| 460 | https://historysoa.com/items/show/460 | The Author, Vol. 04 Issue 10 (March 1894) | <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.+04+Issue+10+%28March+1894%29"><em>The Author</em>, Vol. 04 Issue 10 (March 1894)</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> | 1894-03-01-The-Author-4-10 | | | | | 357–390 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-03-01">1894-03-01</a> | | | | | | | 10 | | | 18940301 | 1 Che Autbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
Vou. IV.—No. 10.] MARCH 1, 1804. [Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
CONTENTS.<br />
<br />
PAGE PAGE<br />
Notices and Warnings : nee a ae oes Se wee 359 Russian Newspapers. By Arthur A. Sykes ... Sic os uv 873<br />
From the Committee. By the Secretary wee ese es, Ss wes OGL | ‘The Literary Optimist. By Grace Gilchrist ... ... .. +. 874<br />
Literary Property— Equipment. By S. G.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
1.—Hanfstaengl vy. The Empire Palace... oe co --- 861 Correspondence.—l. Methods of Publishing. By ‘‘Clerk.”—<br />
2.—The Law of Libel 363 is<br />
3. The Lit Ae e ray Fen eat ge a ere 368 2. Editors. By Vlaamsch.—3. Greek Novels. By E. Mayhew<br />
es ee are oe Books ee Bs ae ae Edmonds.—4. Cataloguing. By Cwmrag Jones.—5. Literary<br />
Wanted, a Writer's Handbook. ByIsmay Thorn .. ... «+, 360<br />
eee WS a ste A the Sign of the Sunor's Head tenet ae 879<br />
Notes and News. Bythe Editor... .. .. os + «867 | What the Papers say.—l. R. M. Ballantyne.—2. Constance<br />
meen dlictens Fenimore Woolson.—3. Dr. Johnson’s Haunts.—4. Censor-<br />
1.—Another View ay aes ae a on aes Scere ship and Jewish Literature ... aS tis a ape .-. 380<br />
2.—Fable—The Poet and the Tripe Dresser 372 New Books and New Editions .., wee tee see es see 383<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report. That for January 1893 can be had on application to the Secretary.<br />
“9. The Author, A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
<br />
Property. Issued to all Members. Back numbers are offered at the following prices:<br />
Vol. I., ros. 6d. (Bound) ; Vols. II. and III., 8s. 6d. each (Bound).<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 Couuszs, Barrister-at-Law. (Henry Glaisher,<br />
95, Strand, W.C.) 3s.<br />
<br />
5. The History of the Société des Gens de Lettres. By S. Squire Spricerx, late Secretary to<br />
the Society. Is.<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 />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
7. The Various Methods of Publication. By S. Squire Spriaer. In this work, compiled from the<br />
papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 3s.<br />
<br />
8. 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<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Hyre<br />
and Spottiswoode. 1s. 6d.<br />
<br />
9. The Society of Authors. A Record of its Action from its Foundation. By Watrser Besant<br />
(Chairman of Committee, 1888—1892). 15. —<br />
<br />
<br />
358<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
The Sociefy of Nufhors (Bncorporated).<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
GHORGEH MBEREDITE,.<br />
<br />
Str Epwin ARNOLD, K.C.LE., C.8.1.<br />
ALFRED AUSTIN.<br />
<br />
J. M. BARRIE.<br />
<br />
A. W. A BECKETT.<br />
<br />
Rospert BATEMAN.<br />
<br />
Sir Henry Berene, K.C.M.G.<br />
WALTER BESANT.<br />
<br />
AUGUSTINE BIRRELL, M.P.<br />
<br />
Rev. Pror. Bonney, F.R.S.<br />
Rieut Hon. James Bryce, M.P.<br />
Hatt Carne.<br />
<br />
Ea@EertTon CAstTue, F.S.A.<br />
<br />
P. W. CLAYDEN.<br />
<br />
EDWARD CLODD.<br />
<br />
W. Morris Couzzs.<br />
<br />
Hon. JoHn CoLuiER.<br />
<br />
W. Martin Conway.<br />
<br />
F. Marion CRAWFORD.<br />
<br />
OswaLD CRAWFURD, C.M.G.<br />
<br />
<br />
<br />
Hon.<br />
<br />
COUNCIL.<br />
THE Ear or DEsart.<br />
Austin Dosson.<br />
A. Conan Dortz, M.D.<br />
A. W. Dusoure.<br />
J. Eric Enicusen, F.R.S.<br />
Pror. MicHart Foster, F.R.S.<br />
Ricut Hon. HERBERT GARDNER, M.P.<br />
RicHaRD Garnett, LL.D.<br />
Epmunpd Gossk.<br />
H. Riper Haaa@arp.<br />
Tuomas Harpy.<br />
JEROME K. JEROME.<br />
RupyarpD KIpPiine.<br />
Pror. E. Ray LANKESTER, F.R.S.<br />
J. M. Lery.<br />
Rev. W. J. Lorris, F.S.A.<br />
Pror. Max-MUuuer.<br />
Pror. J. M. D. MEIKLEJOHN.<br />
HERMAN C. MERIVALE.<br />
Counsel — E. M. UNDERDOWN,<br />
<br />
<br />
<br />
Rev. C. H. MippLETON-WAKE.<br />
<br />
Lewis Morris.<br />
<br />
J. C. PARKINSON.<br />
<br />
THE Eart or PEMBROKE AND Mont-<br />
GOMERY.<br />
<br />
Sir FrepeErick Pouuock, Bart., LL.D.<br />
<br />
WaLter HeRRIES PoLLOcK.<br />
<br />
A. G. Ross.<br />
<br />
Groree AuaustTus SALA.<br />
<br />
W. BapristE Scoongs.<br />
<br />
G. R. Srms.<br />
<br />
S. Squire Sprica@s.<br />
<br />
J. J. STEVENSON.<br />
<br />
Jas. SULLY.<br />
<br />
Witiiam Moy THomas.<br />
<br />
H. D. Trait, D.C.L.<br />
<br />
E. M. UNDERDOWN, Q.C.<br />
<br />
Baron Henry DEWorMs, M.P.,F.R.S.<br />
<br />
Epmunp YATES.<br />
<br />
Q.C.<br />
<br />
COMMITTEE OF MANAGEMENT.<br />
<br />
Chairman—S1rz FREDERICK PoLiock, Bart, LL.D.<br />
<br />
A. W.A Becxert.<br />
WALTER BESANT.<br />
EGERTON CASTLE.<br />
