody, he is too often hooted—<br />
eg., Hardy with Tess, the strength and truth<br />
of which made the ordinary reader angry. Our<br />
poetry is lovely work, without much meaning ;<br />
it is little work; and so with every other kind<br />
of work. It must not be strong if it would wish<br />
to win the popularity of the cultured class. And<br />
there is every sign that it will become more and<br />
more beautiful and less and less human. And<br />
then? Perhaps there has already risen and is<br />
growing up beside it, and is going to overshadow<br />
and kill it—the Art that has once more gone back<br />
to Earth and once more represents humanity.<br />
<br />
<br />
<br />
<br />
<br />
Professor Jebb, who also spoke, is reported to<br />
have said that English literature had always been<br />
free from the trammels of an Academy, and that<br />
he had but one wish for its future—that it should<br />
always remain free from those trammels. I con-<br />
fess that my principal reason for desiring an<br />
English Academy—not a slavish copy of the<br />
French—is (1) a desire for the national recog-<br />
nition of literature as a thing worthy of all the<br />
honour that the country can give. At present<br />
literature has no such recognition. And (2) a<br />
desire that men of letters should have a recog-<br />
nised centre, and recognised distinctions. This<br />
does not mean—as it has been assumed to mean—<br />
a desire that all good writers should be made<br />
knights bachelor. Not at all; such a distinction<br />
should neither be offered to them, nor accepted<br />
by them. But an Academy seems to me such an<br />
institution as might serve the purpose. I must<br />
<br />
not argue the question here; but I desire to place<br />
my Opinion once more on record.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Question. How far was Professor Jebb justi-<br />
fied in using the word ‘“trammels?’’ How far<br />
has French literature been “trammelled ” by the<br />
French Academy? What influence has the<br />
Academy had on the great French writers—say,<br />
Voltaire, Diderot, Béranger, Alfred de Musset,<br />
Victor Hugo?<br />
<br />
An American correspondent presents me with<br />
<br />
<br />
<br />
. a pretty little volume well printed in a pale green<br />
<br />
wrapper, with a lovely picture of a cavalier temp.<br />
Charles II., and a maiden—nay, a goddess—<br />
dressed in fourteenth century costume. On<br />
turning over the pages I become aware that the<br />
work is a translation from the French, a novel<br />
by one of those foreigners who always, as we are<br />
so often told, beat the English novelists out of the<br />
field. The title-page, however, says that it is<br />
called “The Chaplain’s Secret,” and that it is my<br />
work—* by Walter Besant.” The firm which<br />
issues this work is called the “N. C. Smith Pub-<br />
lishing Company” of Chicago. I wonder how<br />
many more works have been published over my<br />
name by this enterprising firm. I wonder how<br />
many are published over other names. The foreign<br />
field is large. I expect, if I go to Chicago, to<br />
find something like the following, all in a series :—<br />
“The Sorrows of Werther,” by Rudyard Kipling.<br />
“The Count of Monte Christo,” by Rider Haggard.<br />
“The Miserables,’ by Louis Stevenson. ‘ Tar-<br />
tarin of Tarascon,” by J. M. Barrie. “The<br />
Wandering Jew,” by Charlotte Young. “ Miss de<br />
Maupin,” by George Macdonald. “ Sa’ammbo,”’<br />
by Thomas Hardy. ‘Telemachus,” by Conan<br />
Doyle. There is, in short, going to be, Iam pretty<br />
certain, a splendid boom in Chicago for English<br />
novelists.<br />
<br />
The ‘Decay of Fiction”? appeared as usual<br />
among the “thoughtful” papers of April. This<br />
time it is the work of Mr. Frederic Harrison. There<br />
is no necessity to argue with Mr. Harrison. I<br />
maintain that, while we have certain distinguished<br />
novelists living amongst us, it is absurd to speak<br />
of} English fiction as otherwise than in a most<br />
vigorous and healthy condition. But it is too<br />
true that to all of us there comes a time when we<br />
no longer care so much for the newer forms of<br />
fiction as we did for those which were practised<br />
is our youth. Hence the complaint that the<br />
characters of the present day are not so vivid as<br />
they were, the fault being in the decay of our<br />
own imagination. It is pleasant, however, to<br />
find that the condition of modern fiction is a sub-<br />
ject of such deep concern to men whom the world<br />
is accustomed to consider as intellectual leaders.<br />
<br />
oes<br />
<br />
As a general rule, one should inquire before<br />
reading any paper by anybody on the Condition<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE. AUTHOR. 437<br />
<br />
of Fiction, (1) Is the writer old? (2) Is the<br />
writer young ?—in the first case he has probably<br />
read too much; in the second he has probably<br />
read too little; (3) Has he essayed the Art of<br />
Fiction, and, if so, with what success? and<br />
lastly, what proofs he has given by previous<br />
critical papers or otherwise that he understands<br />
any theory of the Art of Fiction ?<br />
<br />
<br />
<br />
The sketch portrait of Washington Irving is<br />
reproduced from the New York Critic, which<br />
found it at a print<br />
shop some years<br />
ago. Mr. Chirles<br />
Dudley Warner<br />
has been lectur-<br />
ing on Washing-<br />
ton Irving at the<br />
Brooklyn — Insti-<br />
tute. It is strange<br />
that a personalty<br />
so distinct and<br />
attractive has not<br />
drawn English<br />
lecturers and<br />
writers. The<br />
popularity of the<br />
author of “ Knick-<br />
erbocker’s New<br />
York” and the<br />
“ Sketch - book ”<br />
cannot surely be<br />
on the wane in<br />
this country any<br />
more than in<br />
America.<br />
<br />
<br />
<br />
The following<br />
is an advertise-<br />
ment from the<br />
Times :—<br />
<br />
TO BEGINNING<br />
NOVEL WRITERS<br />
and others. A suc-<br />
cessful novelist and author can take a few more PUPILS<br />
to train. References to a successful lady pupil. Advice on,<br />
and revision of, MSS.—Address Aleph, ——<br />
<br />
The conventional mind which cannot be got out<br />
of grooves, and must think as it is accustomed,<br />
and has been told to think, makes such an advertise-<br />
ment as this the occasion for elephantine wit.<br />
Now, I do not advise anybody to answer<br />
“ Aleph’s” advertisement. ‘“ Aleph ” may be a<br />
most judicious coach, or “ Aleph ” may be a most<br />
arrant quack—one does not know, The point to<br />
remark is this. It has been at last found out, (1)<br />
<br />
<br />
<br />
that a good deal may be taught to the aspirant in<br />
the Art of Fiction, just as a good deal may be<br />
taught to the aspirant in the Art of Painting ; and<br />
(2) that money may be made by teaching these<br />
elements. Givena really good teacher, the imme-<br />
diate result would be a great lessening of the<br />
output, because the pupil would be speedily made<br />
to understand whether he “had it” in hin or<br />
not, and because he would understand the paying<br />
for the cost of publication. As for the com-<br />
petence of the teacher, that must be proved by<br />
success, and as only about one in a hundred<br />
candidates can<br />
achieve success,<br />
it will be a very<br />
difficult thing<br />
indeed to prove<br />
competence.<br />
<br />
Some months<br />
ago there ap-<br />
peared in these<br />
columns an esti-<br />
mate of the pro-<br />
portion occupied<br />
by purely literary<br />
papers compared<br />
with others on all<br />
other subjects in<br />
the magazines.<br />
An examination<br />
by means of the<br />
Review of Re-<br />
views which pub-<br />
lishes lists of the<br />
contents of all the<br />
principal maga-<br />
zines, yields re-<br />
sults of some<br />
interest. In the<br />
April number<br />
there are enume-<br />
rated rather over<br />
400 titles of arti-<br />
cles. These are<br />
taken from the English and American magazines,<br />
not including those devoted to special objects in<br />
which literary articles could not find a place. There<br />
are 400 articles to be provided every month for<br />
these open mouths! A great many of these are, as<br />
would be expected, by known wr.ters, many are<br />
anonymous, many record a single experience, and<br />
are written by “outsiders.” In order to find<br />
these 400 papers every month, or 4800 every year,<br />
isit too much to estimate the number of writers<br />
at 10,000? That is to say, there are 10,000<br />
people at this moment in Great Britain and Ire-<br />
<br />
nae mE<br />
<br />
eee ae<br />
<br />
sais<br />
<br />
<br />
<br />
<br />
438<br />
<br />
<br />
<br />
land and the States and the Colonies who are able<br />
to reach the standard of writing in the magazines.<br />
The standard varies, it is true, but the average is<br />
pretty high. To this consideration add that men-<br />
tioned in last month’s Author of the number of<br />
books published during the last five or six years,<br />
and it will not seem too much to estimate the<br />
number of living writers in English on all sub-<br />
jects as 40,000, not counting journalists. Not<br />
that these are all dependent on their pen. The<br />
vast majority, fortunately, write on professional,<br />
scientific, and theological subjects. To these their<br />
pen is either a help or perhaps no help at all.<br />
<br />
As regards the subjects treated in the month<br />
of April, there are 50, i.e., one in every eight,<br />
devoted to criticism or literary biography. That<br />
is a very fair proportion out of all the subjects<br />
which occupy man’s mind. There are, for instance,<br />
more lawyers than writers, hut how many papers<br />
are devoted to them? None at all. There are<br />
musicians, artists, preachers—for all of them an<br />
article or two. But for literature, fifty articles.<br />
The subjects are enumerated below, and some are<br />
treated in more than one paper. Thus, there are<br />
three on Tennyson and six or seven on Taine,<br />
Brooks, Phillips. Moulton, Louise Chandler.<br />
Carlyle. Novel, The Historical.<br />
Colonna Vittoria. Novelists, Women.<br />
<br />
Daudet, Alphonse. Pater, Walter.<br />
<br />
Doyle, Conan. Paton, Sir Noel.<br />
Dilke, Lady. Poets, Architecture among<br />
<br />
Fiction, the Decadence of. the.<br />
» EnglishCharactersin Poets, Five English.<br />
French. Plato.<br />
Fuller, Margaret. Plays, Some.<br />
Fairchild Family, The. Podenoskeff,<br />
Hazlitt, Reading of the Working<br />
Ibsen. Classes.<br />
Kemble, Frances. Sand, George.<br />
Lamb, Charles. Sappho.<br />
Literary London. Shakespeare.<br />
& Some Literary Folk ‘Son of the Marshes,” A.<br />
in. Spinoza.<br />
ny Forgeries. Taine.<br />
Marx, Karl. Tennyson.<br />
Meredith, George. Wives of well-known men.<br />
Milton’s Cottage. Whittier.<br />
<br />
The death of John Addington Symonds leaves<br />
vacant a place in modern literature that it will<br />
be difficult to fill up. Crowded as are all the<br />
ranks of scholarship and all the avenues to dis-<br />
tinction, one knows not any scholar and writer<br />
capable of taking his place and carrying on his<br />
work. Various and many-sided as he was, he<br />
will be remembered—and studied—chiefly for his<br />
Renaissance work, the seven volumes of which<br />
form his real monument. Other men of the time<br />
have written finer verse; other men, perhaps,<br />
have written finer essays ; but no English writer<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
is his rival in the rich and previously little<br />
explored field of the Renaissance. Those who<br />
were privileged to call themselves his friends can<br />
bear testimony to the charm of his manner, the<br />
kindliness of his heart, and the vivacity of his<br />
conversation, That such a man was one of our<br />
Society goes without saying.<br />
<br />
+ =—- +.<br />
<br />
The book of the month is Mr. Dykes Camp-<br />
bell’s new edition of Coleridge (Macmillan and<br />
Co.). It is not only important as containing a<br />
considerable number of poems hitherto unknown<br />
and unpublished, but as being enriched by a<br />
so-called Introduction, which is, in reality, the<br />
most complete biography of Coleridge which has<br />
hitherto been written. Although modestly ap-<br />
pearing only as an Introduction, it is a great<br />
deal longer than, for instance, many of the books<br />
in Maecmillan’s Red Series. It is a work, indeed,<br />
which ought to be—which must be—issued sepa-<br />
rately. To the accumulation of the materials alone<br />
necessary for its production, a vast amount of<br />
industry and patience must have been bestowed.<br />
<br />
eae<br />
<br />
The book is a happy illustration of our con-<br />
tention that it is impossible to measure literature<br />
by money. Here is a work which will place its<br />
author as the greatest authority on Coleridge for<br />
the rest of his life; yet it appears only as an<br />
Introduction ; it is only part of a cheap series;<br />
Again, it represents years of research and reading ;<br />
before it could be commenced books had to be<br />
accumulated, journeys taken, inquiries prose-<br />
cuted. Yet it is absolutely certain that whatever<br />
honorarium will come to the author it has,<br />
like Panurge’s harvests, been spent long before<br />
it was due. And while all this trouble was being<br />
taken, a popular novelist would be making<br />
thousands. This is not asneer. For why not ?<br />
A good novel is good literature as well as<br />
a good biography. But literature and its com-<br />
mercial value are not commensurate. Let no<br />
man hold up his hands in disgust because a good<br />
writer in one branch gets half a crown while a<br />
good, or evena bad writer in another branch makes<br />
a million. The former has his reward and the latter<br />
has, in addition, his vogue. But there is no con-<br />
nection between the former and the latter; nor is<br />
the latter a rival of the former; nor should his<br />
success cause the former the least jealousy. Let<br />
us never say that such and such a writer gets<br />
more or less than he deserves. In Literature<br />
there is no such thing as commercial desert.<br />
There is commercial value, which represents<br />
popular culture, and the demand of the day,<br />
but not necessarily the literary value of any<br />
work. It seems to me that we cannot too often<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 439<br />
<br />
repeat this truth. Day after day, in almost every<br />
paper, we see the confusion of thought which mixes<br />
literary with commercial value, especially in the<br />
sham indignation of the paragraphist (whose pro-<br />
ductions probably have neither literary nor com-<br />
mercial value) at the commercial success of this<br />
or that book—this or that magazine—which has<br />
somehow attracted the world, and is being read<br />
by everybody.<br />
<br />
<br />
<br />
What Mr. Dykes Campbell has done for<br />
Coleridge, Mr. John Underhill has done for Gay :<br />
with the difference that the latter subject is less<br />
important, and the poems collected are far less<br />
worth preservation. The Life, however, tells us<br />
everything that we want to know about Gay—<br />
everything there is to tell about him. The notes<br />
are useful, and not too long. It must also be<br />
observed that the dress and outward appearance<br />
of the Gay book are very far superior to those of<br />
the Coleridge. The design and the binding are<br />
beautiful, and the paper and type are excellent.<br />
The publishers — Lawrence and Bullen — are<br />
setting an example in beauty and carefulness of<br />
binding and designs which is highly to be com-<br />
mended, and should produce its effect in the<br />
appearance of new books issued by old publishers.<br />
<br />
———<br />
<br />
The following has been sent to me, taken from<br />
I know not where. I wonder if it is an invention,<br />
or whether women in Germany, or in any other<br />
country, are so credulous :—<br />
<br />
The publishers of a German novel recently did a neat<br />
thing in the way of advertising. They caused to be inserted<br />
in most of the newspapers a notice to the effect that a<br />
certain nobleman of wealth and high position, desirous of<br />
finding a wife, wanted one who resembled the heroine in the<br />
novel named. Thereupon every marriageable woman who<br />
saw the notice bought the book in order to see what the<br />
heroine was like, and the work had an immense sale.<br />
<br />
<br />
<br />
In the Notes and News of last month’s Author<br />
was a paragraph from the Law Quarterly Review<br />
which was reprinted by inadvertence, without the<br />
proper acknowledgment. We hasten to acknow-<br />
ledge our obligati n. The paragraph was the last<br />
on p. 407.<br />
<br />
<br />
<br />
The following lines are found in Mr. William<br />
Watson’s “ Vita Nuova,” a poem in the Spectator<br />
of April 15. The hosts of friends of the poet<br />
are all re‘oicing at bis rest ration to health.<br />
<br />
Lo, I too<br />
With yours would mingle somewhat of glad song.<br />
I too have come through wintry terrors,—yea,<br />
Through tempest and through cataclysm of soul<br />
Have come, and am delivered. Me the Spring,<br />
Me also, dimly with new life hath touched,<br />
And with regenerate hope. the salt, of life.<br />
<br />
“How far,’ writes C. C., “is it moral and<br />
fair for an author to write for any magazine<br />
furthering objects in which he is interested<br />
under the price which he can elsewhere com-<br />
mand? ”<br />
<br />
<br />
<br />
The following very bad lines appeared in a<br />
journal of 1773, “occasioned,” we are informed,<br />
“ by a Gentleman’s lamenting that Want of<br />
Candour which unhappily prevails among men of<br />
letters” :<br />
<br />
Authors, like wives, are jealous and il-natured,<br />
‘All faces but their own are strangely featured :<br />
Genius and beauty hurt their peace of mind;<br />
And thus both live at variance with mankind.<br />
<br />
<br />
<br />
We are requested by Mr. H. Anthony Salmoné<br />
(21, Furnival-street, E.C.) to state that the story<br />
called “The Painter’s Daughter,” referred to in<br />
the last number of the Author, did not appear in<br />
the Eastern and Western Gazette, but in the<br />
Eastern and Western Review, of which he is the<br />
editor. Water Besant.<br />
<br />
ec<br />
<br />
AUGUSTINE.<br />
<br />
(From “ Poems Old and New,” by Charles D. Bell, DD.,<br />
Rector of Cheltenham.)<br />
Augustine, Scholar, Father, holy Saint,<br />
Walked by the sounding ocean on the shore,<br />
Turning in thought grave problems o’er and o’er,<br />
To which he gave his soul without restraint,<br />
Until it grew with musing sick and faint,<br />
And as his baffled heart fell sad and sore,<br />
A child he saw that rose-lipped sea-shell bore,<br />
And filled it from the sea with motion quaint.<br />
Then, taking it when full into his hand,<br />
He carried it in happy childish bliss,<br />
And emptied it in hole scooped in the sand.<br />
“J mean,” he said, “to pour the deep in this,”<br />
“Thus,” thought the Saint, “ God, infinite and grand,<br />
My finite mind would hold and understand.”<br />
<br />
—— ee<br />
<br />
FEUILLETON.<br />
<br />
sou<br />
Tur PEOPLE OF THE PAGEs.<br />
<br />
HE old bookseller’s shop was in the most<br />
crowded part of the most crowded and the<br />
noisiest street in the whole of the City. It<br />
<br />
consisted of an outer and an inner shop. In the<br />
outer shop sat the assistant, always making cata-<br />
logues. It was also his duty to watch the cus-<br />
tomers, for those who buy secondhand books are<br />
known to practise tricks; when no one is looking<br />
a book may be slipped into a greatcoat pocket ; or<br />
a “ wanted” volume may be purloined by substi-<br />
<br />
<br />
<br />
<br />
440<br />
<br />
<br />
<br />
tuting another like it in appearance; or a picture<br />
may be torn out. Oh! the craft and subtlety of<br />
those who haunt the second hand booksellers’<br />
shops are beyond all telling! Every assistant<br />
could make an honest man’s hair stand on end<br />
only by relating the half of what he knows.<br />
Respectable elderly gentlemen even—whisper—<br />
Divines—even N-bl-m-n—will come into a shop,<br />
and with the most inn: cent look »n the world<br />
‘ and presently you find your shop ruined,<br />
The bookseller himself sat in the smaller shop<br />
behind; the window looked out on a cheerful<br />
churchyard planted with limes; books covered<br />
the walls and the table. The bookseller sat all<br />
day long, working among his books; he called<br />
it working, but it was mostly reading. He read<br />
everything. No one knew more than this<br />
omnivorous old reader about the in-ides of books,<br />
On the shelves in his own room stood the authors<br />
which he loved ; he could not bear them to be in the<br />
other shop—that did very well for the small fry,<br />
but the great writers— the leaders—he must<br />
have them under his own eye.<br />
<br />
He hardly ever went outside his shop, except,<br />
sometimes, to call upon some other brother of the<br />
craft to see how his business was conducted. He<br />
wore an old frock coat, shiny and seamy, which had<br />
now assumed the figure of the old man, following<br />
the curves of him as he sat in his armchair.<br />
<br />
A clock ticked on the mantelshelf, standing<br />
among a heap of books. There was a bust of<br />
Shakespeare on a pile of books, and over the<br />
clock was a portrait of Carlyle. Outside, the<br />
waggons rumbled, the carts and the cabs clattered<br />
past, the people talked; there was always the<br />
roll and the roar of the City. But none of it<br />
came into the shop; the sunshine—for it had a<br />
southern aspect—lay on it whenever there was any<br />
sun, and the motes danced in the sunshine; but<br />
there was never any noise. Neither the bookseller<br />
nor his assistant spoke much to each other; and<br />
when any customers came they spoke in a whisper.<br />
Why? Idonot know. But if you were to go<br />
into that shop you would instinctively close the<br />
door very softly behind you, and take off your<br />
hat, and, catching a glimpse of the grey-headed<br />
old man in the room behind, you would whisper<br />
your wants to the assistant.<br />
<br />
If it was quiet here in the daytime, it was still<br />
more quiet in the evening after the shop was<br />
closed. Then the old man sat alone, secure of<br />
interruption. After supper he came back to his<br />
chair, having a pipe and a glass of something<br />
wrong with wat r, and here he sat, a book before<br />
7 till midnight. when he got up and went to<br />
<br />
ed.<br />
<br />
Now he had done this every night, Sunday in-<br />
cluded, for thirty years. He desired nothing<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
better than to spend his evenings in this fashion.<br />
Nobody ever invited him to spend an evening in<br />
any other way; for a bookish man is rarely a<br />
clubable man He had done this, I say, every<br />
night for thirty years at least. Supper at nine,<br />
after the shop was shut; a pipe and the cup of<br />
wickedness among his books till twelve ; and then<br />
to bed. Anda very good way, too, of spending<br />
the evening !<br />
<br />
One evening, however, contrary to his usual<br />
custom of feeling sleepy at midnight and going<br />
to bed at that hour, the old man found himself<br />
quite wakeful and even restless. He laid down<br />
his book, wondering what had happened to him—<br />
men at seventy-five do not like anything unusual<br />
because Well — everybody knows<br />
why. So he sat up and waited. Presently he<br />
grew so restless that he was fain to get up and<br />
pace the little room. But he only became more<br />
wakeful every moment. The intense silence of<br />
the hour, instead of soothing him, made him more<br />
restless still, until his restlessness became anxiety,<br />
and anxiety became a kind of terror. Words of<br />
dead writers called to him from his own brain, but<br />
aloud. Snatches of verse were quoted aloud by<br />
his own brain. ‘“ My days among the dead are<br />
past. . . . . My thoughts are with the dead.<br />
<br />
With them I live in long past years.<br />
; My hopes are with the dead, anon<br />
my place with them will be;” and so on. The<br />
library steps were standing against the shelves.<br />
Mechanically he mounted them and took down<br />
a book at random. Then he sat down on the<br />
top step and began mechanically to read. It<br />
was the “Seven Champions of Christendom.”<br />
I do not know how long he continued to read<br />
—say an hour or two hours. It mattered<br />
nothing, because he read on and on without think-<br />
iny or noting or remembering the words. After a<br />
while he lifted his head. What had happened ?<br />
The room, with all its shelves, books, pamphlets,<br />
papers, everything, had vanished. He himself was<br />
sitting under the shade of a tree in a vast garden,<br />
with lawns, riding grounds, flowers, sundialy,<br />
streams, fountains, swans, doves, and peacocks.<br />
On the grass were walking about crowds of people:<br />
He knew everyone; they nodded and smiled<br />
when he looked up. Oh! it was wonderful.<br />
There were knights—George, Denys, James,<br />
Amadis, Paladin, Lancelot, Galahad, and all of<br />
them in splendid armour; and there were kings<br />
and heroes, Arthur, Karl, Frederick, also in gilt<br />
armour, with crowns of gold. There were fair<br />
ladies—queens and princesses—in robes of silk<br />
and white samite, mystic, wonderful ; and besides<br />
all these there were plenty of people not so<br />
beautifully dressed, but much happier to look at.<br />
Why, there was Mr. Pickwick laughing and<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
' f 7 ¥e<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 441<br />
<br />
talking to Colonel Newcome; and Tess of the<br />
Durbervilles was conversing on an equal footing<br />
with Clarissa Harlowe, and they were both gay<br />
and merry, though so unfortunate ; and Sam<br />
Weller was taking a pot of half-and-half with the<br />
Soldiers Three. The old gentleman rubbed his<br />
eyes; his brain reeled; he thought he must be<br />
dreaming. Yet there were all the people, and<br />
there was the garden—and—and—<br />
<br />
“Where am I?” he asked aloud, ‘‘ And what<br />
are you all doing here? ”<br />
<br />
One of them—a lady—stepped forward. Who<br />
was it? Ah! he recognised the speaker. It was<br />
none other than Diana Vernon.<br />
<br />
“ir,” she said, courteously, ‘‘ know that life<br />
is dull on those shelves of yours. We want<br />
society. If we areread, that satisfies all our wants.<br />
The most desirable form of society is to be read<br />
often. We cannot, in fact, be read too much. We<br />
confess that we are greedy of admiration. We<br />
only live for praise. You must confess, how-<br />
ever, that you give us very little of that kind of<br />
society. We therefore sometimes adjourn to<br />
this garden, this ancient medieval garden, the<br />
Jardin de Déduit, after you have gone to bed,<br />
in order to dissipate the ennuis of loneliness and<br />
neglect.”<br />
<br />
The looker-on was a kindly man, but he had<br />
his little limitations. He was, after all, only a<br />
second-hand bookseller; he understood none of<br />
the natural longings, either of gentlefolk or the<br />
others for intercourse and conversation. Henever<br />
wanted any society, why should they? Besides<br />
and here a horrid and an unworthy suspicion<br />
crossed his mind—they were his property—his<br />
own. They belonged to his shelves. What busi-<br />
ness had they to run away? Why, they might<br />
never return; they might be kidnapped; he<br />
might lose them all.<br />
<br />
He jumped up. ‘Come back, all of you,” he<br />
cried roughly, “ Come back, I say, every man—<br />
come back to your own books. And at once.<br />
How dare you leave my shelves r”<br />
<br />
Instantly the garden vanished; the room<br />
reappeared with all the shelves, and the books in<br />
their bindings upon the shelves. And the figures<br />
he had seen in the garden were now climbing,<br />
scampering, hurrying, rushing back, head over<br />
heels, trampling on each other, to their own<br />
places — kings and knights and_ lords and<br />
ladies, in confusion and undignified scramble.<br />
Who would have though that Rowena—the<br />
stately Rowena—could climb the bookshelves in<br />
such unseemly haste ?<br />
<br />
“Stop! he cried again, wringing his hands,<br />
“Stop! for Heaven’s sake stop! You are all<br />
getting into the wrong books! Stop! Stop! 1<br />
say.”<br />
<br />
vou. III.<br />
<br />
<br />
<br />
But it was too late. They had all scurried back<br />
again somewhere or other, all safely hid within<br />
some binding, right or wrong. Then the silence of<br />
mid-night fell upon him again. Nothing left, not<br />
a single solitary figure; all gone back again, and<br />
all to the wrong books. And once more the<br />
words arose in his brain ‘‘My days among the<br />
dead are past—my thoughts are with the deac a<br />
<br />
When the clock struck seven he found himself<br />
in his armchair. Apparently he had been asleep<br />
all night in his back shop, and that morning he<br />
sat upright without reading, but gazed about<br />
him with troubled brain and anxious eyes.<br />
<br />
In the afternoon one of his oldest customers<br />
called. “I have thought over,” he said, “ what<br />
we were talking about the other day—that first<br />
edition of the Pickwick Papers, you know. It is<br />
a stiffish price, but I have made up my mind to<br />
give it.”<br />
<br />
The bookseller shook his head. ‘I am afraid,”<br />
he whispered, “that I can’t sell it. Yesterday it<br />
was a flawless copy. Now, I fear, you'd find it<br />
all gone wrong.”<br />
<br />
«How can it be wrong? ”’<br />
<br />
“The characters are mixed up. In all these<br />
shelves they are hopelessly mixed. Sir, I am a<br />
ruined bookseller. My reputation is ruined.<br />
Last night I saw King Arthur, St. George, and<br />
St. Denys, and Peregrine Pickle, and Barry<br />
Lyndon, and Mr. Barlow, and Mrs. Keith with<br />
her child, and the Daughter of Heth, and Elsie<br />
Venner, and Roxana, and Rebecca, all rushing<br />
into the Pickwick Papers together. What became<br />
of the proper set of people I don’t know. But I<br />
fear that Mr. Pickwick has got into Sir Charles<br />
Grandison, and Alfred Jingle, 1 know, has run<br />
into the Heir of Redclyffe. I am afraid to look<br />
into any of the books. Oh! it’s a terrible<br />
disaster.”<br />
<br />
“[ don’t understand one word. But you look<br />
disturbed.”<br />
<br />
The bookseller sat down and groaned.<br />
<br />
He sold no more books. He said he could<br />
not, as a Christian man, sell books with the<br />
characters mixed up in such confusion. No one<br />
could tell how they would act. Things quite<br />
terrible might happen. There they were together,<br />
with no one to control them. Oh! it would be<br />
a fraud on his customers. Therefore he sat up<br />
every night, waiting for them to come down<br />
again. He thought that if he could meet them<br />
all together again in the garden he might repre-<br />
sent, gently, the confusion caused by their panic,<br />
and for their own good persuade them to return<br />
each to his own book:<br />
<br />
Strange to say, he has never seen that garden<br />
since. 1 think he must have frightened the<br />
people of his books. That harsh voice—that<br />
<br />
MM<br />
<br />
<br />
<br />
<br />
442<br />
<br />
threatening command—was more than they could<br />
bear. We must remember that all their lives had<br />
been spent in an atmosphere of pride and kind-<br />
liness and affection and praise. This arbitrary<br />
language was too much for them, But nobody<br />
ever explained to the bookseller that he had<br />
brought everything on himself,<br />
<br />
Marcaret GAnuertt,<br />
<br />
aes<br />
<br />
GOODBYE TO APRIL.<br />
<br />
<br />
<br />
Goodbye, sweet Mistress, and then shed a tear,<br />
Thy tear, good sooth, unto a smile is nigh ;<br />
For it distilleth from a laughing eye.<br />
<br />
I shall not weep, my maid, tho’ time be near<br />
<br />
To leave thee; yea, for tho’ thy love be dear,<br />
Light laughter trips behind thy softest sigh.<br />
I doff my bonnet ; “ Moppet, go!” I cry;<br />
<br />
“For, lo! my new love standeth laughing here.”<br />
<br />
Goodbye, fair April; can I mourn thy fall<br />
Now May is mine? in parting, say, what pain<br />
Since thy best blooms must deck her festival ?<br />
Nay, weep thy last, sweetheart; for of the twain<br />
The fairer she ; perchance, when she and all<br />
The rest are gone, I’ll sue to thee again.<br />
Lewis Brockman.<br />
<br />
eee<br />
<br />
PSYCHOLOGICAL SENTIMENTS,<br />
<br />
<br />
<br />
1. There need be no more mystery in evil than<br />
in gravity.<br />
<br />
2. The ideal man has sufficient self-reliance,<br />
self-respect, self-restraint.<br />
<br />
3. When the body is bad, the mind is mad.<br />
<br />
4. The manliest and the womanliest never lose<br />
their temper.<br />
<br />
5. Heat of temper is too easily mistaken for<br />
warmth of heart.<br />
<br />
6. Obstinacy and pliability are both phases of<br />
similar weakness.<br />
<br />
7. The highest animals can suffer most, and<br />
will endure best.<br />
<br />
8. Anger differs from fear, in phase rather than<br />
principle.<br />
<br />
g. Memory is a clear consciousness of the<br />
presence of the past.<br />
<br />
10. The senile mind loves to live in the past.<br />
<br />
11. The virile soul lives and loves in the<br />
present.<br />
<br />
12. The hopeful live in the future, the helpful<br />
live in the present.<br />
<br />
13. The insanity of jealousy may be cured by<br />
the imbecility of indifference.<br />
<br />
14. The sane feel and see truth, the strong will<br />
it, the virile work it out.<br />
<br />
THE AUTHOR.<br />
<br />
15. Genius and madness have one principle in<br />
common—uncommonness,<br />
<br />
16. The main difference between liberty and<br />
licence is selfishness.<br />
<br />
17. Reliability is far rarer than responsibility,<br />
<br />
18, The sane soul is strong, sure, sympathetic,<br />
<br />
19. Genius seems often odd, but is never mad.<br />
<br />
20 Man persistently demarcates, while nature<br />
perpetually differentiates.<br />
<br />
21. The mind of man daily dies and lives<br />
again.<br />
<br />
22. In dreams lies insanity ; in dreamlessness,<br />
imbecility,<br />
<br />
23. The unconscious humorist is a mystical<br />
personage.<br />
<br />
24. Next to wisdom, humour is essential to<br />
just judgment.<br />
<br />
25. A bad man makes a bad judge, for virtue<br />
is the soul of wisdom.<br />
<br />
26. Self conceit readily does duty for self-<br />
respect. :<br />
<br />
27. Jealousy is a phase of vanity, where the<br />
animal defeats the angel.<br />
<br />
28. Nobility lies in silent suffering ; rises in<br />
soundly working,<br />
<br />
29. Ignobility and immaturity feel least and<br />
endure worst.<br />
<br />
30. Divorced from opportunity, capacity is<br />
childless.<br />
<br />
31. That phase of head called “heart” makes<br />
the best part of all art.<br />
<br />
32. Science saves shells; sympathy saves<br />
souls, PHINLAY GLENELG.<br />
<br />
— ae<br />