W. Morris CoLyzs.<br />
<br />
OFFICES :<br />
<br />
Hon. JoHN COLLIER.<br />
<br />
W. Martin Conway.<br />
EpMUND GossE.<br />
H. River Haagaarp.<br />
<br />
Solicitors—Messrs. Fizup, Roscoz, and Co., Lincoln’s Inn Fields.<br />
<br />
J. M. Lery.<br />
A. G. Ross.<br />
S. Squire Sprices.<br />
<br />
Secretary—G. Herprert Turina, B.A.<br />
4, Portuaau Strext, Lincoun’s Inn Freips, W.C.<br />
<br />
<br />
<br />
Windsor House<br />
<br />
PRINTING WORKS]<br />
BREAM’S BUILDINGS, E.C.<br />
<br />
<br />
<br />
OFFICES OF “THE FIELD,’’ “THE QUEEN,” “THE LAW TIMES,’’ &C.<br />
<br />
<br />
<br />
Mr. HORACE COX, Printer to the Authors’ Society, takes the<br />
opportunity of informing Authors that, having a very large office, and<br />
<br />
an extensive plant of type of every description, he is in a position to<br />
EXECUTE any PRINTING they may entrust to his care.<br />
<br />
<br />
<br />
ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.<br />
<br />
<br />
<br />
<br />
<br />
a a<br />
<br />
<br />
<br />
<br />
a<br />
ef<br />
aa<br />
i<br />
4]<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
The Huthor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. IV.—No. 1o.] MARCH<br />
<br />
I, 1894. [Prick SIXPENCE.<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 para-<br />
graphs must be taken as expressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec.<br />
<br />
<br />
<br />
HE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank of London, Chancery-lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
<br />
<br />
<br />
ees<br />
<br />
WARNINGS AND ADVICE.<br />
<br />
<br />
<br />
T is not generally understood that the author, as the<br />
vendor, has the absolute right of drafting the agree-<br />
ment upon whatever terms the transaction is to be<br />
<br />
carried out. Authors are strongly advised to exercise that<br />
right. Inevery other form of business, the right of drawing<br />
the agreement rests with him who sells, leases, or has the<br />
control of the property.<br />
<br />
<br />
<br />
EADERS of the Author and members of the Society<br />
are earnestly desired to make the following warnings<br />
as widely known as possible. They are based on the<br />
<br />
experience of nine years’ work by which the dangers<br />
to which literary property is especially exposed have been<br />
discovered :—<br />
<br />
1. Sperrat Rieuts.—In selling Serial Rights stipulate<br />
that you are selling the Serial Right for one paper at a<br />
certain time only, otherwise you may find your work serialized<br />
for years, to the detriment of your volume form. :<br />
<br />
2. Stamp yourR AGREEMENTS. — Readers are most<br />
URGENTLY warned not to neglect stamping their agreements<br />
immediately after signature. If this precaution is neglected<br />
for two weeks, a fine of £10 must be paid before the agree-<br />
ment can be used as a legal document. In almost every<br />
case brought to the secretary the agreement, or the letter<br />
<br />
VOL. IV.<br />
<br />
which serves for one, is forwarded without the stamp. The<br />
author may be assured that the other party to the agree-<br />
ment never neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no expense to themselves<br />
except the cost of the stamp.<br />
<br />
3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br />
BOTH SIDES BEFORE SIGNING IT.—Remember that an<br />
arrangement as to a joint venture in any other kind of busi-<br />
ness whatever would be instantly refused should either party<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself.<br />
<br />
4. LirERARY AGENTS.—Be very careful. You cannot be<br />
too careful as to the person whom you appoint as your<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone.<br />
<br />
5. Cost or Propuction.-—Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
<br />
6. CHOICE OF PUBLISHERS.—Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienced<br />
friends or by this Society.<br />
<br />
7. FutuRE Worxk.—Never, on any account whatever,<br />
bind yourself down for future work to anyone.<br />
<br />
8. Royatry.—Never accept any proposal of royalty until<br />
you have ascertained what the agreement, worked out on<br />
poth a small and a large sale, will give to the author and<br />
what to the publisher.<br />
<br />
g. Persona Risk.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
<br />
10. ResyecTED MSS.—Never, when a MS, has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
<br />
11. AMERICAN Riauts.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign any<br />
agreement containing a clause which reserves them for the<br />
publisher, unless for a substantial consideration. If the<br />
publisher insists, take away the MS. and offer it to<br />
another.<br />
<br />
12. CESSION OF CopyricHT.—Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice.<br />
<br />
13. ADVERTISEMENTS.—Keep control over the advertise-<br />
ments, if they affect your returns, by a clause in the agree-<br />
ment. Reserve a veto. If you are yourself ignorant of the<br />
subject, make the Society your adviser.<br />
<br />
FF2<br />
360<br />
<br />