<br />
REMINISCENCES OF TAINE.<br />
<br />
<br />
<br />
HE biographical notices of M. Taine, which<br />
<br />
‘Ty allude to his resentment against M.<br />
<br />
Edmond Scherer, the celebrated writer,<br />
<br />
and at one time his dear friend, on account of<br />
<br />
some severe criticisms on “Les Origines de la<br />
<br />
France Contemporaine,” reminds me of an inci-<br />
dent I witnessed illustrative of this assertion.<br />
<br />
In 1878 it was my good fortune to pass some<br />
months in Paris, on a visit to my old friend<br />
Madame Mohl, once so famous for her salon.<br />
Taine’s “ Revolution ”—the 2nd volume of “Les<br />
Origines ”—had just appeared, the 1st volume on<br />
“PAncien Régime” having previously been<br />
<br />
severely handled in the Temps—M. Scherer’s<br />
paper—though greatly praised in others. Reading<br />
them on the spot made both works doubly inte-<br />
resting, and, to give me a rare treat, Madame<br />
Mohl offered to make me acquainted with their<br />
renowned author. She was then about eighty-<br />
<br />
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THE AUTHOR. 443<br />
<br />
eight, but singularly fresh, and keen to all her<br />
lifelong interests, showing her salon talent in a<br />
thousand subtle ways. Moreover, the numberless<br />
literary and scientific men who had been devoted<br />
to her and M. Mohl for half a century and<br />
upwards, gladly responded to her invitations.<br />
Hence, whenever she chose, they came, to large or<br />
small dinners, all through that summer, and her<br />
fortunate visitors thus saw noted celebrities in<br />
intimacy, and, usually, at their best. But, beside<br />
her patriarchal age, grief for her husband, who<br />
died soon after the Franco-Prussian war, occa-<br />
sionally dimmed her memory as to recent events.<br />
<br />
On the day in question, M. and Madame Taine<br />
promised to come and dine, “en tout petit comité.”<br />
A young Englishman was also invited ; and then,<br />
mindful of the old friendship, Madame Mohl like-<br />
wise asked M. Scherer. To none, however, did<br />
she mention the other guests, though, from the<br />
excited party feelings of France, she had almost<br />
invariably made a rule of so doing. The Taines<br />
arrived first, on foot, coming from the Rue Cas-<br />
sette hard by, where he has now died, and I well<br />
remember the overshoes, cloaks, and mufflers<br />
deposited, Carlyle-like, in the small hall. M.<br />
Taine was a tall, bulky man, dogmatic, and<br />
evidently aware of his own importance. Next<br />
came the young Englishman, who ruffled Madame<br />
Mohl by wearing his morning coat, probably sup-<br />
posing he would meet no one but us two ladies.<br />
Tt was one of her most “ fixed ideas” that, ‘“ even<br />
if a man had to live on herrings, he should<br />
possess a tail-coat, and never appear in the<br />
presence of ladies otherwise dressed of an<br />
evening.” It had been the rule at Madame<br />
Récamier’s, her oldest friend, and she often<br />
expatiated on the advantages to young men of<br />
keeping to these habits, and thus frequenting<br />
the society of ladies—a word she understood in<br />
the strict, old-fashioned sense. She had not<br />
recovered her annoyance when M. Scherer<br />
appeared—the exact opposite of M. Taine, slight, of<br />
medium height, quiet, and unassertive. I thought<br />
it strange these “old friends” did not seem to<br />
recognise each other, but Madame Mohl’s face at<br />
once fixed my gaze. Like a flash she had recol-<br />
lected the recent enmity, realised the situation,<br />
and somehow communicated it to me. What<br />
could be done? Positively nothing. It was<br />
irremediable.<br />
<br />
Our “petit diner” can easily be imagined.<br />
The number was too small for anything but<br />
general conversation, therefore here were the two<br />
antagonists face to face, we ladies alone acting as<br />
a sort of buffers, for the young Englishman spoke<br />
little, and that badly. Indeed, poor Madame Mohl<br />
did not count either, for her presence of mind<br />
completely forsook her, and she could scarcely<br />
<br />
utter a word. It certainly was a dreadful predica-<br />
ment—to have thus planted two enemies opposite<br />
each other at what was intended to have been<br />
such a hospitable board, and to have them so con-<br />
fronted for many hours. Most certainly in olden<br />
days she was the last person who could have com-<br />
mitted such a mistake, or, had it occurred, she<br />
would quickly have risen to the occasion. M.<br />
Scherer seemed at once to understand this, and<br />
to be willing to help her. But, after all, he was<br />
the offender—the caustic author of the reviews.<br />
M. Taine sulked, talked “away from” M.<br />
Scherer, and, finally, neither looked at the other.<br />
However, Frenchmen cannot be silent long, and<br />
by degrees, without becoming disputatious, a<br />
certain amount of interesting talk went on,<br />
though languidly, nevertheless, from the awkward-<br />
ness of the position, which we all felt acutely.<br />
Nothing of it remains on my mind, save a never-<br />
ceasing refrain on “les nouvelles couches<br />
sociales,” that M. Taine then had more or less<br />
“on the brain,” and frequently brought forward,<br />
as if throwing down a gauntlet to his adversary,<br />
though the latter prudently did not take it up,<br />
pretending not to see it.<br />
<br />
Never cau I forget our relief when M. Scherer<br />
beat his retreat early, pleading the necessity of<br />
catching a train to Versailles, where he then<br />
resided, leaving us to enjoy the historian’s con-<br />
versation, which instantly rose to the brillant<br />
level of his reputation. But the “incident” had<br />
not ended, for when the overshoes, cloaks, and.<br />
mufflers were resumed, M. Taine’s hat could no-<br />
where be found. Another was there, it is true,<br />
but not his. At last, rushing back to the sitting-<br />
room, he angrily and most contemptuously ex-<br />
claimed, “ Ce monsieur has taken it, and left his<br />
own worn out old one in its stead! It could not<br />
have been in mistake. No! no!” And nothing<br />
would pacify him. No! not even when poor M.<br />
Scherer returned the “ stolen goods”’ next morn-<br />
ing, explaining how, in the hurry for his train<br />
and the dark, he had run off with the wrong hat.<br />
In one sense it proved a happy mistake, as it<br />
brought a comic element to the drama, and made<br />
us moralise on the susceptibilities of great and<br />
learned minds. They are now all gone to their<br />
long home, but the memory of the “rencontre”<br />
still lingers behind them.<br />
<br />
WINIFREDE M. WYSE.<br />
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444<br />
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<br />
LIBRARIES—NEW AND OLD.<br />
<br />
<br />
<br />
HE Encyclopedia Britannica gives a list of<br />
TT all the public libraries in Great Britain<br />
and Ireland up to the year when the<br />
article ‘“TLibraries”: appearea. Mr. Thomas<br />
Greenwood’s book on Public Libraries (Cassell :<br />
1891) gives a list of all the libraries which have<br />
been opened under the Acts provided. Some<br />
have been added since that book appeared.<br />
<br />
These lists, considered with reference to the<br />
demand for good literature, will be found rather<br />
surprising. The Encyclopedia gives a total of<br />
402 libraries in the three kingdoms. Of these<br />
some are college libraries, e.g., most of the<br />
colleges at Oxford and Cambridge have their own<br />
libraries, which may be neglected ; there are<br />
libraries—they are not generally growing collec-<br />
tions—at all the medical, legal, and theological<br />
institutions. Some are cathedral libraries which<br />
seem to have stopped growing for 200 years at<br />
least. Some are technical libraries, as that of<br />
the telegraph engineers,<br />
<br />
Since the Encyclopedia article appeared there<br />
are shown in Mr. Greenwood’s book to be 1 52<br />
new libraries under the Act up to 1891. It is<br />
not unreasonable to suppose that there are now<br />
50 more started, and the number is increasing<br />
every year.<br />
<br />
There are therefore 604 libraries, including the<br />
technical, special, and dead libraries, in this<br />
country.<br />
<br />
But there is another consideration. Many of<br />
these libraries have affiliated to them branches.<br />
Thus Leeds is entered in the list as having one<br />
library ; but there are 33 branches. At Notting-<br />
ham there are 8; at Birmingham 6. Taking<br />
all the libraries together there are altogether<br />
118 branches, so that the total number of<br />
libraries at the present moment is 722, or deduct-<br />
ing the dead libraries and the technical libraries<br />
—say, 150—there remain 572 public libraries<br />
of books which are called general literature, new<br />
and old. There are, again, the school libraries,<br />
many of them large and growing collections ;<br />
Polytechnic libraries, also large and growing ;<br />
village libraries, generally small and too often<br />
controlled by the clergy; and there are the<br />
small collections found on board steamers,<br />
Still more remarkable are the returns from<br />
Australia and New Zealand. In the colony of<br />
Victoria alone there is one public library for<br />
every 4800 of population as against one in<br />
every 277,000 in the United Kingdom. Thus<br />
there are—<br />
<br />
In Victoria 314 public libraries, athenzeums,<br />
and mechanics’ institutes; in South Australia,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
135; in New South Wales, 150; in New Zealand,<br />
303; in Tasmania, 33; in South Africa, 64.<br />
<br />
In India there appear to be about six public<br />
libraries.<br />
<br />
In Canada there are six large public libraries, one<br />
with five branches, and a great number of small<br />
collections. That is, there are 1o11 public<br />
libraries in our colonies, without counting the<br />
small collections.<br />
<br />
But, if we include, as we must, the libraries of<br />
the United States of America, we must add 1686<br />
to our list.<br />
<br />
These libraries, deductions made as estimated<br />
above, are all growing, and all increasing their col-<br />
lections by yearly subsidies or rates. They are also<br />
yearly increasing in number, and in the number<br />
of their branches, and in activity. If, as seems<br />
probable, we shall before long equal Victoria in<br />
our proportion of libraries to population, or<br />
even if we get no nearer than to have one library<br />
for every 10,000 people, there will be 3700<br />
libraries in Great Britain and Ireland alone.<br />
To repeat, at the present moment there are<br />
in this country 722 libraries; in the colonies,<br />
IOII; or 1733 libraries in the British Empire.<br />
Taking in all the English-speaking countries, we<br />
have 3419 libraries, and the number is yearly and<br />
rapidly increasing.<br />
<br />
I said, speaking five or six years ago, that in<br />
fifty years’ time a popular edition in the English<br />
language would have such an audience as no<br />
writer in the world has ever before been able to<br />
command. A good deal of derision was poured<br />
upon this statement, which I have since repeated at<br />
every possible opportunity. The chief reasons of<br />
this derision are (1) the total ignorance in which<br />
many people live as to the extent—the vast<br />
extent—of the English-speaking race; (2) their<br />
inability to understand that London—the club<br />
end of London—is not the Empire, nor does it<br />
cover the whole area of the English-speaking race ;<br />
and (3) the mystery which has been kept up by<br />
interested persons as to the extent and nature of<br />
literary property. That extension of popularity<br />
which I predieted would come in fifty years has<br />
actually come upon us. If there exists at this<br />
moment a single man whose works are wanted by<br />
all the English-speaking people, there are more<br />
than 3400 libraries, all of whom will take his<br />
books, and many of them will take his books by<br />
the dozen.<br />
<br />
But it will be said, these are all novels. Not<br />
so. The following one day’s list is given by Mr.<br />
Greenwood—* Public Libraries,” p. 307 :—<br />
<br />
Taking the books somewhat in the order in which they<br />
are classified in the library, we find that in the department<br />
of philosophy, Spencer’s “ First Principles ” had been asked<br />
for three times on that particular day, while the same<br />
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THE AUTHOR. 445<br />
<br />
author’s “Ecclesiastical Institutions” had been consulted<br />
twice, and Aristotle’s “Moral Philosophy,” Spinoza’s<br />
Works, Martineau’s “Types of Ethical Theory,” and<br />
Lenormant’s “ Chaldean Magic ” were given out to students<br />
once.<br />
<br />
In religion, the only book consulted was Sayce’s “ Fresh<br />
Lights from the Ancient Monuments,” but this perhaps<br />
should be classed with Keighley’s “ Mythology of Ancient<br />
Greece’’ as antiquities.<br />
<br />
In politics and sociology, the books consulted were very<br />
varied. Sir C. Dilke’s ‘Present Position of European<br />
Politics” and the second volume of the same author’s<br />
“Problems of Greater Britain” were applied for, as well as<br />
Blount’s “‘ Ancient Tenures of Land,” Birkbeck’s “ Distribu-<br />
tion of Land in England,’ Smith’s “ Wealth of Nations,”<br />
and “ Five Years’ Penal Servitude, by one who endured it.”<br />
<br />
Books treating on languages, and educational works, were<br />
also sought after, as the following list will show—Craik’s<br />
“Manual of the English Language,” Hewitt’s “ Our Mother<br />
Tongue,’ Smith’s “French Principia,” Cassell’s ‘“ New<br />
Popular Educator ”’ (vol. 3), Colenso’s “ Arithmetic,” Tod-<br />
hunter’s “ Elements of Euclid” (twice), Pitman’s ‘‘ Manual of<br />
Phonography,”’ and Kingston’s “ Phonography in the Office.”<br />
<br />
The scientific works perused included Ganot’s “ Physics,”<br />
Quain’s “ Dictionary of Medicine,” Flower’s ‘‘ Nerves of the<br />
Human Body,’ Hospitalier’s “ Electricity,’ Urbanitzky’s<br />
“ Blectricity,”’ and “ Domestic Electricity for Amateurs.”<br />
<br />
The books dealing with useful arts consulted, were “ Notes<br />
on Building Construction ” (3 vols.), Tredgold’s “ Carpentry,”<br />
Barter’s “ Engineers’ Sketch Book,’ lLeno’s “ Boot and<br />
Shoemaking,” Cassell’s “Household Guide,” ‘‘ Amateur<br />
Work ” (2 vols.), and a volume of Cassell’s “ Work.”<br />
<br />
Only three art books were asked for on the day, these being<br />
Ruskin’s “ Stones of Venice,” Perrot and Chipiez’s “ Art in<br />
Ancient Egypt,” and Bishop’s “ Architecture of Greece and<br />
Italy.”<br />
<br />
The list of books consulted in the department of history<br />
and literature is somewhat longer, and contains Burke's<br />
Essays, “ Carlyle’s “ Critical Essays,” Adams’ “ Dictionary<br />
of English Literature,” Goethe and Schiller’s “ Correspon-<br />
dence” (2 vols.), Mrs. Browning’s Poems, Thomson’s (B.Y.)<br />
Poems (selections), Carlyle’s “ French Revolution ”’ (vol. 3),<br />
Lecky’s “ England” (vols. 7 and 8), Allen’s “ Battles of the<br />
British Navy,” Russell’s ‘“ Franco-German War.”<br />
<br />
In biography, Carlyle’s “‘ Oliver Cromwell’s Letters and<br />
Speeches,” Froude’s “Carlyle in London,” and Molloy’s<br />
“Peg Woffington”’ were needed.<br />
<br />
In travels, Caine’s ‘ Trip Round the World” and Baker’s<br />
Rifle and Hound in Ceylon” were the only two books asked<br />
for.<br />
<br />
In topography, Rye’s “History of Norfolk,” Philip’s<br />
“ Cyclist’s Map of Essex,” Cape’s “ Churches of London,’<br />
Dickens’s “Dictionary of Paris,’ the Rev. R. H. Davies’<br />
“ Chelsea Old Church,” and G. C. Davies, “ Norfolk Broads ”<br />
were sought after.<br />
<br />
In addition to the above fifty-eight works, the following<br />
were also consulted :—‘‘ Encyclopedia Britannica ” (vol. 24),<br />
“Portnightly Review” (2 vols.), Nineteenth Century ” (2<br />
vols.), ‘“ The Argosy” (2 vols.), Thackeray's “ Paris Sketch<br />
Book,” Barham’s “ Ingoldsby Legends,” Jackson’s “ History<br />
of the “Pictorial Press,” Reade’s ‘“ Literary Success,”<br />
Horwitz’s “Chess Studies,” and Blakston’s “ Tlustrated<br />
Book of the Canary.”<br />
<br />
I have elsewhere stated as my opinion that<br />
people—the mass of the people—those whom<br />
we regard as having no taste and no cultiva-<br />
tion, will always prefer good literature to<br />
bad. This opinion has also been derided, because<br />
<br />
it is not the conventional position. I have formed<br />
this opinion, however, not by taking other people’s<br />
opinions, but from observation, as close as<br />
possible, of the books asked for and read at a<br />
public library. The people will not read trash. If<br />
they ask for fiction it is good fiction—Marryatt,<br />
Scott, Dickens can hardly be called trash. They<br />
prefer fiction that has a good strong story, and<br />
for the sake of a good strong story they will not<br />
inquire too curiously into style. Still the fact<br />
remains that their favourites are for the most<br />
part the favourites of the more cultured class.<br />
But consider in the above list the books that are<br />
not fiction. Is there one bad book—one rubbishy<br />
book—one book that can be called “‘ trash” in the<br />
whole list? And if such a list is an average and<br />
a representative one, what are we to conclude,<br />
except that the demand of the people—the<br />
common people—for literature shows an eminently<br />
satisfactory standard ?<br />
<br />
Another point presents itself in this connection :<br />
that of the “risk” of which we hear so much.<br />
It is quite certain that every good book on every<br />
subject must find its way, sooner or later, to these<br />
libraries. The list which we have quoted shows<br />
this. Itisa list taken on a day chosen at hap-<br />
hazard in Chelsea Library. Every good book on<br />
every conceivable subject, except, perhaps, the<br />
higher mathematics and certain technical books,<br />
must find its way to these libraries. Every novel<br />
good enough to go into a cheap edition ; every poet<br />
who has made his voice heard and felt; every<br />
historian of any note; every biographer who has<br />
a life of interest to relate; every scientific man<br />
who can treat his science adequately ; writers on<br />
the medicines, art, physics, political and social<br />
economy, archeology, languages, education, every-<br />
thing.<br />
<br />
One branch is conspicuous for its absence<br />
from the list. It is the branch of criticism. The<br />
people do not care for critics. I think that the<br />
field open to the critics will always be small,<br />
because it is essentially occupied by men<br />
of the higher education only. Their work will<br />
also be ephemeral, because the subjects treated<br />
are necessarily themselves for the most part<br />
ephemeral. Therefore, while one does not expect<br />
critics to decrease in numbers, they will not very<br />
largely increase in popularity.<br />
<br />
Meantime, the main point is, that every good<br />
book can now command a circulation which<br />
ought, practically, to prohibit the danger of loss.<br />
Given the good book, there should be no risk.<br />
Given the readers able to distinguish a good<br />
book, there is a certain market open. And it<br />
would seem from the above, that the good reader<br />
is not so hard to find as the good — 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
446<br />
<br />
<br />
<br />
AN AUTHOR'S EXPERIENCES.<br />
<br />
<br />
<br />
E have received from one of our members,<br />
copies of all the correspondence that has<br />
passed between himself and his pub-<br />
<br />
lishers throughout some half-a-dozen or more<br />
publishing transactions. The papers have been<br />
sent by him to the Society in no complaining<br />
spirit, but in response to our standing invitation<br />
to our members to supply us with information<br />
derived from their own experiences. The more<br />
such information that we receive the more<br />
practically useful we are able to be. If we learn<br />
new things from any cases sent for our-considera-<br />
tion, our gain, as a Society—one of whose chief<br />
aims has always been “to learn the facts ”—is<br />
clear; but, if all the points of importance should<br />
be perfectly familiar to us—and we are proud to be<br />
able to say that this is becoming every day a<br />
more usual occurrence—it still strengthens our<br />
hand to have a multiplicity of evidence to the<br />
correctness of our statements and inferences. May<br />
we again impress on our readers that they will<br />
greatly oblige our executive officers, and greatly<br />
help to render the Society more useful to others<br />
and themselves, if they will take us as fully as<br />
possible into their confidence concerning their<br />
publishing transactions ?<br />
<br />
We propose to briefly narrate this author's<br />
experiences, as they are revealed in his communi-<br />
cation and his publishers’ letters, and to briefly<br />
comment upon them for the instruction of any<br />
Moe may happen to be in a similar position to<br />
<br />
im.<br />
<br />
(1) In the first place the publishers sent him an<br />
ink-sketch, and asked him to do them a small book,<br />
with the drawing as a text. They had some small<br />
experience of his work, and were not quite in the<br />
dark when they offered him £2 2s. for the MS.<br />
and £5 5s. if it was published. He accepted the<br />
offer and wrote the book, and the result from the<br />
pecuniary point of view should have been satis-<br />
factory to him to this extent, that he received at<br />
one time and another £14 14s., or exactly double<br />
the sum to which he was legally entitled. The<br />
aggregate of £14 14s. was made up in this way :—<br />
<br />
ommission, £2 2s,; cheques on account,<br />
respectively, for £3 3s., £3 38., £5 58., and £1 1s,<br />
There was no formal agreement, further than<br />
what was implied in the letters making and<br />
accepting the offer of £7 7s., and the terms of<br />
this implied contract were, as we see, and much<br />
to the author’s benefit, not kept. This was<br />
unbusinesslike, but perusal of the letters accom-<br />
panying the varions cheques on account reveals<br />
the curious fact that the publishers, who had<br />
<br />
THE AUTHOR.<br />
<br />
offered him commission, believed themselves to<br />
be issuing the book on the half-profit system,<br />
“Should there be any more little profit,” their<br />
manager writes to him, “TI shall, as before, gladly<br />
send you half.” And in another letter he says,<br />
“On ‘ *Isend you £2, and on ‘ ” there<br />
is up to date a final profit of £y, and of this, as<br />
before, I am glad to send you half.” * On the<br />
transaction we have nothing to say that is not<br />
complimentary to the publishers, who clearly<br />
performed a work of supererogation in trans-<br />
mitting the last £7 7s. to their client ; while, if<br />
the original commission was a small one, it was<br />
properly made, before that work was undertaken,<br />
and the author need not have accepted it. But<br />
the matter shows the attitude of both author and ‘<br />
publisher towards a piece of literary property to<br />
be very comic, although the sums concerned are<br />
so small that the comicality of their casual<br />
behaviour hardly appears with proper distinctness.<br />
<br />
(2) The next transaction was a small book,<br />
written at the same publishers’ request, containing<br />
about 30,000 words. For this the author re.<br />
ceived £5 5s. some few months after publication,<br />
because the publishers did “ not like him to go<br />
any longer without any remuneration ” (their own<br />
way of putting it), and rather less than a year<br />
later an intimation was received by the author.<br />
that the sales had closed. It does not exactly<br />
appear that the author knew what sum he was<br />
going to receive, and the publishers’ words almost<br />
imply that they had no very clear idea what they<br />
had intended to give. It turned out to be, as we<br />
have said, £5 5s. This can never be good pay—<br />
can, indeed, never be anything but very bad pay—<br />
for a MS. of 30,000 words, and it seems to us<br />
that the author might have thought twice about<br />
undertaking the work, if he had known exactly<br />
how little he was going to get out of it. That he<br />
knew he was going to be paid a sum for the task<br />
is certain, but the sum does not appear from the<br />
letters ever to have been mentioned. And he<br />
might have reasonably expected more, relying first<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
‘upon the precedent of having previously received<br />
<br />
£14 148. for a book of the same size, and, second,<br />
upon such hopeful words as these which we<br />
extract from the publishers’ letters. “I think<br />
” will move well, in fact that series is<br />
established in favour at the present; ” and again,<br />
in the same week, “ Up to a certain point they<br />
<br />
<br />
<br />
<br />
<br />
* These references in the publishers’ letters to some<br />
publication on the half-profit system may have reference<br />
not to this book but to one we speak of later [vide infra<br />
paragraph (3)]. In that case, being unable to explain the<br />
generosity of the publishers by the theory that they had<br />
forgotten that their own terms were “ commission,” and<br />
believed themselves to have published on the half-profit<br />
system, we frankly own that the matter is too hard for us,<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 447<br />
<br />
(the books of the series, that is,) will pay their<br />
way simply because they come in this series.”<br />
Here again this treatment of a piece of literary<br />
property by its owner is very comical, and would<br />
appear to all men as very comical if applied to<br />
any more tangible form of goods. The author<br />
simply transferred his book to the publishers to<br />
issue it on what terms they chose, and pay for it<br />
in the same irresponsible manner. Incidentally<br />
we learn, also, that the publishers’ risk in the<br />
matter is slender, as they can count upon a<br />
certain minimum sale. That this is usually the<br />
case is so obvious that we should not mention it,<br />
were it not that denial of the fact constitutes the<br />
chief argument in favour of the theory that the<br />
publishers’ business is nothing if not wildly<br />
speculative.<br />
<br />
(3) The author’s next venture, also, was under-<br />
taken without any definite agreement. His own<br />
words are, “I made no arrangements with the<br />
publishers, because they published on their own<br />
account.” The publishers’ explicit expressions<br />
with regard to their idea of the arrange-<br />
ment are as follows: ‘As the sale of ‘- :<br />
seems practically to have ceased for the present,<br />
I have thought it better to make up the account<br />
for the copies that may fairly be taken as sold<br />
up to date, and I am glad to find that there is a<br />
balance on the right side, the exact amount of<br />
profit being £9 2s. 6d. As this book was not<br />
undertaken for us in any way as a commission,<br />
we had better send you one-half this amount.<br />
So we accordingly inclose a cheque for<br />
£4 11s. 3d.” No compulsion in this matter, be it<br />
observed. They had “better send it” for con-<br />
science sake, or in equity—but there is no contract<br />
and the words would imply no legal obligation to<br />
send anything. Two further cheques arrived in<br />
the course of a twelve-month, for £2 5s. and<br />
£3 1s. 3d. respectively, the latter cheque being<br />
described as half the “up to date profit,’ and<br />
being arrived at by deducting the sum of £1 18s.<br />
from £4 19s. 3d., the admitted half share (to<br />
which little subtraction sum we shall have reason<br />
to refer later).<br />
<br />
This transaction is one that calls for most<br />
uncomplimentary observation, so that it is neces-<br />
sary to point out again that the author has<br />
communicated with us with no animus whatever,<br />
and that we do not for a moment believe, or in<br />
the least insinuate, that he has not received fair<br />
treatment. Our strictures are simply dictated<br />
by our knowledge that such loose methods of<br />
dealing with literary property as this case<br />
exhibits, have been and are the cause of all the<br />
serious troubles between author and publisher.<br />
First, why was the book published without some<br />
mutual arrangement as to the system under<br />
<br />
<br />
<br />
which it was to be published ? There can be no<br />
satisfactory answer to this question; but to<br />
reduce the position to its patent absurdity, we<br />
will fall back on the illustration with which<br />
readers of The Author must be familiar. If the<br />
author possessed a house, would he allow some-<br />
one else to occupy it, without inquiring if that<br />
person was going to buy it, or take it on a lease,<br />
or rent it only fora short term. More; would<br />
he not, having made certain of the system under<br />
which someone else was going to enjoy his pro-<br />
perty, ascertain exactly the price that he was to<br />
receive as owner of the property, be it for purchase<br />
of the freehold, for purchase of the lease, or as an<br />
annual consideration? Would he not be con-<br />
sidered culpably careless if he neglected such<br />
obvious procedure? Second, let us suppose that<br />
the author had gone through the form of saying<br />
“ Before I transfer my property, I should like to<br />
know what consideration I am going to obtain,”<br />
and that the publishers had suggested, in answer<br />
to his queries, that the book should be issued on<br />
the half-profit system, instead of assuming, as<br />
they did in this case, that whatever sum good<br />
enough for them was good enough for the author ;<br />
supposing all this, there would still remain the<br />
fact that every objection that can be urged<br />
against the highly objectionable half-profit system<br />
in general, can be urged against the particular<br />
method in which this book was published. The<br />
agreement consists of the publishers’ words<br />
“we had better send you one half,” not “we<br />
owe one half, and so we send it.” How can<br />
the author know that he has received his<br />
share, in consideration for which he has never<br />
contracted to hand over his book? What<br />
did the book cost to produce? How many<br />
copies were printed? How many were bound ?<br />
How many were sold? How many remain<br />
on sale or return? How much did the ad-<br />
vertisements cost? Until the author knows<br />
—knows by the demonstration of vouchers, not<br />
by the assertion of an interested party—all these<br />
things, he cannot know that he has received his<br />
share, for which, as we must again repeat, he has<br />
never offered to hand over his book. It is, we<br />
know, often very difficult for an author to under-<br />
stand these business details, and it is because there<br />
are some few legitimate and many illegitimate<br />
objections, from the publisher’s point of view, to<br />
making them clear to him, that the half-profit<br />
system stands revealed as a bad one, well meriting<br />
the disuse into which it has fallen. Hither it<br />
leaves in the hands of one partner the power to<br />
cheat the other without reserve and without fear<br />
of detection, or it compels the other to double<br />
the part of author and publisher, that he may<br />
know that he has not been cheated. What tittle<br />
<br />
SS<br />
<br />
<br />
<br />
<br />
448<br />
<br />
<br />
<br />
of proof has the author had, in the transaction<br />
that we are considering, that the net profits were<br />
double, exactly double, and no more than double,<br />
the sum that he has received ? None, of course ;<br />
and there is the fault of the system. But when<br />
the system is thrust upon the author, without his<br />
being invited to say whether he likes it or no, his<br />
self-constituted partners should be very careful<br />
to furnish every proof of their probity.<br />
<br />
(4) Then came a little plunge into verse. It<br />
was a very little plunge, and was taken upon “ the<br />
profit and loss system,’ defined as follows by the<br />
publishers, in a letter :—‘‘ Have you enough faith<br />
in it (your work) to go equal shares, whether<br />
profit or loss? If so, we will with pleasure do the<br />
same,” say they. And they inform him that the<br />
total risk of loss will be limited to £5—£2 ros.<br />
his, and £2 10s. theirs. Incidentally we learn<br />
that the resulting loss was £3 16s.—£1 18s. each,<br />
because, in sending a cheque for the last and<br />
final half of the profit of the book alluded to in<br />
paragraph (3), £1 18s. is deducted from it, for<br />
loss on the production of the verse. Here, again,<br />
though the affair isa very small matter, we are<br />
bound to make severe observations upon it. The<br />
publisher who writes for the firm says: “So far<br />
as my experience goes, I think it extremely pro-<br />
bable that there will be a loss upon the verses,<br />
but I think they ought to appear in print, irre-<br />
spective of pecuniary considerations.” That is<br />
very handsome indeed. The publisher seems to<br />
have known that he was going to lose his money,<br />
yet he advises that the issue shall take place. It<br />
is not usual for business men, for publishers any<br />
more than for others, to voluntarily enter upon a<br />
transaction, believing that it will entail loss; so<br />
that the necessity under which the publisher lies<br />
of proving that he has lost his money is urgent,<br />
not only because his partner ought to be as well<br />
informed as himself of the right to deduct that<br />
£1 18s., but because the publisher’s position<br />
requires explanation before it can be understood<br />
upon ordinary commercial principles. That<br />
explanation should take the following form :—<br />
(a) He must show exactly how much he expended<br />
upon production and advertisement. (6) He<br />
must show exactly how many copies he has sold,<br />
arrived at by deducting the number of copies in<br />
stock from the number originally printed. (c)<br />
. If any copies are out on sale or return, or have<br />
been given away for review purposes, he must<br />
mention the exact number, if he wishes to be<br />
exempted from paying upon them. (d)-It would<br />
strengthen his position if he could show that he<br />
expected to make a large profit on his outlay, if<br />
he made anything at all; for there would be a<br />
good commercial reason for his behaviour. He<br />
<br />
would then become evident as having gone into<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
the matter as a little “ flutter,” risking his 50s. and<br />
expecting to lose it, but seeing his way to make<br />
fifty pounds—say—if he pulled off a twenty-to-one<br />
chance. This point should be made clear by<br />
consideration of the cost of production in relation<br />
to the number of copies printed and their sellin<br />
price; but, so far from being made clear, the<br />
publisher’s account shrouds the affair in mystery.<br />
There are 250 copies only mentioned as having<br />
been composed, worked, pressed, stitched, and<br />