14. Never forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy,<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man.<br />
<br />
Society’s Offices :—<br />
4, PortuGAtL StrEeEt, Lincoun’s Inn Fiexps.<br />
<br />
pe<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
<br />
<br />
1. VERY member has a right to advice upon his<br />
agreements, his choice of a publisher, or any<br />
dispute arising in the conduct of his business or<br />
<br />
the administration of his property. If the advice sought<br />
<br />
is such as can be given best by a solicitor, the member has<br />
<br />
a right to an opinion from the Society’s solicitors. If the<br />
<br />
case is such that Counsel’s opinion is desirable, the Com-<br />
<br />
mittee will obtain for him Counsel’s opinion. All this<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publisher’s agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This isin<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
<br />
5- Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country. Remember that there are certain<br />
houses which live entirely by trickery.<br />
<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
<br />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
<br />
ec<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
\ EMBERS are informed :<br />
<br />
1. That the Authors’ Syndicate takes charge of<br />
<br />
the business of members of the Society. With, when<br />
<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
<br />
cate, it concludes agreements, collects royalties, examines<br />
<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
<br />
2. That the expenses of the Authors’ Syndicate are<br />
defrayed solely out of the commission charged on rights<br />
placed through its intervention. Notice is, however, hereby<br />
given that in all cases where there is no current account, a<br />
vooking fee is charged to cover postage and porterage.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
3. That the Authors’ Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value.<br />
<br />
4. That the Syndicate can only undertake any negotiation<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that alk<br />
communications relating thereto are referred to it.<br />
<br />
5. That clients can only be seen by the Editor by appoint-<br />
ment, and that, when possible, at least four days’ notice<br />
should be given. The work of the Syndicate is now so<br />
heavy, that only a limited number of interviews can be<br />
arranged.<br />
<br />
6. That every attempt is made to deal with the corre-<br />
spondence promptly, but that owing to the enormous number<br />
of letters received, some delay is inevitable. That stamps<br />
should, in all cases, be sent to defray postage.<br />
<br />
7. That the Authors’ Syndicate does not invite MSS.<br />
without previous correspondence, and does not hold itself<br />
responsible for MSS. forwarded without notice.<br />
<br />
It is announced that, by way of a new departure, the<br />
Syndicate has undertaken arrangements for lectures by<br />
some of the leading members of the Society; that a<br />
“Transfer Department,’ for the sale and purchase of<br />
journals and periodicals, has been opened ; and that a<br />
“Register of Wants and Wanted” has been opened.<br />
Members anxious to obtain literary or artistic work are<br />
invited to communicate with the Manager.<br />
<br />
There is an Honorary Advisory Committee, whose services.<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
<br />
Spec<br />
<br />
NOTICES.<br />
<br />
HE Editor of the Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write P<br />
<br />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<br />
<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
<br />
Members and others who wish their, MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
<br />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year? If they will do<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
this, and remit the amount, if still unpaid, or a banker’s<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (7). It is a most foolish and a most<br />
disastrous thing to bind yourself to anyone for a term of<br />
years. Let them ask themselves if they would give a<br />
solicitor the collection of their rents for five years to come,<br />
whatever his conduct, whether he was honest or dishonest?<br />
Of course they would not. Why then hesitate for a moment<br />
when they are asked to sign themselves into literary bondage<br />
for three or five years?<br />
<br />
Those who possess the “Cost of Production” are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
£9 4s. The figures in our book are as near the exact truth<br />
as can be procured ; but a printer’s, or a binder’s, bill is so<br />
elastic a thing that nothing more exact can be arrived at.<br />
<br />
Some remarks have been made upon the amount charged<br />
in the “ Cost of Production” for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher’s own magazines,<br />
or in other magazines by exchange. As agreements too<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits call it.<br />