advertised, at a cost of £3 13s. 6d.; the selling<br />
price is put down as 14d., and the loss, sales<br />
being very scanty, at £3 10s. gd. So that we<br />
have this position under the publisher’s state-<br />
ment: If the whole edition printed (less seventeen<br />
copies stated in the account to have been sent to<br />
author and reviews) had sold, it would only haye<br />
realised £1 os. g3d. That is to say—the best<br />
possible result for author and publisher, supposing<br />
the cost of production to have been really<br />
£3 138. 6d., would be a joint loss of £2 12s. 81d.—<br />
the cost of production less the result of a complete<br />
sale. Can these figures be right? If so, we find<br />
a business man investing £1 16s. gd. (and ex-<br />
pressing his belief that he will lose it), on the<br />
chance of only losing £1 6s. 44d., and with no<br />
possible chance of gaining anything whatever!<br />
The author might do this, for he might consider<br />
the sight of his verses in print a fair equivalent<br />
for his outlay, but what is the publisher doing in<br />
such a galley? It is incumbent upon the<br />
publisher to show that £3 13s. 6d was spent<br />
upon producing the verses, and not some much<br />
less sum. For consider the intolerable position<br />
in which his firm is placed, if it should be<br />
suggested that the production only cost them<br />
£1, while they have received £1 18s. as their<br />
share of the joint loss. Also, how can £1 18s.<br />
be due to them? Their own figures give<br />
£3 10s. gd. as the loss, and the half of this is<br />
£1 15s. 43d. We must repeat that the account<br />
is very mysterious.<br />
<br />
The rest of the author’s transactions with these<br />
publishers call for no further comment. They<br />
were all commission work, aud the pay, if small,<br />
seems to have been fairly offered beforehand ‘on<br />
the “ take it or leave it” principle, and the author<br />
elected to take it.<br />
<br />
The next and last of his experiences has also<br />
points worthy of consideration.<br />
<br />
(5}. A new publisher accepted the author’s<br />
MS., offering him at once a royalty of 2d. in the<br />
shilling «n all copies sold,* which, under the<br />
circumstances, was by no means a bad offer. It<br />
<br />
<br />
<br />
* That is to say of a royalty of a little over 16 per cent.<br />
For the real meaning of these terms vide— The Methods<br />
of Publishing,” 2nd edit., p 60, and The Author, vol. IL.,<br />
p. 162.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 449<br />
<br />
was qualified immediately afterwards, however,<br />
to enable the publisher, at less risk to himself, to<br />
“try an experiment with the book and illustrate<br />
it with silhouettes. ‘ What I propose,”<br />
he says, ‘is that I should about pay myself for<br />
the production ot these, before I pay you your<br />
commission. If you agree therefore that I should<br />
have a sale of 3000 before paying anything to you<br />
I shall be quite satisfied.” Two things will strike<br />
everyone at once: First, that as it was the pub-<br />
lisher’s “ experiment,” and was made presumably<br />
from the rational point of view of increasing the<br />
chances of sale, the publisher should have taken<br />
the risk of its failure, and not the author: Second,<br />
that no proof is given of the j ustice of selling<br />
3000 copies commission free. Why 3000? Why<br />
not 30,000F Why not 3007 3000 copies of a<br />
book selling at the nominal price of one shilling<br />
would bring in £100. Does the publisher mean<br />
that it will cost him £100 to reproduce the<br />
silhouettes? Or that they will cost him the £25<br />
of which he proposes to maulct the author by<br />
suppressing the royalty on 3000 copies? Or does<br />
be mean that £100 will publish the book; be-<br />
cause that is perhaps the truth of the matter.<br />
He says “ about pay myself for the production of<br />
these (meaning the silhouettes),” but in reality<br />
the proposal is to recoup himself entirely for the<br />
production of the whole book before paying the<br />
author anytbing. This principle of deferred<br />
royalties not only spoils the merit of a royalty<br />
offer, but imports into the royalty system all the<br />
evils of the half-profit system, to which we have<br />
alluded above. How can an author judge of the<br />
fairness of a proposal to withhold the commission<br />
until a certain number of copies be sold, unless he<br />
knows the expense to which the publisher is going<br />
to be put—unless, that is, he can double the part<br />
of author and publisher?<br />
<br />
The author, in this particular case, made no<br />
money at all out of the book, which did not sell.<br />
He can comfort himself, if he is a selfish man, by<br />
the thought that the comparative failure of the<br />
book concerns not him chiefly, but the publisher.<br />
He never could have made much money out of the<br />
book, A sale of 3000 copies about marks the<br />
limit of the success to which such a book attains,<br />
and on the first 3000 copies he was, by arrange-<br />
ment, to get nothing. If his book had achieved w<br />
success equivalent to some 30 per cent. higher<br />
than what he could fairly anticipate, and 4000<br />
copies had been sold, he would theu only have got<br />
out of it £8 6s.8d. In this connection we should<br />
much like to know how many copies were printed.<br />
Tt seems to us possible that no more than 3000<br />
were ever prepared, that is, that from the first it<br />
was intended that the author should get nothing<br />
at all<br />
<br />
<br />
<br />
The merits of the half-profit system have<br />
received frequent attention in these pages, and<br />
the advisability of having an agreement before<br />
publishing and of understanding its terms have<br />
been sufficiently insisted upon. We have ex-<br />
plained in the ‘Author and in the Society’s hand-<br />
books the true meaning of a royalty of 2d. in the<br />
shilling; and arithmetic, coupled with the know-<br />
ledge that 3000 copies is a very respectable circu-<br />
lation for a still unknown author, will enable any-<br />
one to see how very uusatisfactory to such man the<br />
result of deferring the payment of his royalties<br />
till 3000 copies have been sold, is likely to be.<br />
We need therefore make but one more comment<br />
upon this author’s experiences. It will be noticed<br />
that in each case the sums involved are very<br />
small. It is probable that this may make our<br />
serious tone towards the irregularities that have<br />
occurred appear misplaced, and possible that it<br />
may have been the cause of the disrespectful<br />
behaviour of both author and publishers towards<br />
the author’s property. But, to judge of the<br />
sanctity of property by its size would not be con-<br />
sidered wise in other walks of life. Does a man<br />
consider his collar-stud less his own than his<br />
watch? Is it permitted to us to remove our<br />
neighbours’ landmark a foot or two and remain<br />
venial offenders? Must we annex an acre before<br />
we fall under the ban of the Commination<br />
Service P<br />
<br />
<br />
<br />
pe<br />
<br />
<br />
<br />
CORRESPONDENCE.<br />
<br />
=<br />
<br />
E<br />
New AUTHORS.<br />
<br />
N reply to your remarks on my letter con-<br />
| cerning “the publication of new books by<br />
new and unknown authors,” I meant it to<br />
be inferred from the 8th paragraph of my letter,<br />
that the method would be supported by subscrip-<br />
tions from the publishers, instead of each paying<br />
<br />
his own reader.<br />
<br />
The publisher would in this case have no<br />
reader of his own, so that what you suggest as<br />
possible, at the end of your note, could not<br />
happen.<br />
<br />
T meant also that, under this plan, the author<br />
should pay no fee for having a work read, for 5<br />
had in mind only the getting an admittedly meri-<br />
torious work published—a quick means of a good<br />
work finding a publisher, instead of wandering<br />
round and round after one. a<br />
<br />
Should an author want an instructive opinion,<br />
such as he now obtains from the Society, let him<br />
still have to pay a guinea for it.<br />
<br />
Seat Sa<br />
<br />
ssa eames<br />
<br />
<br />
<br />
<br />
450 THE<br />
<br />
<br />
<br />
The criticism of an author’s MS. is a depart-<br />
ment of work entirely distinct from that which I<br />
suggested that the Society should initiate, but so<br />
intimately connected with it that I look upon the<br />
reading branch of the Society—because it had its<br />
origin in the Society of Authors—as simply a first<br />
step, which must inevitably lead to the accom-<br />
plishment of the other scheme.<br />
<br />
Husert Hass,<br />
<br />
28, Bassett-road, North Kensington,<br />
<br />
London, W.<br />
<br />
<br />
<br />
<br />
<br />
I,<br />
ATTACK AND DEFENCE.<br />
<br />
In the dispute under the above heading in the<br />
April number of the Author, the critic certainly<br />
seems to make out the better case ; but I defy the<br />
reviewer of the Academy to justify in the same<br />
fashion most of his remarks on my last book.<br />
<br />
This gentleman says: “A young lady spends<br />
the night on a snowy mountain top in company<br />
with an injured gentleman. The heroism she<br />
displays prompts him to make an immediate<br />
proposal of marriage, but no sooner has the<br />
ceremony taken place than the bridegroom dies.”<br />
<br />
In the book the gentleman here spoken of does<br />
not propose to the young lady at any time, being<br />
a most respectable member of the community,<br />
provided already with a wife and grown up<br />
family of his own. When the lady does marry,<br />
her husband survives the ceremony by two years<br />
and a half.<br />
<br />
The reviewer says: “These two gentlemen<br />
have borne a by no means faultless character ;<br />
for while the younger has knowingly married<br />
somebody else’s wife. 2<br />
<br />
In the book the gentleman alluded to knows<br />
nothing of his wife’s previous marriage until<br />
after the birth of their child.<br />
<br />
The reviewer says : ‘“ Besides (sic) these two the<br />
villain of the piece shines comparatively brightly.<br />
His only fault was having deceived a girl in<br />
India ”+—there is no mention in the book of a girl<br />
in India—“ who, when she found him out, poisoned<br />
herself, though he offered her marriage.”<br />
<br />
This is the cruellest lie of all; because it is<br />
built up on a substratum of truth. “The<br />
villain’s” offer of marriage is made, but to the<br />
girl’s father ; and she poisons herself before her<br />
father’s return from the interview with her<br />
seducer, while she is yet in ignorance of his offer<br />
to marry her.<br />
<br />
Under these circumstances what ground has the<br />
reviewer for the implied sarcasm in the sentence<br />
—‘poisoned herself though he offered her<br />
marriage ”’ ?<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
In very truth we minor novelists commit, and<br />
have to answer for, quite enough blunders of our<br />
own without being also made responsible for the<br />
feeble aberrations of such a one as this—a person<br />
who is too indifferent or too incompetent, or—as<br />
you, Mr. Editor, point out—too ill-paid, to dis-<br />
charge the duties of his calling with fairness<br />
either to his employer or to us. Unfortunately,<br />
from whatever cause his inaccuracies proceed, the<br />
result to me is the same—a review by so many<br />
specified items worse than the book deserves.<br />
<br />
While reviewers are under discussion, I have<br />
something to add on the subject of contradictory<br />
reviews. Do not all, or nearly all, authors go<br />
through this experience, with almost every book<br />
they put before the public ?<br />
<br />
Here are three specimens of flat contradiction<br />
taken from first-class papers :<br />
<br />
“The tone of the book is “ The author has a healthy<br />
scarcely a healthy one.” belief in human nature, which<br />
<br />
contrasts pleasantly with<br />
the pessimistic views more<br />
<br />
general with present day<br />
novelists.”<br />
<br />
“There is a deep pathos<br />
here and there, and a truly<br />
touching human interest at<br />
every turn.”<br />
<br />
“The story is as devoid<br />
of expression as a plank of<br />
timber.”’<br />
<br />
“Has no feature to dis-<br />
tinguish it from the ordinary<br />
fourth-rate novel, unless,<br />
indeed, its extraordinary<br />
confusion may count for<br />
one.”<br />
<br />
After this, one is almost driven to believe that<br />
these gentlemen are continually engaged among<br />
themselves in a sly game of intellectual skittles,<br />
in which the ninepins are represented by the<br />
rank and file of the literary fraternity—set up in<br />
fair order by the fellows at one end. to be bowled<br />
over by the players at the other. A delightful<br />
pastime for everybody concerned—barring the<br />
ninepins. C. L.<br />
<br />
“ The plot is intricate yet<br />
never obscure The<br />
work of a competent writer.”<br />
<br />
<br />
<br />
III.<br />
A COINCIDENCE.<br />
<br />
My attention has just been called to the fol-<br />
lowing paragraph in the April number of the<br />
Author :—“ Here is a case of coincidence. Inthe<br />
Author of last monthappeareda story of a daughter<br />
bringing by her own efforts and genius success to<br />
the father who could not command it. It was a<br />
literary success. In June of last year there<br />
<br />
appeared in the Lastern and Western Gazette a<br />
story by Mrs. Edmonds called ‘The Painter’s<br />
Daughter,’ in which the daughter gives secretly<br />
to her father’s picture the touches and the colour<br />
which transform it from a failure to a success<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 451<br />
<br />
The treatment of the two stories is different;<br />
there is nothing similar except the motif, and that<br />
ig the same in both. The author of ‘The<br />
Painter’s Daughter’ is anxious to say that she<br />
does not for one moment insinuate or suspect any<br />
plagiarism. It is a coincidence, and, as such, it<br />
deserves to be recorded.”<br />
<br />
While agreeing with your remarks as to the<br />
“eoincidence,” I am constrained to ask you to<br />
be kind enough to correct an error.<br />
<br />
The story referred to, “ A Painser’s Daughter,”<br />
by Mrs. Edmonds, appeared in the June number<br />
of the Eastern and Western Review, which,<br />
doubtless by some inadvertence, you have referred<br />
to as the Eastern and Western Gazette. I think<br />
it right to call attention to this, and to ask you<br />
to do me the favour of inserting this letter in the<br />
next issue of the Author.<br />
<br />
I have the honour to be,<br />
Your faithful servant,<br />
H. AntHony SALOME<br />
(Editor Eastern and Western Review.)<br />
LN<br />
Prompt PaYMENT.<br />
<br />
Whilst on this subject, would it not be well<br />
to discuss publisher’s methods of payment ?<br />
<br />
I have had considerable experience in_ this<br />
matter, having published with eleven different<br />
firms—and with almost all, there has been a<br />
difficulty as to the date of payment—the most<br />
favourable terms (with one exception), being one<br />
half the amount paid on receipt of the MS, and<br />
the other half on publication—which I know, to<br />
my cost, may be postponed indefinitely.<br />
<br />
The one exception is ‘‘ The Leadenhall Press,”<br />
whose cheque for the whole amount agreed on, is,<br />
I have always found (and I believe it is their<br />
rule), ready on the MS. being finished and handed<br />
over. A ScriBBLER.<br />
<br />
————— =<br />
<br />
V.<br />
<br />
Tar VALUE or Criticism TO BEGINNERS.<br />
<br />
Some time ago I wrote an essay called<br />
“ Doctors: by a Pessimist,’’ and sent it, with<br />
others, to the Secretary of the Society, for criti-<br />
cisim. Tle reply came in due course, and to my<br />
horror I found that what I considered to be a<br />
smart piece of writing was scathingly condemned.<br />
My critic, however, did not stop short at con-<br />
demnation, but took some trouble to indicate<br />
lines for alteration and amendment. I laid the<br />
advice to heart, pondered over the reproof, and<br />
re-wrote the paper ab initio. In its original form<br />
it had been “returned with thanks” several<br />
<br />
times; but now, at the first attempt, second<br />
series, I rejoice to say, it has found favour—<br />
with—mirabile dictu—the editor of a medical<br />
journal !<br />
<br />
I believe some people question the advantage<br />
of belonging to the Society of Authors; but here<br />
is a proof positive that, in my case at least, the<br />
value, in a pecuniary sense, is very great indeed.<br />
I could easily adduce other instances in which I<br />
have derived benefit from my membership, but<br />
this one will suffice. Hk. G.<br />
<br />
<br />
<br />
VI.<br />
Youna WRITERS.<br />
<br />
The Author wants to know how it can help<br />
young writers. There is a way. Is it practic-<br />
able? Not long ago an Idler said that whenever<br />
he wanted to feel warm he looked at his old<br />
MSS. He found there certain heat-giving<br />
properties. Many young writers would lke to<br />
know what these properties are. More than<br />
that, where the successful writer stumbled.<br />
Could not this be done in a series of paragraphs<br />
appearing each month in the Author? There<br />
are numerous pit-falls; would it be too much to<br />
ask well-known members of the society to lay<br />
some of them bare? ‘Those that they are<br />
personally acquainted with. A paragraph a<br />
month would not be a great call on a writer’s<br />
time. It would be—if practicable—an unselfish<br />
act, and these paragraphs would become to the<br />
young writer an invaluable literary chart. There<br />
is no map of the country at present. The pars<br />
could be headed ‘‘ Where I was Wrong.”<br />
<br />
A MEMBER.<br />
<br />
VII.<br />
DrEAMS.<br />
<br />
Coleridge and others are said to have com-<br />
posed poems in their sleep. This, very likely,<br />
is true, but let not everyone who may dream he is<br />
a poet expect to find confirmation thereof when<br />
he awakes. I myself do not remember ever having<br />
dreamt in verse, but it has frequently occurred<br />
to me to imagine in my sleep that I was giving<br />
expression to sentiments and ideas that, if<br />
collated, should astonish the world by reason of<br />
their depth and lucidity. . Last night I suddenly<br />
awoke with a distinct recollection of a sentence<br />
that seemed to me so majestic and full of mean-<br />
ing that I reached forth my hand in the dark,<br />
found a pencil, and then and there wrote it down.<br />
Here it is:—<br />
<br />
“ Tt was found that the bottom was dry. Talk was talk.”<br />
<br />
Tenclose the original for your edification ; and<br />
regret to add that I have not the remotest idea of<br />
<br />
ssc<br />
<br />
<br />
<br />
<br />
452<br />
<br />
<br />
<br />
what the context of this dreamland sentence was.<br />
As it stands, sermons might be preached on it,<br />
or essays written; but intrinsically I fear it can<br />
<br />
<br />
<br />
<br />
<br />
only be classed as—nonsense. H. RB. G.<br />
— —<br />
FROM THE PAPERS.<br />
i :<br />
LItERATURE AT THE CoLuMBIAN ExposiITion.<br />
I<br />
<br />
ITERATURE will be represented at the<br />
Columbian Exposition in two distinct<br />
ways. First there will be the exhibit of<br />
<br />
books and libraries in the Liberal Arts Depart-<br />
ment of the Exposition proper at Jackson Park—<br />
an exhibit to be made up chiefly of consignments<br />
from the various publishers, whose applications<br />
for space evince a very general interest in the<br />
matter, and give promise of an attractive and<br />
worthy display. Of far greater importance to<br />
the interests of literature, however, will be the<br />
series of conferences, or congresses, to be held in<br />
July in the Memorial Art Building near the<br />
heart of the city, as a part of the programme<br />
planned by the World’s Congress Auxiliary, an<br />
outline of whose grand and comprehensive work<br />
was given in the Dial for Dec. 16 last. It is the<br />
present intention to have these literary con-<br />
gresses begin on July 10, one week in advance of<br />
the educational congresses, as many visitors may<br />
wish to attend meetings in both of these depart-<br />
ments. By using the several audience-rooms<br />
that will be provided in the Art Building, the<br />
meetings of different sections may be held<br />
simultaneously, and thus the work of the con-<br />
gresses be greatly expedited.<br />
<br />
The general department of literature, as we<br />
have already explained, has been made to include,<br />
besides literature proper as represented by<br />
authors and their interests, sections devoted to<br />
philology and history, and to libraries. In each<br />
of the three last-named sections plans are to<br />
be formed and programmes provided, as far as<br />
possible, in cooperation with existing national<br />
organisations—such as the Modern Language and<br />
Oriental Societies, the Historical Society, and the<br />
Librarians’ Association—some or all of which<br />
have already decided to hold their annual<br />
meetings for this year in Chicago, as a part of<br />
the proceedings of the auxiliary congresses. In<br />
the plans for a congress of authors, the same<br />
policy will, as far as practicable, be pursued,<br />
and the work carried on by the local c mmittees<br />
in conjunction with, or at least in consultation<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
with, the representative societies of men of<br />
letters, such as the American Copyright League,<br />
the Authors’ Club of New York, and the London<br />
Society of Authors. The drift of discussion will<br />
thus naturally tend, at least in the beginning,<br />
towards those subjects most nearly related to the<br />
interests of authors in their profession: the<br />
rights of literary property, copyright laws,<br />
national and international, the relations between<br />
authors and publishers, &c. An international<br />
conference on the laws of literary property is<br />
among the probabilities of the Authors’ Congress,<br />
and may be an occasion of very great interest<br />
and tenefit. A number of prominent authors, at<br />
home and abroad, have cordially approved the<br />
general purposes of the congress, and, in response<br />
to the request of the local committee, have offered<br />
valuable suggestions as to the practical measures<br />
to be adopted. Mr. Walter Besant, late chairman<br />
of the London Society of Authors, has written<br />
that he will attend the congress as the delegate<br />
of his society, and will submit a paper by himself<br />
on some of the questions raised, from an English<br />
point of view. The Hon. James Bryce, M.P.,<br />
has given some timely counsel and furnished<br />
some excellent additions to the list of topics to be<br />
discussed. Royalty, in the person of King Oscar<br />
of Sweden-Norway, acknowledges recognition as<br />
a man of letters by expressing through his<br />
secietary his “warmest wishes for the Congress<br />
of Authors and for the results of its labours, as<br />
everything that will forward the dignity and<br />
welfare of the literary calling deeply interests<br />
His Majesty.” In this country much valuable<br />
assistance has been rendered by Mr. E. C.<br />
Stedman, the president of the American Copy-<br />
right League, and by Mr. R. U. Johnson, its<br />
secretary ; also by Mr. R. W. Gilder and others.<br />
<br />
While the plans thus far formed for the<br />
Congress of Authors relate principally to subjects<br />
of professional rather than of general literary<br />
interest, the latter should not and need not be<br />
lost sight of. Such topics as the relation of<br />
dramatic and musical copyright to literary copy-<br />
right, the teaching of literature in the schools<br />
and colleges, current modes and standards of<br />
literary criticism, literature and the newspapers,<br />
perhaps even the moral purpose in literature,<br />
might be discussed with profit not only to the<br />
writers of books but to the readers of them, and<br />
with the result of greatly broadening the interest<br />
and influence of the literary congresses.—The<br />
Chicago Dial.<br />
<br />
II.<br />
The plans for the Literary Congress, which<br />
will begin on July 10, have not yet assumed<br />
definite shape, but the prospect for an interesting<br />
week is encouraging. The subjects suggested<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 459<br />
<br />
for discussion are divided into four classes—<br />
aspects of literature, problems of the literary<br />
calling, the rights of literary property, and<br />
American literature. Under the first head are<br />
included such subdivisions as “Standards of<br />
Literary Criticism,” “ Literature and the News-<br />
papers,” “ Realism” and “ The Moral Purpose in<br />
Literature”; the second deals mainly with<br />
methods of publishing, and the third with<br />
different aspects of-copynght. There are also<br />
schemes afloat for authors’ readings in connec-<br />
tion with this Congress. The members of the<br />
Chicago committee of organisation are Francis F.<br />
Browne, editor of the Dial, who is chairman ;<br />
George E. Woodberry, Franklin H. Head, Joseph<br />
Kirkland, and David Swing. A committee of<br />
co-operation, with headquarters in New York,<br />
was also appointed, and of this Dr. Oliver<br />
Wendell Holmes is chairman, and George EK.<br />
Woodberry secretary. It members are Edmund<br />
C. Stedman, Charles Eliot Norton, Charles<br />
Dudley Warner, William Dean Howells, Col.<br />
1’. W. Higginson, Dr. H. H. Furness, Richard<br />
Watson Gilder, Thomas Bailey Aldrich, George<br />
W. Gable, Maurice Thompson, Thomas Nelson<br />
Page, Frank Dempster Sherman, and Prof.<br />
Hjalmar H. Boyesen. With such men enlisted<br />
in its service, the literary congress should cer-<br />
tainly evolve something original and vital in the<br />
way of discussions.—New York Critic.<br />
<br />
————<br />
<br />
EL<br />
Tur Rotiep MS.<br />
<br />
“Tye read,” said an editor toa writer in the<br />
New York Times, ‘ hundreds of rolled manu-<br />
scripts, and I never yet have found one that I<br />
cared to print. I have decided that the stupidity<br />
which rolls a manuscript cannot produce anything<br />
worth reading.” A rolled MS. is a desperate<br />
thing, but there is another that is almost worse—<br />
the one that comes to you with the last page on<br />
top and the first page at the bottom. A MS. was<br />
once sent to me arranged in this careless manner.<br />
There were five or six hundred pages of it. Do<br />
you know what I did with it? I sent it back to<br />
the author with a note in which I advised him<br />
before he sent that MS. further on its travels to<br />
show sufficient interest in it to arrange the pages<br />
properly. I hope for his sake that he acted upon<br />
my advice. If he did not, I doubt that his tale<br />
ever got a hearing. Life is too short for the<br />
important things to be done as they should be,<br />
and it never could be long enough for one not<br />
only to do his own work properly, but to rectify<br />
the careless work of others. A rolled MS. shows<br />
a thoughtless writer, but a MS. arranged back-<br />
wards shows a carelessness that is insulting to the<br />
<br />
person to whom it is sent, and argues ill for the<br />
intelligence of the writer. An attractive-looking<br />
manuscript goes a long way towards winning the<br />
favour of the “reader.” Even if refused, it is<br />
refused with genuine regret; but a “ reader’’ is<br />
only too glad to find the carelessly-prepared<br />
MS. as worthless as it looks. I have always<br />
admired the patience that induced Mr. George<br />
Haven Putnam to read the MS. of “The Leaven-<br />
worth Case,” for it was carelessly written in lead-<br />
pencil on common paper, and by an author then<br />
unknown. But he had his reward.—New York<br />
Critic.<br />
<br />
SS<br />
<br />
TLE.<br />
An AMERICAN PATERNOSTER Row.<br />
<br />
Fifth Avenue below Twenty -third-street in<br />
New York is rapidly becoming the American<br />
Paternoster-row. Beginning at the lower end<br />
we find Macmillan and Co., laying the founda-<br />
tion stone of a fine building on the avenue<br />
just below Thirteenth-street; C. L. Webster<br />
and Co., W. B. Harison, Brandus and Co.,<br />
and the New York offices of Ginn and Co.,<br />
and Leach, Shewell, and Sanborn are in the<br />
same neighbourhood. Further up, at No. 112,<br />
near Sixteenth-street, we find the New York<br />
offices and warerooms of Fleming H. Revell and<br />
Company, who have just removed to that point ;<br />
at No. 114, the handsome new store of James<br />
Pott and Co.; at No. 150, on the corner of<br />
Twentieth-street, the handsome building of the<br />
Methodist Book Concern with Hunt and Eaton’s<br />
handsome book store, and the Tnternational Bible<br />
Company, and at No. 182, near Twenty-third-<br />
street, the publishing-house of Anson D. F.<br />
Randolph and Co., with its attractive and well-<br />
stocked retail department.<br />
<br />
On the side streets of the avenue, running<br />
across to Union-square, we find on Tenth-street<br />
William Wood and Co., A. CG. Armstrong and<br />
Son, John Wiley and Son, the University Pub-<br />
lishing Company, Lovell, Coryell, and_ Co., the<br />
New York office of L. Prang and Co., Maynard,<br />
Merrill, and Co., and Fords, Howard, and Hulbert.<br />
On Twelfth-street, Ward, Lock, Bowden, and<br />
Co. On Fourteenth-street Thomas Y. Crowell<br />
and Co., A. Lovell and Co., J. A. Boll: and Co.,<br />
J. W. Shermerhorn and Co., D. C. Heath and<br />
Co., and Isaac Pitman and Son. On Sixteenth-<br />
street, Longmans, Green, and Co. the United<br />
States Book Company, and the New York office<br />
of the John Church Company. On Seventeenth-<br />
street, the Century Company, Thomas Nelson<br />
and Sons, Tait, Sons, and Co., Brentano’s (who<br />
will be at the corner of Sixteenth-street and<br />
Union-square, West, in a couple of weeks),<br />
<br />
ee<br />
<br />
<br />
454<br />
<br />
Breitkopf and Hartel, Novello, Ewer, and Co.,<br />
the New York office of Houghton, Mifflin, and<br />
Co., the Catholic Publication Society, and Rich-<br />
mond and Croscup. On _ Eighteenth-street,<br />
McLoughlin Brothers. On Nineteenth-street,<br />
Dodd, Mead, and Co. On Twenty-first-street,<br />
Fowler and Wells Company, M. L. Holbrook,<br />
and George M. Allen and Co. On Twenty-second-<br />
street, the Reformed Church Board, and on<br />
Twenty-third-street, west of the avenue, Geo. P.<br />
Putnam’s Sons, Henry Holt and Co., E. P. Dutton<br />
and Co., Fred. A. Stokes Co., G. W. Dillingham,<br />
Wm. J. Kelly, Town Topics Publishing Company,<br />
and H. 8. Werner. Several other houses are now<br />
looking for quarters in this circle, and additions<br />
to the above list may be expected about the first<br />
of May next.<br />
<br />
Besides those mentioned are the publishing<br />
offices of The Judge, Frank Leslie's, &c., and<br />
Mrs. Leslie’s own publications, The Forum. North<br />
American Review, Town Topics, Truth, and The<br />
Cosmopolitan. On Union-square, West, or one<br />
block from Fifth Avenue, are the publishing-<br />
offices and retail stores of Wm. A. Pond and Co.,<br />
G. Schirmer, R. A. Saalfield, and Edward<br />
Schuberth and Co., publishers and importers of<br />
music. Art is represented by Charles Klackner,<br />
George M. Allen Company, Jellineck and Jacob-<br />
son, Geo. F. Kelly and Co., and Radtke,<br />
Lauckner, and Co.— Publishers’ Weekly.<br />
<br />
<br />
<br />
IV.<br />
DepIcatTions.<br />
<br />
A writer in the Author lately exhorted modern<br />
authors to revert to the ancient custom of<br />
dedications. Mr. Watson did not need the<br />
exhortation. His present, like his former volumes,<br />
have dedications. “To Arthur Christopher<br />
Benson I commend this prince-errant of my<br />
half-fledged fancy, with full confidence in the<br />
hospitality of heart which will refuse kindly<br />
shelter to no wayfarer, how perplexed and mis-<br />
guided soever, in the bewildering world.” That<br />
is of “The Prince’s Quest.” “To Grant Allen,<br />
an only too generous appreciator of my verse, I<br />
dedicate this poem, knowing that he will recog-<br />
nise beneath its somewhat hazardous levity a<br />
spirit not wholly flippant such as can alone justify<br />
its inscription to a serious lover of the Muse.”<br />
That is of “The loping Angels.” And the<br />
‘Excursions in Criticism ” (from which a certain<br />
“ excursion”’ on “ Fiction Plethoric and Anzwmic”’<br />
was wisely excluded) is dedicated, “ with apologies<br />
for so poor an offering,” to “ George Meredith,<br />
that this little volume may be graced with the<br />
vame of one of the truest of poets and most mag-<br />
<br />
THE AUTHOR.<br />
<br />
nanimous of men.” This is not the first tribute<br />
of the kind Mr. Meredith has received. ;<br />
Many dedications have been in grateful recogni-<br />
tion of care in nursing to literary maturity, dedi-<br />
cations to encouraging editors, and so forth; Mr.<br />
William Watson’s dedication, for example, of<br />
“Lacryme Musarum” to the editors of the<br />
Spectator; Mr. Barrie’s dedication of “Auld<br />
Licht Idylls” to Mr. Greenwood; and there is<br />
surely somewhere a similar tribute of Mr. Louis<br />
Stevenson to Mr. Leslie Stephen, who opened to<br />
him the pages of the Cornhill. Mr, Meredith<br />
himself, itis curious and interesting to remember,<br />
dedicated “Shagpat,” of all books in the world,<br />
to an editor of the Morning Post! He had been<br />
one of Sir William Hardman’s contributors.<br />
<br />
Mr. Meredith’s own first dedication, the<br />
dedication of the “ Poems” of 1851, now a book<br />
collector’s prize, was, it is interesting to recollect,<br />
to his father-in-law, Thomas Love Peacock, “in<br />
profound admiration and. affectionate respect.”<br />
‘Modern Love” was “ affectionately inscribed to<br />
Captain Maxse, R.N.”; the new reprint—the<br />
second edition in thirty years !—is still dedicated<br />
“to Admiral Maxse in constant friendship.” The<br />
“Poems and Lyrics” of 1883 were dedicated to<br />
Cotter Morison, and “ Diana of the Crossways ”<br />
to Sir Frederick Pollock.<br />
<br />
Is there not a suggestive contrast between the<br />
“dedicatees” of Tennyson and Browning? The<br />
Queen, the Prince Consort, Robert Browning<br />
himself, and Lord Selborne—of such was the<br />
Laureate’s company; while Robert Browning’s<br />
chosen were Talfourd, Macready, Kenyon and<br />
Forster, Barry Cornwall, Landor, and M. Milsand.<br />
Talfourd had “ Pickwick” dedicated to him, and<br />
Barry Cornwall “ Vanity Fair” ; while “ Atalanta<br />
in Calydon” was an offering well worthy of<br />
Landor’s memory. Let us not forget Tennyson’s<br />
dedications to his wife, his grandson, Alfred<br />
Tennyson, and Henry Lushington (Old Fitz has<br />
not, we think, a formal dedication), and, above<br />
all, the more than dedication to Henry Hallam.<br />
Still less let us forget Browning’s “One Word<br />
More,” and the later invocation to his “ Lyric<br />
Love, half angel and half bird.” But no poet of<br />
them all, not even Browning, ever rivalled the<br />
fervour of John Mill’s dedication of his<br />