<br />
Docs<br />
<br />
FROM THE COMMITTEE.<br />
<br />
N a few days the Annual Report of the Com-<br />
mittee for the year 1893 will be in the hands<br />
of members. A few notes on the proceed-<br />
<br />
ings of the committee for the last six months may<br />
be considered as supplementary to the report.<br />
<br />
At many meetings the proceedings of the com-<br />
mittee are quite formal. The election of members<br />
and associates is the first work before them at<br />
every meeting. Of the numerous cases taken up<br />
by the secretary, very few are brought before the<br />
notice of the committee at all, unless for special<br />
reasons. Hvery case is considered as confidential<br />
between the chairman and secretary on the<br />
one hand, and the author concerned on the other.<br />
But the secretary is not empowered to undertake<br />
legal action, which would involve expenditure,<br />
without the authority of the committee, or, if the<br />
case presses, that of the chairman.<br />
<br />
The committee have placed themselves in<br />
friendly communication with the newly-founded<br />
Society of Authors of Chicago. They have sent<br />
the American society all their papers.<br />
<br />
In accordance with the new articles of associa-<br />
tion the election of chairman is now annual. Sir<br />
Frederick Pollock, having signified his consent to<br />
act for another year, was re-elected. A vote of<br />
<br />
<br />
<br />
361<br />
<br />
thanks was passed for his services during the<br />
past year, and the committee expressed their<br />
gratification at being able to re-elect him.<br />
<br />
In accordance with the articles of association<br />
the following three members of committee retired<br />
in order of seniority :<br />
<br />
Mr. Walter Besant,<br />
Mr. J. M. Lely,<br />
Mr. Edmund Gosse.<br />
<br />
The first two were re-elected. Mr. Edmund<br />
Gosse did not accept re-election, but remains on<br />
the Council.<br />
<br />
The question of publishing the names of the<br />
members of the Society has been before the<br />
Committee, and it was resolved that, the Society<br />
holding to its members a position somewhat<br />
analogous to that of a solicitor to his clients, it<br />
would not be desirable to publish the list.<br />
<br />
A case has been drawn up, and questions rising<br />
out of the case, on the subject of secret profits.<br />
This case, with its questions, has been submitted<br />
to counsel for an opinion. The opinion will be<br />
published in the Annual Report. Members are<br />
earnestly invited to give it their most serious<br />
attention.<br />
<br />
It has been resolved to compile as exhaustive<br />
a list as possible of the writers of 1893.<br />
<br />
Between Jan. 1 and Feb. 17, forty-two new<br />
members and associates have been elected into<br />
the Society.<br />
<br />
G. HerBert THRING.<br />
<br />
pes<br />
<br />
LITERARY PROPERTY.<br />
<br />
I.— Hanrstarnct v. THe Empire PAace<br />
LIMITED AND OTHERS.<br />
<br />
(Before Lorps Justices Linpury, Kay, and<br />
A. L. Smrrs.)<br />
<br />
HIS was an appeal from a decison of Mr.<br />
Justice Stirling (reported in our impression<br />
of the 17th inst.) It may be remembered<br />
<br />
that his Lordship refused to grant an interim<br />
injunction to restrain the defendant company<br />
from exhibiting tableaua vivants, or “living<br />
pictures,” at the Empire Palace of Varieties so as<br />
to infringe the plaintiff's copyright in five pictures<br />
painted by foreign artists. It was now stated<br />
that some other pictures, in which the plaintiff<br />
had the copyright, were represented at the Empire<br />
Palace of Varieties, though they were not within<br />
the claim. The titles of the pictures were “ The<br />
Three Graces,” ‘‘ First Love,” “Yes or No,”<br />
“Charity,” and “Naughty Song.” In some<br />
cases the title of the tableaux vivants was varied.<br />
The action was founded on the copyright conferred<br />
<br />
<br />
362<br />
<br />
by the Copyright in Fine Arts Act of 1862. The<br />
preamble of the Act recited that the authors of<br />
paintings, drawings, and photographs had no<br />
copyright, and that it was expedient that the law<br />
in that respect should be amended. The first<br />
part of sect. 1 provide :<br />
<br />
“The author, being a British subject or resi-<br />
dent within the dominions of the Crown, of every<br />
original painting, drawing, and photograph which<br />
shall be or shall have been made either in the<br />
British dominions or elsewhere, and which shall<br />
not have been sold or disposed of before the com-<br />
mencement of this Act, and his assigns, shall<br />
have the sole and exclusive right of copying,<br />
engraving, reproducing, and multiplying such<br />
painting or drawing, and the design thereof, or<br />
such photograph, and the negative thereof, by<br />
apy means and of any size, for the term of the<br />
natural life of such author, and seven years after<br />
his death.” The plaintiff was the owner of the<br />
copyright in the five pictures in question, which<br />
were all painted by foreign artists. The defen-<br />
dants, the Empire Palace Limited, had recently<br />
commenced to exhibit in their music-hall a series<br />
of tableaua vivants,in which they represented, by<br />
means of groups of living persons, various<br />
paintings, amongst them being the five pic-<br />
tures. The plaintiff, in an affidavit filed by<br />
him, said that he was a fine-art publisher<br />
carrying on business at Munich, and having<br />
business houses in London and New York, and<br />
agencies in Paris and Berlin. All the pictures in<br />
question were first published in Munich, and were<br />
entitled to copyright in Germany, and, by virtue<br />
of the International Copyright Act, in the United<br />
Kingdom also. The unauthorised reproduction<br />
of the said pictures as part of a music-hall variety<br />
entertainment would considerably lessen the value<br />
of the copyright therein, the tendency of such<br />
representations, preceded and followed as they<br />
were by performances of the usual music-hall<br />
type, being to vulgarise the subjects and make<br />
them less valuable as works of art. He further<br />
said that he had witnessed the representations at<br />
the defendants’ music-hall, and observed that the<br />
details of his pictures were “ reproduced exactly,<br />
and the illusion was so perfect that a complete<br />
copy of the said pictures with the background was<br />
produced as in a stereoscope, so that a living<br />
canvas was, asit were, presented to the audience.”<br />
The defendants denied that they were exhibiting<br />
as part of their Living Pictures exact copies or<br />
imitations of the plaintiff’s pictures, or that<br />
living persons were posed, made up, and attired<br />
so as to represent as nearly as possible the figures<br />
in the pictures, in their original attitudes and<br />
draperies. They said that the arrangements<br />
made for their scenic representations consisted of<br />
<br />
THE AUTHOR.<br />
<br />
a separate and distinct proscenium erected upon<br />
the stage of the theatre, with painted canvas<br />
backgrounds, wings, and curtains, and various<br />
properties, such as flowerstands. They further<br />
said that there were many differences between the<br />
stage pictures and the photographs of the plain-<br />
tiff’s pictures from which they admitted they had<br />
taken the idea of their representations. The<br />
plaintiff also claimed an injunction against the<br />
proprietors of the Daily Graphic newspaper, who<br />
appeared to have published in their paper wood-<br />
cuts of some of the Living Pictures as seen at<br />
the Empire, but the case against them was, on<br />
the application of their counsel, adjourned. At<br />
the hearing of the motion before Mr. Justice<br />
Stirling the application stood over so far as it<br />
related to the Daily Graphic newspaper. The<br />
case also stood over as regards the background,<br />
on an undertaking by the defendant company to<br />
take photographs and keep an account. His<br />
Lordship refused an injunction as to the living<br />
figures. The plaintiffs appealed.<br />
<br />
Mr. Graham Hastings, Q.C., Sir Richard<br />
Webster, Q.C., Mr. T. E. Scrutton, and Mr. A. H.<br />
Jessel appeared in support of the appeal; Mr.<br />
Buckley, Q.C., and Mr. Roger Wallace, for the<br />
defendant company were not called upon; Mr.<br />
H. A. Forman watched the appeal for the Dazly<br />
Graphic.<br />
<br />
Lord Justice LinpiEy said this was a very<br />
important question and a new one. They were<br />
asked to put a construction on the Act never<br />
contemplated when it was passed, and which it<br />
did not bear. The plaintiff based his case on the<br />
Actof 1862. That Act was one of the Copyright<br />
Acts, which were grouped into series; there was<br />
one series relating to engravings, another to<br />
pictures and works of art, another to dra-<br />
matic authorship, and he thought there was a<br />
separate legislation as to sculpture. When the<br />
Act was passed engravings were protected, but<br />
pictures were not. The object of the Act was to<br />
put painters more or less in the position en-<br />
gravers were in with respect to the work of which<br />
they were the authors, or tu give artists a com-<br />
mercial property ; the object was to protect them<br />
from piracy by copying or engraving or photo-<br />
graphing, or any new way that might be found<br />
of multiplying or reproducing by making some-<br />
thing of the same class. But the object was not<br />
to restrain the producing a totally different class<br />
of thing; it was not intended to put a limit on<br />
the scope of a sculptor’s business or of the busi-<br />
ness of dramatic performance ; but the Act was<br />
aimed at reproductions by any means similar to<br />
the thing originally produced. His Lordship<br />
examined the language of sect. 1 of the Act,<br />
pointing out that the words used were different<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
from those used in enactments<br />
dramatic authorship. The language, he said,<br />
seemed to him incapable fairly of being<br />
strained to include such a representation as was<br />