“ Liberty” to his wife. The palm for adoration<br />
rests with the economist and logician.— St.<br />
James's Gazette, April 8, 1893.<br />
<br />
<br />
<br />
V.<br />
Firing CopyricguHt.<br />
<br />
It is understood that the librarian of the<br />
Congressional Library has found it impossible to<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 455<br />
<br />
keep up with the applications for copyright filed<br />
at his office since the new copyright law went<br />
into effect. Additional clerks are sorely needed<br />
to assist Mr. Spofford in his labours.—New York<br />
Critic.<br />
<br />
<br />
<br />
VE.<br />
Tue Current ADJECTIVE.<br />
<br />
THERE are certain words that are good enough<br />
words in themselves, but which used in unusual<br />
connections become conspicuous and __ finally<br />
odious. Some time ago the favourite slang word<br />
of literature was “certain.” Every heroine had<br />
a “certain nameless charm,” &c., and every hero<br />
a “certain air of distinction” about him, until<br />
you longed for one whose qualities were more<br />
uncertain in their nature or degree. “Certain ”<br />
seems to have had its day ; and now the favourite<br />
slang word of literature is “ distinctly.” Heroines<br />
are now “distinctly regal” in their bearing,<br />
and there is about the heroes a manner that is<br />
“ distinctly fine,” or whatever the adjective may<br />
be. In a book that I read not many days ago,<br />
the word “ distinctly” used in this way appeared<br />
three times on one page, until I was distinctly<br />
bored, and laid it down in disgust. ‘‘ Precious”<br />
used to be one of the tortured vocables, and<br />
there was a class of art-critics that went so far as<br />
to describe the paintings of their favourites as<br />
“distinctly precious”; but I think they have<br />
been laughed into a more material vocabulary by<br />
this time. I do not object to an original use<br />
of words, but I do hate affectation. in their<br />
use. There are two authors I could mention<br />
whose stories give the impression of long hours<br />
spent in hunting up obsolete words in the dic-<br />
tionary, who, so it seems to me, would rather have<br />
their readers say, ‘Where do you suppose he<br />
found sucha word?” rather than ‘“‘ How well he<br />
tells a story!” They seek to attract attention as<br />
jugglers of words, rather than legitimate users of<br />
them. Give mea writer whose aim is to tell a<br />
story well, rather than one whose aim is to startle<br />
his readers into attention by outré phrases.<br />
New York Critic.<br />
<br />
<br />
<br />
So<br />
<br />
Vit<br />
Auas! Poor Yoricx !<br />
<br />
Yorick made Duke of York !—The Professor of<br />
English in a Western college sends me the fol-<br />
lowing note, which T cannot forbear printing for<br />
the amusement of the Critic’s readers :<br />
<br />
“ Perhaps youare familiar with the advertising<br />
enterprise shown by the proprietors of "8<br />
soap ; well, during the past few days an imported<br />
French or Italian artist, a ‘ Professor’ Leoni, has<br />
<br />
<br />
<br />
been occupying a large display window down<br />
town, carving or modelling out of bars of a<br />
soap, a scene from‘ Hamlet.’ There is the grave-<br />
yard with its enclosing wall, the trees, the birds,<br />
fallen headstones, the funeral monuments—all of<br />
the same soapy material; while the grave-diggers<br />
lounge around watching Hamlet and Horatio who<br />
stand by the open grave. Hamlet holds the skull,<br />
and is evidently apostrophising it. It is done<br />
with remarkable skill and some degree of artistic<br />
taste; but the funny thing about it is that the<br />
scene is labelled ‘ Hamlet discovering the skull of<br />
the Duke of York /and on the miniature tablet at<br />
the head of the grave the artist has carved so that<br />
he who runs may read—<br />
<br />
<br />
<br />
—____—<br />
<br />
DUKE<br />
<br />
“ Now was it not dismal humiliation enough to<br />
put the melancholy Dane into soap, without con-<br />
verting that mad rogue Yorick into His Grace<br />
the Duke of York?<br />
<br />
‘To what base uses may we turn, Horatio !<br />
<br />
“Tn faith, if this sort of thing be allowed to<br />
run ov, what theories of corrupted text and what<br />
plausible emendation of unfamiliar names may<br />
we not expect in the days to come? Might not<br />
one come eventually to interpret poor Yorick asa<br />
solar myth, or something of that sort, at last ?”<br />
—New York Critic.<br />
<br />
——-—e<br />
<br />
“AT THE SIGN OF THE AUTHOR'S HEAD.”<br />
<br />
<br />
<br />
R. GEORGE MEREDITH is busy upon<br />
a serial story for the Pall Mall Maga-<br />
zine, and has also undertaken to write a<br />
serial for Scribner's.<br />
<br />
Mr. Joseph Hatton’s new novel, “ Under the<br />
Great Seal,” will be published on May 1 by<br />
Messrs. Hutchinson, and in New York by the<br />
Cassell Publishing Company.<br />
<br />
Mr. Eden Phillpotts has almost completed his<br />
new story, which will bear the title “Some Every-<br />
day Folks.” Mr. Phillpotts has written the next<br />
volume of the “ Breezy Library.” It will bear the<br />
title “Summer Clouds,” and will be published by<br />
Messrs. Raphael Tuck and Co.<br />
<br />
Mr. Philip H. Bagenal has written a mono-<br />
graph on the politico-ecclesiastical aspects of the<br />
Trish question which bears the title “ The Priest<br />
<br />
ser rt<br />
<br />
a ES SY a A EE<br />
<br />
<br />
<br />
<br />
450<br />
<br />
in Politics.” Messrs. Hutchinson are the pub-<br />
<br />
lishers.<br />
<br />
Mrs. Simmons (V. Schallenberger), the author<br />
of “Green Tea,” has written a new story entitled<br />
“Men and Men,” which will be published at<br />
once by Messrs. J. R. Osgood, Mcllvaine, and<br />
Co.<br />
<br />
Mrs. Abraham Dixon has prepared a new and<br />
revised edition of ‘Chronicles of Columbus,”<br />
a propos of the Columbus Centenary Celebrations,<br />
Messrs. G. P. Putnam’s Sons are the pub-<br />
lishers, and they will publish the volume simul-<br />
taneously in London and New York.<br />
<br />
It has been arranged through the Author’s<br />
Syndicate that Mrs. Campbell Praed’s new story,<br />
“Christina Chard,” should run serially through<br />
the Queen.<br />
<br />
Mr. Frederic Breton has wri!ten a story entitled<br />
“The Crime of Maunsell Grange,” which will be<br />
published immediately by Messrs. J. R. Osgood,<br />
Mellvaine, and Co.<br />
<br />
“Rita” has completed a new three-volume<br />
novel entitled ‘The Ending of My Day,” which<br />
will, through the Authors’ Syndicate, be published<br />
in a number of newspapers in the early summer.<br />
<br />
Mr. W. Morris Colles has written an article for<br />
the May number of the New Review entitled<br />
“The Future of English Letters.”’<br />
<br />
“ Utterly Mistaken,” a novel by Annie Thomas ;<br />
“Witness to the Deed,’ by George Manville<br />
Fenn; ‘Prince Hermann, Regent,’ by Jules<br />
Lemaitre, translated from the French by Miss<br />
B. M. Sherman, and Mark Rutherford’s Deliver-<br />
rance,”’ uniform with the ‘ Autobiography of<br />
Mark Rutherford,” are published by the Cassell<br />
Company, New York.<br />
<br />
The Finns are joining the civilised world—of<br />
fiction. A Finnish novel named “ Squire Helman,”<br />
has been translated by Mr. R. N. Bain, and will<br />
be published by Fisher Unwin.<br />
<br />
Mr. W. M. Conway’s work on his expedition<br />
to the Himalayas, is making progress; it will be<br />
illustrated from drawings made on the spot, and<br />
by maps from surveys and observations conducted<br />
by Mr. Conway himself.<br />
<br />
John Strange Winter has a new story in the<br />
press called “ That Mrs. Smith.” (F. W. White<br />
and Co.)<br />
<br />
Annie Thomas (Mrs. Pender Cudlip) is bring-<br />
ing out a new novel called ‘ Utterly Unknown.”<br />
(F. V. White and Co.)<br />
<br />
A new edition of John Addington Symonds’<br />
“Introduction to the Study of Dante,” is in<br />
preparation (Messrs. A. and C. Black). It was<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
nearly ready at the moment of the lamented<br />
author’s death.<br />
<br />
Mr. Robert Louis Stevenson’s new work<br />
“Island Nights’ Entertainments,” will be pub-<br />
lished by Cassell and Co.<br />
<br />
Mr. Rudyard Kipling contributes a“ National<br />
Poem, to celebrate the opening of the Imperial<br />
Institute,” to the English Illustrated.<br />
<br />
Mr. Charles Brookfield makes his first appear-<br />
ance immediately as an author with a volume of<br />
four stories. (Ward and Downey.)<br />
<br />
Dr. Verrall is bringing out in the Classical<br />
Library of Macmillan and Co., an edition of the<br />
Choephore of Aischylus, with a commentary,<br />
translation, and notes.<br />
<br />
Mr. Dykes Campbell’s new edition of Coleridge’s<br />
works, with his introduction and life is now ready<br />
<br />
(Macmillan and Co.)<br />
<br />
Prof. Minto has left behind him an unpublished<br />
“Manual of Logic.” The proofs, however, were<br />
all corrected, and the work will be published by<br />
Mr. Murray.<br />
<br />
Mr. Cosmo Monkhouse has added a “ Life of<br />
Leigh Hunt” to Mr. Walter Scott's “Great<br />
Writers.”<br />
<br />
The first Book Sale in England, it took place<br />
in the year 1676. And those who want to learn<br />
what it was like, may read a most interest-<br />
ing account of it in Longman’s Magazine for<br />
April.<br />
<br />
It is understood, says the New York Critic,<br />
that the Librarian of the Congressional Library<br />
has found it impossible to keep up with the<br />
applications for copyright filed at his office since<br />
the new copyright law went into effect. Addi-<br />
tional clerks are sorely needed to assist Mr.<br />
Spofford in his labours. |<br />
<br />
Lady Burton has completed arrangements for<br />
the issue of a complete and uniform edition of<br />
all Sir Richard Burton’s works, beginning with<br />
“The Pilgrimage to Mecca and Medinah.”<br />
<br />
“Dan’l’s Delight,”’ by Archie Armstrong, has<br />
met with a very good reception at the “ German<br />
Reeds.”<br />
<br />
Mr. Luther J. B. Lincoln’s entertainment,<br />
which goes by the name of “Uncut Leaves,” is<br />
said to be enjoying great popularity in America.<br />
Among the authors who read from their own<br />
works at the last one, the other day, were Prof.<br />
A. S Hardy, William Henry Bishop and Col.<br />
Richard Malcolm Johnston. Miss Laura Sedg-<br />
wick Collins delivered a new monologue by<br />
Charles Barnard, and Augustus Thomas gave a<br />
talk on the drama.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 457<br />
<br />
Mrs. Edith E. Cuthell, author of “Only a<br />
Guardroom Dog,” is editing Mrs. R. H. Tyache’s<br />
book of travel and sport in the Central Hima-<br />
layas, ‘How I Shot my Bears; or Two Years’<br />
Tent Life in Kullu and Lahoul.” .The book is to<br />
be published very shortly by Messrs. Sampson<br />
and Marston, illustrated by photos taken on the<br />
spot.<br />
<br />
Messrs. Bentley are bringing out Mrs. Edith<br />
E. Quthell’s new book “Indian Memories,” of<br />
various phases of life in different parts of India.<br />
<br />
Lieut.-Col. Cuthell has compiled a useful and<br />
much-needed “ Sailing Guide to the Solent and<br />
Poole Harbour; with Practical Hints on Living<br />
and Working on a Small Yacht,” to be published<br />
by Upeott Gill directly.<br />
<br />
“By a Himalayan Lake,” a one-volume novel<br />
by the author of the collection of Indian stories<br />
called “In Tent and Bungalow,” is just published<br />
by Messrs. Ward and Downey.<br />
<br />
The London Letter of the New York Critic<br />
will be written for the present by Mr. Arthur<br />
Waugh, the author of the “ Biography of Tenny-<br />
son.” He takes the place of Mrs. L. A. Walford,<br />
who in her turn succeeded Mr. W. E. Henley.<br />
The Critic is a paper which might in many of<br />
its features be imitated by our own literary<br />
journals.<br />
<br />
The Monthly Packet (A. D. Innes and Co.)<br />
for July will contain a serisl story by Dorothea<br />
Gerard, called “Lot 13,” and also papers by<br />
Miss Brande on “Thinkers of the Middle<br />
Ages.”<br />
<br />
Christabel Coleridge has ready a new novel<br />
called “ Waynflete.” 2 vols. A. D. Innes and Co.<br />
are the publishers.<br />
<br />
The same writer has ready “ Strolling Players.”<br />
1 vol. (Macmillan and Co.)<br />
<br />
A series of unpublished letters by S. T. Cole-<br />
ridge, edited by his grandson, Ernest Hartly Cole-<br />
ridge, are running through the Illustrated London<br />
News. A volume of letters will probably follow<br />
them in the autumn.<br />
<br />
Mr. John Bloundelle-Burton, author of “lEhe<br />
Desert Ship,” ‘The Silent Shore,” “ His Own<br />
Enemy,” &c., will shortly contribute a serial stury<br />
of adventure to Young England. “The Desert<br />
Ship” will be produced in volume form (with<br />
the original illustrations and four extra ones, by<br />
Mr. Hume Nesbit) in the autumn, by Messrs.<br />
Hutchinson and Co.<br />
<br />
Mr. Bertram Mitford’s new novel, “ The Gun-<br />
runners: A Tale of Zululand,” will be published<br />
immediately by Messrs. Chatto and Windus,<br />
<br />
Mrs. Oliphant will shortly produce a “ Bio-<br />
graphy of Thomas Chalmers” (Methuen and<br />
Co.).<br />
<br />
Mr. H. D. Rawnsley will publish, before long,<br />
a volume of poems called “ Valete.” They are<br />
principally In Memoriam verses on Tennyson<br />
and others. The publishers are Messrs. James<br />
Maclehose and Sons, Glasgow.<br />
<br />
Early in May Mr. Fitzgerald Molloy will<br />
produce a new novel, “ His Wife’s Soul.”<br />
(Hutchinson and Co.)<br />
<br />
Pes<br />
<br />
<br />
<br />
THE AUTHOR'S BOOK EXCHANGE.<br />
<br />
(Names of books wanted, books for sale, and books for exchange,<br />
to be sent to the “Book Exchange,” Society of Authors,<br />
4, Portugal-street. All correspondence on this subject to<br />
be addressed in the same way.)<br />
<br />
—————<br />
<br />
Books Wanted.<br />
<br />
The attention of secondhand booksellers is particularly<br />
invited to the following list. Books in the list remain<br />
till they are found or until the applicant desires their<br />
removal.<br />
<br />
The price, post free, and the condition of the book to be<br />
named in reply.<br />
<br />
Rowlandson’s Adventures of Johnny Newcome in the Navy,<br />
1818; Military Adventures of Johnny Newcome, 1818.<br />
<br />
Shadwell’s Dramatic Works, 4 vols., 1720.<br />
<br />
Alexander’s History of Women.<br />
<br />
Hazlitt’s Liber Amoris, 1823.<br />
<br />
The World: any vols., 1753, et seq.<br />
<br />
Appeal to the Men of Great Britain in behalf of Women,<br />
1798.<br />
<br />
Capper’s Port and Trade of London, 1862.<br />
<br />
Bissett, Andrew’s Notes on the Anti-Corn Law Struggle,<br />
1884.<br />
<br />
Barnes’s New Discovery of Pigmies.<br />
<br />
Beloe’s Sexagenarian, 1st edition, 1817.<br />
<br />
Hackluyt’s Voyages.<br />
<br />
Kit Kat Club, Memoirs of, with the portraits, 1821.<br />
<br />
Tavern Anecdotes, 1825.<br />
<br />
Murray’s Chronicles of St. Dunstan’s in the East, 1859.<br />
<br />
Memorials of Fleet-street. By a Barrister.<br />
<br />
Meiner’s History of the Female Sex, 1808.<br />
<br />
Reader’s Handbook of Illusions, &c. By Dr. Brewer.<br />
<br />
Windsor’s Ethica, 1840.<br />
<br />
Urquhart’s Tracts.<br />
<br />
Mitchell’s Christian Mythology.<br />
<br />
Cunningham’s Story of Nell Gwynne.<br />
<br />
Dunton’s Young Student’s Library.<br />
<br />
Howell’s Epistol, 1688.<br />
<br />
Sharpe’s Coventry Pageants.<br />
<br />
Stirling’s Old Drury-lane.<br />
<br />
Grosley’s Tour to London, 2 vols., 1772.<br />
<br />
Hogarth’s Frolic (any edition).<br />
<br />
Rabelais: W. F. Smith’s New Translation.<br />
<br />
—Office of the Author.<br />
<br />
Beckford’s Vathek.<br />
<br />
Somerville’s The Chase.<br />
<br />
Tusher’s Five Hundred Points of Good Husbandry.<br />
<br />
—_J. E. Tayuer, Leavesden, Herts.<br />
<br />
sea EES<br />
<br />
ee<br />
<br />
<br />
<br />
<br />
458<br />
<br />
<br />
<br />
Larwood’s History of Signboards.<br />
Andrew’s Old Times Punishments.<br />
Any Works of Cobbett.<br />
—E. Wotrerstan, Arts Club, Hanover-square.<br />
History of Paddington.<br />
Dr. Syntax: Life of Napoleon.<br />
—J. Batcomp, 14, Paddington-green.<br />
Captain Conyngham’s Services of the Irish Brigade in the<br />
Great American War.<br />
—HeEnry Brown, 4, Lorn-road, Brixton.<br />
Grant Allen: Physiological Asthetics.<br />
<br />
—F. H. P. Costs, Fowkes - buildings, Great<br />
Tower-street, E.C.<br />
<br />
Books Offered.<br />
Glazebrook’s Physical Optics.<br />
Smith’s Sacred Animals.<br />
Sinclair: a novel. By Mrs. Pilkington, 4 vols., published<br />
1809.<br />
<br />
The Family Estate; or Lost and Won. By Mrs. Ross,<br />
3 vols., 1815.<br />
Ellesmere. By Mrs. Meeke, 4 vols., 1799. Minerva Press,<br />
<br />
Leadenhall-street.<br />
Fitzroy. By Maria Hunter, 2 vols., 1792.<br />
Leadenhall-street.<br />
Lord Walford. By L. L., Esq., 2 vols., 1789.<br />
Chesterfield Letters. 2 vols., calf, 1777.<br />
mall.<br />
Oakwood Hall. 3 vols. A novel by Catherine Hutton,<br />
including description of the Lakes.<br />
Hugh Trevor. By Thomas Holcroft, 2 vols., 1794.<br />
—Office of the Author.<br />
<br />
sop’s Fables, 1760. Ilustrated by Z. Lister.<br />
<br />
Aisop’s Fables, 1810. Illustrated by Nesbit.<br />
<br />
Cary’s Atlas of English County Maps, 1787.<br />
<br />
Glass’s Contemplations, 1799, 4 vols., calf.<br />
<br />
Faber on Prophecy, 1806, 2 vols.<br />
<br />
Les Pseaumes de David, 1727, Amsterdam, with music.<br />
Goethe’s Schiller, 1820.<br />
<br />
Goethe’s Schiller, 1824.<br />
<br />
Schiller’s Fridolin.<br />
<br />
Minerva Press,<br />
<br />
Dodsley, Pall-<br />
<br />