complained of. Light was thrown on the con-<br />
struction of sect. 1 when the subsequent sections<br />
were looked at, for they provided remedies in-<br />
capable of being applied in a case of represen-<br />
tation of a picture by human beings. He did<br />
not rely so much on those sections relating to the<br />
remedies as on the object of the Act and the words<br />
of the first section. If he went outside the Act, he<br />
thought light was thrown upon it by the case<br />
of Dicks v. Brooks (15 Ch. Diy. 22), where<br />
the Court of Appeal held that a pattern<br />
for worsted work was not an infringement of<br />
the copyright in an engraving. In his Lord-<br />
ship’s opinion the appeal must be dismissed with<br />
costs.<br />
<br />
Lord Justice Kay was entirely of the same<br />
opinion. The plaintiff, by virtue of the Inter-<br />
national Copyright Act and an order made under<br />
that Act, was in the position of a British artist<br />
as to his rights to protection against infringe-<br />
ment. His Lordship stated the facts, and said<br />
the question was whether that kind of thing,<br />
putting the background out of the question, was<br />
within the meaning of the Act; if it was, of<br />
course the right to an injunction was clear. The<br />
case was rather put upon the word “reproduc-<br />
tion’”’—that was, producing again. It seemed to<br />
him that the reproduction must be something<br />
which could properly be described as a picture.<br />
He should have to come to the conclusion that<br />
this dramatic representation, or so-called picture,<br />
part of which consisted of human figures dressed,<br />
as he presumed, exactly like the figures in the<br />
plaintift’s pictures, was not within the words<br />
giving the author a sole right of copying and re-<br />
producing his pictures. This construction he<br />
thought confirmed by looking at the subsequent<br />
parts of the Act, which provided remedies<br />
inapplicable to representation such as was com-<br />
plained of. It came to this, he said—that if the<br />
plaintiffs construction was right, a man could be<br />
prevented from having in his own private draw-<br />
ing-room a tableau vivant representing a picture,<br />
for nothing was said as to reproduction for profit.<br />
Putting the case of the background out of the<br />
question, he came to the conclusion that the case<br />
was not within the Act, and the appeal failed.<br />
<br />
Lord Justice A. L. Smrrx. concurred. The<br />
Act, he said, must be construed as a whole. He<br />
referred to the preamble to show the nature of<br />
the imitation against which an author of paint-<br />
ings, drawings, and photographs was intended<br />
to be protected. His Lordship discussed the<br />
provisions of section 6, which enables the author<br />
<br />
referring to<br />
<br />
363<br />
<br />
or his assign to sue for damages, and section 11,<br />
which provides for penalties, in both of which<br />
sections are enactments for the forfeiture or<br />
delivery up of infringing articles, provisions not<br />
applicable to human beings. Taking these things<br />
into consideration, on the construction of section<br />
(1) he was of opinion that the thing offending<br />
against the statute must be something in the<br />
nature and character of a picture, which a<br />
tableau vivant was not. He concurred in dis-<br />
missing the appeal with costs —TZ%smes, Feb. 22.<br />
<br />
<br />
<br />
Il.—Tue Law or Lise.<br />
<br />
The following case is put by one of the literary<br />
craft :—‘‘ I conduct ‘ Answers to Correspondents ’<br />
for a certain weekly magazine. Among the<br />
questions put are often those to which a direct<br />
answer would be libellous; for instance, if the<br />
person who trades under the style of Fur and<br />
Mendax is honest and trustworthy ; whether an<br />
author should send them a MS. I know certain<br />
damning facts about them. What am I to do?”<br />
The writer must remember that an action for<br />
libel may be brought against the editor, the pro-<br />
prietor, or the contributor. He must, therefore,<br />
word his answer so that no action should be<br />
possible. For instance, in such a case would it<br />
not be possible for the answer to warn the<br />
questioner in general terms never to send MSS.<br />
to any publisher of whom he cannot get trust-<br />
worthy information? That is a good, safe rule,<br />
and, in these days of universal writing, a rule<br />
which can always be acted upon, for everybody<br />
knows some one who writes.<br />
<br />
<br />
<br />
Ii..—Tue Lirerary AGENT.<br />
<br />
The following appeared in the Athenxum of<br />
Feb. 24 :—<br />
<br />
New York, Jan. 30, 1894.<br />
<br />
There are one or two points in connection with the lite-<br />
rary agent, or middleman between author and publisher,<br />
which I think have been missed by your previous corre-<br />
spondents, possibly because they are more particularly<br />
applicable to the American than to the English publishing<br />
business.<br />
<br />
The most important point, as far as the author is con-<br />
cerned, is that the employment of a literary agent is likely<br />
to lead to the distribution of his books among a number of<br />
publishers. Now in this country the influence of adver-<br />
tising on the sale of books is chiefly a cumulative one, and<br />
a publisher spends his money not so much in advertising a<br />
particular book as in keeping the name of an author by<br />
-vhom he is employed constantly before the public. He will<br />
naturally do this more vigorously for an author all of whose<br />
books he controls than for a writer in the sale of whose<br />
works he is only partially interested; and an author who<br />
has employed two or three different publishers may be<br />
annoyed, but must not be surprised, if he finds that his<br />
books do not figure conspicuously in the advertising lists of<br />
any one of them.<br />
364<br />
<br />
T could give you examples from my own experience of the<br />
disadvantage of this distribution of interests. A recent<br />
case is that of a writer whose books, saleable as they are,<br />
command in advance payments on royalties about one-third<br />
less to-day than they did three years ago, when they were<br />
all in one publisher’s hands, although, of course, on the first<br />
book, which was not brought out by his original publisher,<br />
the author received a larger sum than he had hitherto done.<br />
<br />
Another serious evil is the temptation which the literary<br />
agent has to accept on behalf of the author an offer for<br />
publication from a firm of small financial responsibility, so<br />
that, while the first payment on account of his book may be<br />
met, the author may find as the second or third year of pub-<br />
lication comes round that the firm in question has made an<br />
assignment, and that his book has passed into the hands of<br />
the receiver of the failed company.<br />
<br />
I was lately offered a book by a rising English author,<br />
whose books have had a fair sale hitherto, but the terms<br />
asked (and evidently suggested) by the literary agent were<br />
such as afforded no chance of profit to the publisher. The<br />
book was declined, and was finally issued by a firm of pub-<br />
lishers who have already failed once, and who, if current<br />
report is to be believed, are likely to go through the same<br />
experience again at no distant date.<br />
<br />
It is, perhaps, more important for an author here to make<br />
himself acquainted with the ability and responsibility of his<br />
publisher than it is in London. There are on this side of<br />
the water a number of publishing houses, both of English<br />
antecedents and of native origin, whose honour and financial<br />
responsibility have never been questioned, and it is, there-<br />
fore, both surprising and irritating to find so many English<br />
authors of note falling (no doubt with the aid of the middle-<br />
man) into the hands of firms such as those that have recently<br />
helped to swell the list of failures at ‘“‘ Bradstreet’s.”<br />
<br />
; An AMERICAN PUBLISHER.<br />
<br />
It is well that everything said for or against<br />
the literary agent should be printed, or reprinted,<br />
in the Author, whose readers are very deeply<br />
interested in the subject. It would be well, in<br />
fact, if we could obtain a body of opinions as to<br />
the place and importance of the literary agent<br />
from our readers alone.<br />
<br />
The American publisher talks sense; he means<br />
business, and he does not try to hide his meaning<br />
with a thin pretence about friendship. An author<br />
to him means profit or loss. It is a great thing<br />
to recognise this elementary truth at the outset.<br />
<br />
His three points are<br />
<br />
(1.) That an author would do well to keep his<br />
books in the hands of one firm.<br />
<br />
Very true. But why does he not? Is it the<br />
fault of the agent? Did he, before agents were<br />
created, keep his books in one firm? He did not<br />
—and why not? The question must be answered<br />
without reference to the agent at all. My own<br />
experience is that the agent does not, if he can<br />
avoid it, scatter an author’s work.<br />
<br />
(2.) A firm of small financial responsibility is<br />
apt to make a large bid for a book; but, after<br />
a year or so, he may fail, the book passing into<br />
the hands of receivers.<br />
<br />
An author, ignorant of business, may very well<br />
fall into that trap. Many authors did so two or<br />
<br />
THE AUTHOR.<br />
<br />
three years ago. An agent should, of course, do<br />
his best to find out the financial standing of a<br />
firm with which he deals.<br />
<br />
(3.) A royalty is sometimes asked which would<br />
leave no profit to the publisher.<br />
<br />
The reply to this is, that when American<br />
authors succeed in finding out the ‘‘Cost of<br />
Production,’ and publishing it, such a demand<br />
could not be made. So long as American pub-<br />
lishers continue to talk in vague terms about<br />
the enormous expenses of travellers, printing, &c.,<br />
in the States, so long will English authors and<br />
English agents continue to discuss the adminis-<br />
tration of their property in darkness. Eprtor.<br />
<br />
<br />