=-8. ¢. B.<br />
<br />
Shakespeare Quarto Facsimiles, photo-lithographed. Edited<br />
by Dr. F. J. Furnivall, 43 vols. ei<br />
<br />
Cowley’s Works, 1688.<br />
<br />
Anacreon and Sappho, translated by Addison, with the<br />
Greek opposite, 1755. —G. B. G.<br />
<br />
<br />
<br />
Se.<br />
<br />
<br />
<br />
NEW BOOKS AND NEW EDITIONS.<br />
<br />
<br />
<br />
Theology,<br />
<br />
ADENEY,WALTERF. Ezra, Nehemiah, and Esther. Hodder<br />
and Stoughton. 7s. 6d.<br />
<br />
Benson, Rev. R. M. The Final Passover: a series of<br />
meditations upon the Passion. Vol. III. The Divine<br />
Exodus. Part I. Longmans. 5s.<br />
<br />
CARNEGIE, W. H. Through Conversation to the Creed; a<br />
brief account of the reasonable character of religious<br />
conviction. Longmans. 3s.<br />
<br />
Cox, Rev. J. Cuarugs. The Gardens of Scripture. Six<br />
meditations, together with a sermon on Christianity<br />
and Archeology. Sampson Low.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Duke, Davip. Synchronism of the Passion Days, with<br />
charts. Published by him at Great Easton, Leicester-<br />
shire. Paper covers, 1s. 6d.<br />
<br />
Farmer, JouN. Hymns and Chorales for Schools and<br />
<br />
- Colleges. Edited by. Words only. Clarendon Press,<br />
Oxford. Henry Frowde. 2s.<br />
<br />
GILBERT, Josran. Nature, the Supernataral and the<br />
Religion of Israel. Hodder and Stoughton. 9s.<br />
<br />
Hearp, Rey. J. B. Alexandrian and Carthaginian<br />
Theology Contrasted. The Hulsean Lectures, 1892-93.<br />
T. and T. Clark, Edinburgh. 6s.<br />
<br />
Momeriz, Rev. A. W. The Religion of the Future, and<br />
other essays. W. Blackwood and Sons.<br />
<br />
Ryuz, Rr. Rey. J. C. Thoughts about Sunday, its insti-<br />
tution, privileges, and due observance. W. Hunt and<br />
Co., Paternoster-row. Paper covers, 3d.<br />
<br />
SoLty, Henry S. The Gospel according to Mark: a Study<br />
in the Earliest Records of the Life of Jesus. The<br />
Sunday School Association, Essex Hall, Essex-street,<br />
W.C. 3s. 6d.<br />
<br />
THOROLD, ANTHONY W., D.D. The Gospel of Work.<br />
“Preachers of the Day” Series. Sampson Low.<br />
Wittiam Law’s Derence or CuuRcH PRINCIPLES.<br />
Three letters to the Bishop of Bangor, 1717-1719.<br />
Edited by J.O. Nash, M.A., and Charles Gore, M.A.<br />
<br />
Griffith, Farren. 2s. 6d. net.<br />
<br />
Woopeatr, W. B. A Modern Layman’s Faith (Nova<br />
religio laict) concerning the Creed and Breed of the<br />
“Thoroughbred Man.” Chapman and Hall. 14s.<br />
<br />
History and Biography.<br />
<br />
An EXAMINATION oF THE Home RULE Brut oF 1893,<br />
with an appendix containing the full text of the measure<br />
itself. 3d. Dublin: Hodges, Figgis, and Co. Wm.<br />
M‘Gee. The Liberal Union of Ireland.<br />
<br />
ARGYLL, DuxKE or, K.G. Irish Nationalism: an Appeal to<br />
History. John Murray.<br />
<br />
Brieut, Rey. Mynors. The Diary of Samuel Pepys<br />
M.A., F.R.S. Transcribed from the Shorthand Manu-<br />
script in the Pepysian Library, Magdalene College,<br />
Cambridge. With Lord Braybrooke’s Notes. Edited,<br />
with additions, by Henry B. Wheatley, F.S.A. Vol. I.<br />
Price to subscribers £8 8s. net per set. London: George<br />
Bell and Son ; Cambridge : Deighton, Bell, and Co.<br />
<br />
Brink, BERNHARD Ten. History of English Literature<br />
(Wyclif, Chaucer, Earliest Drama, Renaissance).<br />
Translated from the German by Wm. Clarke Robinson,<br />
Ph.D. Revised by the Author. Vol. I. George Bell<br />
and Sons. 3s. 6d.<br />
<br />
Butter, ARTHUR Joun. The Memoirs of Baron de<br />
Marbot, late Lieutenant-General in the French Army.<br />
Translated from the French. With portrait. Fourth<br />
edition. Slightly abridged. Longman. 7s. 6d.<br />
<br />
CurisTiz, Rev. James. Northumberland: its History, its<br />
Features, and its People. Presbyterian Publication<br />
Committee, Paternoster-square.<br />
<br />
CLAYDEN, P. W. England Under the Coalition. Supple-<br />
mentary chapter and index. Fisher Unwin. Paper<br />
covers, 1s. 6d.<br />
<br />
Couiimr, W. FREDERICK. Tales and Sayings of William<br />
Robert Hicks, of Bodmin, with portrait and memoir.<br />
Third edition, enlarged. London: Simpkin, Marshall,<br />
and Co.; Plymouth: William Brendon and Son.<br />
<br />
Forp, Cnuarencr. The Life and Letters of Mme. de<br />
Krudener. A.and C. Black. 15s.<br />
<br />
Gasquet, F. A. Henry VIII. and the English Monasteries.<br />
New edition, with Ilustration. Part XII. ls. net.<br />
<br />
John Hodges, Agar-street, Charing-cross.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 459<br />
<br />
HARRISON, FREDERIC. Annals of an Old Manor-house—<br />
Sutton Place, Guildford. Illustrated. Macmillan.<br />
£2 2s. net.<br />
<br />
Jackson, T. G. Wadham College, Oxford : its Foundation,<br />
Architecture, and History, with an account of the<br />
family of Wadham and their seats in Somerset and<br />
Devon. (Limited to 150 copies.) Clarendon Press,<br />
Oxford. £2.2s.<br />
<br />
Krycston, ALFRED. Fragments of Two Centuries. Glimpses<br />
of country life when George III. was King. Illustrated.<br />
Warren Brothers, Royston. 2s.<br />
<br />
Lex, Sipney. Dictionary of National Biography. Edited<br />
by. Vol. 34—Llwyd-Macartney. Smith, Elder, and<br />
Co.<br />
<br />
Lirp oF THE LATE GENERAL F. R. CHESNEY, THe. By<br />
his wife and daughter. Edited by Stanley Lane- Poole.<br />
Second edition. Eden, Remington, and Co. 12s.<br />
<br />
M‘Kwieut, Rev. W. H. E. Lydiard Manor, its history—<br />
“Our Worshop and our Work.” Mitchell and Hughes,<br />
Wardour-street, W. 7s. 6d.<br />
<br />
MitTrz, GENERAL Don Barrotomé. The Emancipation of<br />
South America, being a condensed translation by<br />
William Pilling of the history of San Martin. With<br />
maps. Chapman and Hall. 12s.<br />
<br />
MonxnousE, Cosmo. Life of Leigh Hunt. “ Great<br />
Writers” Series. Walter Scott. 1s. 6d.<br />
<br />
New Home Rute Pouicy, Tue (reprinted from the Times<br />
by special permission), with an appendix containing the<br />
Home Rule Bills of 1886 and 1893, and sections 25 to<br />
28 of the Land Purchase Bill of 1886. Liberal Union<br />
of Ireland, Dame-street, Dublin. Paper covers, 6d.<br />
<br />
ReaistER oF Letters, THE, &ec., of the Governour and<br />
Company of Merchants of London trading into the<br />
East Indies, 1600-1619. Edited by Sir George<br />
Birdwood, M.D., K.C.LE., assisted by William Foster,<br />
B.A. Bernard Quaritch, Piccadilly.<br />
<br />
SreveNnson, F. SEYMOUR. Historic Personality. Mac-<br />
millan. 4s. 6d.<br />
<br />
Symonps, J. ADDINGTON. The Life of Michel Angelo<br />
Buonarotti. Second edition, with portrait and repro-<br />
ductions of works of the master. 2 vols. J. C.<br />
Nimmo.<br />
<br />
THayer, W. Roscor. The Dawn of Italian Independence—<br />
Italy from the Congress of Vienna, 1814, to the fall of<br />
Venice, 1849. 2 vols. Gay and Bird. 16s. net.<br />
<br />
WILBerForce, R. Isaac. The Five Empires, an outline<br />
of ancient history, reprinted with a few notes con-<br />
cerning Assyrian history. Griffith Farran and Co.<br />
1s. 6d.<br />
<br />
Witson, Wooprow, Px.D. Division and Re-union, 1829-<br />
1889. ‘Epochs of American History.”’ With five<br />
maps. Longmans. 3s. 6d.<br />
<br />
ZincKE, F. BARHAM. Wherstead: some materials for its<br />
history. Second edition, enlarged. Simpkin, Marshall.<br />
<br />
Fiction.<br />
<br />
AppERLEY, James. Stephen Remark, the story of a venture<br />
in ethics.Edward Arnold. 3s. 6d.<br />
<br />
ALEXANDER, Mrs. The Snare of the Fowler. Cheap<br />
edition. 6s. Cassell.<br />
<br />
Banxs, Mrs. G. LINNZUS. Bond Slaves, the story of a<br />
struggle. Griffith, Farran, and Co. 10s. 6d.<br />
<br />
BisHor, Mrs. GEORGE. Two Men and a Woman: a<br />
Novel. In 2 vols. Ward and Downey.<br />
<br />
Campripgz, Apa. A Little Minx: a Sketch. 3s. 6d.<br />
<br />
Currorp, Mrs. W. K. A Wild Proxy. Hutchinson<br />
and Co.<br />
<br />
CorrincHAM, BARRY. Kinsman to Death. Eden, Reming-<br />
ton, and Co. 3s. 6d.<br />
<br />
Dieuy, Mrs. A. M. Elsie’s Art Life: a Novel. 3 vols.<br />
Bentley.<br />
<br />
Farseon, B. L. Something Occurred. George Routledge<br />
and Sons Limited.<br />
<br />
Freperic, Harotp. The Return of The O’Mahony. A<br />
romantic fantasy. Tlustrated. William Heinemann.<br />
3s. 6d.<br />
<br />
Gisstnc, GeorGE. The Odd Women. 3 vols. Lawrence<br />
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<br />
<br />
<br />
<br />
<br />
<br />
ADVERTISEMENTS.<br />
<br />
NEW NOVEL BY JAMES PAYN.<br />
<br />
<br />
<br />
Now Ready, at all the Libraries, Booksellers’, and Bookstalls, in 2 vols.,<br />
crown 8vo, cloth extra, price 21s.<br />
<br />
A STUMBLE ON THE THRESHOLD.<br />
<br />
ise<br />
<br />
[oF et as PFPAY DH.<br />
<br />
OPINIONS OF THE PRESS<br />
<br />
THE TIMES:<br />
<br />
‘“Mr. James Payn’s pleasant story contains a startling<br />
novelty.<br />
undergraduates of Cambridge University. Mr. Payn’s<br />
picture of University society is frankly exceptional.<br />
Exceptional, if not unique, is the ‘nice little college’ of<br />
St. Neot’s. Cambridge men will have little difficulty in<br />
recognising this snug refuge of the ‘ ploughed.’<br />
<br />
An ingenious plot, clever characters, and, above all, a/|<br />
<br />
plentiful seasoning of genial wit. The uxorious<br />
master of St. Neot’s is charmingly conceived. If only for<br />
his reminiscences of his deceased wives, ‘A Stumble on<br />
the Threshold’ deserves to be treasured. . We<br />
turn over Mr. Payn’s delightful pages, so full of surprises<br />
and whimsical dialogue. =<br />
<br />
DaILy NEWS:<br />
<br />
“The dramatic story is told with an excellent wit. It<br />
abounds in lively presentation of character and in shrewd<br />
sayings concerning life and manners. That study of<br />
mankind which is ‘man’ has furnished a liberal educa-<br />
tion to this genial humorist. The men and women he<br />
pourtrays move before us, as do our friends and<br />
acquaintances, distinct individualities, yet each possessed<br />
of that reserve of mystery a touch of which in the<br />
delineation of human nature, is more convincing than<br />
pages of analysis. Needham, Fellow of St.<br />
Neot’s, Cambridge—simple, loyal, gently independent—is<br />
a beautiful study. The story alternates in its setting<br />
between Bournemouth, Cambridge, and some charming<br />
spots near the Thames. The description of life in the<br />
Alma Mater on the banks of the Cam gives Mr. Payn<br />
opportunities for humorous sketches of professors and<br />
students, and he shows himself in the light of an excellent<br />
raconteur. This part of the narrative furnishes some<br />
delightful reading; we seem to be listening to the best<br />
talk, incisive, racy, and to the point. Space will not<br />
allow us to quote some of the wise and witty sayings,<br />
tinged it may be with cynicism, which are the outcome of<br />
Mr. Payn’s philosophy of life, and which are not the least<br />
entertaining art of this attractive novel.”<br />
<br />
DAILY CHRONICLE:<br />
<br />
‘Mr. James Payn is here quite at his usual level all<br />
through, and that level is quite high enough to please<br />
most people. The character drawing is good.<br />
The story of the master sounds strangely like truth.<br />
<br />
: A book to read distinctly.”<br />
<br />
DAILy GRAPHIC:<br />
+ | . | The dramatic unity of time, place, and cir-<br />
cumstance has never had a more novel setting. oe<br />
<br />
|<br />
<br />
SATURDAY REVIEW:<br />
‘\A very interesting story, and one that excels in clever<br />
<br />
he leading actors are a group of| contrast of character and close study of individualism.<br />
<br />
: The characters make the impression of reality on<br />
<br />
the reader. . Extremely pleasant are the sketches<br />
<br />
of University life.”<br />
THE WORLD:<br />
<br />
‘‘The most sensational story which the author has<br />
written since his capital novel, ‘By Proxy.’<br />
Never flags for a moment.”<br />
<br />
BLACK AND WHITE.<br />
<br />
BE ceive Ingenious and Original. Mr. Payn knows<br />
<br />
how to invent and lead up to a mystery.”<br />
<br />
LEEDS MERCURY:<br />
<br />
‘““Three more distinctive characters have, perhaps,<br />
never been drawn by Mr. James Payn than in Walter<br />
Blythe, Robert Grey, and George Needham, Cambridge<br />
undergraduates, who figure prominently in ‘A Stumble<br />
on the Threshold.’”<br />
<br />
GuLAsagow HERALD:<br />
ae Mr. Payn’s latest invention in sensational<br />
episode; but wild horses will not drag from us a<br />
statement of the mystery. It is new and thoroughly<br />
original, and worthy of the ingenuity of the loser of Sir<br />
Massingberd.”<br />
<br />
BATLEY REPORTER:<br />
Is most attractive reading.”<br />
<br />
ay<br />
<br />
HAMPSHIRE TELEGRAPH AND CHRONICLE:<br />
<br />
‘““Mr. James Payn’s latest story, ‘A Stumble on the<br />
Threshold,’ which has been the chief attraction in the<br />
‘Queen’ during the last few months—where, by the way,<br />
it was most admirably illustrated—has just been issued<br />
in two handsome vols. by Mr. Horace Cox. The story is<br />
written in Mr. Payn’s happiest vein: it sparkles with wit,<br />
the characters are most unconventional, and the old, old<br />
theme is worked out on quite novel lines.”<br />
<br />
HEREFORD TIMES<br />
<br />
‘‘ With all their sparkle and gaiety, Mr. Payn’s novels<br />
would not be complete without the dread Nemesis,<br />
mysterious in operation, and casting suspicion for a<br />
time on every side but the right one. The novel is<br />
thoroughly attractive, and a credit to the practised hand<br />
which penned it.”<br />
<br />
THE OBSERVER:<br />
<br />
«| . . Is a characteristic story, remarkably<br />
quietly told, always pleasing and satisfying, and pro-<br />
viding a startling incident at a moment when everything<br />
seems serene.”<br />
<br />
<br />
<br />
<br />
<br />
London:<br />
<br />
HORACE COX, Windsor House,<br />
<br />
Bream’s E.C.<br />
<br />
Buildings,<br />
<br />
<br />
<br />
*CHEAP JACK ZITA”<br />
<br />
<br />
<br />
NEW SERIAL STORY<br />
my S&S BARING-GoOuULD.<br />
<br />
ENTITLED<br />
<br />
“CHEAP<br />
<br />
JACK ZITA,”<br />
<br />
With Illustrations by a Prominent Artist, commenced in the ‘‘ Queen” on Jan. 7.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
of MSS. copied with care.<br />
<br />
<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
MESDAMES BRETT & BOWSER,<br />
<br />
TYPISTS,<br />
SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br />
<br />
Authors’ MSS. carefully and expeditiously copied, from<br />
Is. per 1000 words. Extra carbon copies half price. Refer-<br />
ences kindly permitted to Augustine Birrell, Esq., M.P.<br />
<br />
LITERARY PRODUCTIONS<br />
<br />
OF EVERY DESCRIPTION<br />
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(eet REVISED and CORRECTED on Mode-<br />
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Address “ Anglophil,” Literary Revision Office,<br />
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<br />
TYPE-WRITING OFFICES,<br />
6, Adam-street, Strand, W.C.<br />
<br />
ee:<br />
Authors’ and dramatists’ Work a Speciality. All kinds<br />
Extra attention given to difficult<br />
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Type-writing from dictation. Shorthand Notes taken<br />
and transcribed.<br />
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(ESTABLISHED 1883.)<br />
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Authors’ MSS. carefully copied from 1s. per 1000 words, Plays,<br />
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<br />
Authors’ MSS. carefully transcribed. References kindly permitted<br />
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<br />
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<br />
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<br />
Te E QUEEN ALMANACK, and Lady’s Calendar,<br />
<br />
1893, Contains a Chromo-Lithograph Plate of an Album Cover<br />
in Imitation Boule Work, Winter Comforts in Knitting and Crochet,<br />
Designs for Pyrographic, Hand-painted, or Inlaid Work, and Bent<br />
Iron Work. &e.<br />
<br />
The ** Queen ” Office, Windsor House, Bream’s-buildings, E.C.<br />
<br />
Published every Friday morning; price, without Reports, 9d.; with<br />
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<br />
HE LAW TIMES, the Journal of the Law and the<br />
<br />
Lawyers, which has now just completed its fiftieth year,<br />
<br />
supplies to the Profession a complete Record of the Progress of Legal<br />
<br />
Reforms, and of all matters affecting the Legal Profession. The<br />
<br />
Reports of the Law Times are now recognised as the most complete<br />
and efficient series published.<br />
<br />
Offices: Windsor House, Bream’s-buildings, E.C.<br />
<br />
TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br />
<br />
CROCKFORD'S CLERICAL DIRECTORY<br />
<br />
HOF.<br />
<br />
1893<br />
<br />
Being a Statistical Book of Reference for Facts relating to. the Clergy in England,<br />
<br />
Wales, Scotland<br />
<br />
Ireland and the Colonies,<br />
<br />
WITH A FULLER INDEX RELATING TO PARISHES AND BENEFICES THAN ANY EVER YET<br />
<br />
GIVEN TO THE PUBLIC.<br />
<br />
<br />
<br />
LONDON: HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.0C.<br />
<br />
<br />
<br />
COX’S<br />
<br />
ARTS OF READING, WRITING, AND SPEAKING.<br />
<br />
LETTERS TO A LAW STUDENT.<br />
<br />
BY THE LATHE Me.<br />
<br />
SHRIDAN ET Cox.<br />
<br />
<br />
<br />
RE-ISSUE (SIXTH THOUSAND).<br />
<br />
PRICE 7s. 6d.<br />
<br />
<br />
<br />
LONDON: HORACE COX, “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br />
<br />
<br />
<br />
Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C. | https://historysoa.com/files/original/5/450/1893-05-01-The-Author-3-12.pdf | publications, The Author |