<br />
IV.—Tue American Tarirr on Books.<br />
<br />
The Dial of Chicago has made an attempt to<br />
“enlist the friends of culture, irrespective of<br />
party, in an effort to secure the removal” from<br />
the United States tariff law of the duty on books<br />
in the English language. The editor sent round<br />
in various directions a large number of blank<br />
petitions, which were filled with signatures and<br />
presented to the House of Representatives. It<br />
must be remembered that this kind of work is<br />
far more arduous than it would be in this country<br />
on account of the great distances, and the differ-<br />
ence in the average of culture in the several<br />
States. For instance, not to be invidious, no one<br />
would expect in Texas the same intellectual stan-<br />
dards as in Massachusetts. The result of the<br />
petitions is not yet apparent; probably, they<br />
were only expected to clear the way for another<br />
and a bolder attack. It is, however, remark-<br />
able—though not astonishing—that this move-<br />
ment should originate in Chicago. We may<br />
look—I firmly believe — to the west, of which<br />
Chicago is the natural centre, for many great<br />
things in literature and in art. The youth and<br />
vigour of the place; the success of the place;<br />
the resolve of the young men and maidens to<br />
achieve what can be achieved by study and effort ;<br />
the wealth of the place, which secures all that can<br />
be obtained in learning and teaching ; even the<br />
separation of the place from the old continuity of<br />
English literature; the things that have already<br />
come from the place—all lead me to look on<br />
Chicago as a centre of literature and art in the<br />
immediate future.<br />
<br />
This is what the Dial says about the tax:<br />
<br />
It would be difficult to devise a more stupid duty than<br />
this tax of 25 per cent. upon the implements indispensable<br />
to the profession of the intellectual worker. As a means of<br />
producing revenue its results are insignificant. And a very<br />
little examination will serve to show that it does not, thatit<br />
cannot, operate as a protective measure. The man who<br />
wants a pocket-knife, or a watch, or a suit of clothes, will<br />
take the article of American manufacture if a protective<br />
<br />
<br />
<br />
<br />
<br />
<br />
f<br />
¢<br />
<br />
=<br />
<br />
<br />
<br />
THE AUTHOR. 365<br />
<br />
tax makes the corresponding articles of foreign manu-<br />
facture too costly for his means. But the man who wants<br />
the poems of Tennyson, or the essays of Matthew Arnold,<br />
or the political writings of Professor Bryce, finds no corre-<br />
sponding American books that will do about as well. His<br />
purpose will not be suited by the poems of Longfellow,<br />
or the essays of Emerson, or the political writings of<br />
Professor Fiske. The suggestion that, as a good American,<br />
he ought to be contented with the latter works is too<br />
puerile to be taken seriously. A man wants a book for<br />
some specific purpose, and no other book will do. If he<br />
eannot afford to purchase it, he must go without. And his<br />
disgust with the law that wantonly places the book beyond<br />
his reach will not help to make him a better American. It<br />
must be added, lest some of our readers should have for-<br />
gotten the fact, that the case of English books copyrighted<br />
in this country is covered by the Copyright Law itself,<br />
which requires their manufacture here, and does not<br />
merely tax, but prohibits, the importation of the English<br />
edition.<br />
<br />
<br />
<br />
WANTED, A WRITER'S HANDBOOK.<br />
<br />
HERE have been many literary guide books<br />
offered to the public for the assistance of<br />
beginners in the art of authorship, but we<br />
<br />
think the really practical guide has yet to be<br />
written. What young authors chiefly want to<br />
learn from their elders is, not what they should<br />
read or write, or how they should write it, what<br />
models of style they should copy, and what perils<br />
are to be avoided. The chances are that the youth<br />
in search of a publisher has already written what<br />
he, or she, considers a great work, and to be told<br />
how to write that which is already written, borders<br />
on the insultmg. But when the manuscript is<br />
written, the real difficulties of the young author<br />
begin. He is sure to have friends, friends that<br />
reassure him and friends that throw cold water.<br />
Itis always easy to throw cold water, because then<br />
the responsibility of what follows does not rest on<br />
our shoulders, and one can say, ‘‘ I told youso,” to<br />
the failure which is likely to follow a first attempt.<br />
The friends give the young author much advice,<br />
good, indifferent. and bad—often very bad. He<br />
is bewildered by the very contradictory opinions<br />
he hears ; he feels he must decide for himself, and<br />
he does so. But how? It requires a knowledge<br />
which even men who have worked at literature all<br />
their lives do not always possess, namely, which<br />
of all the firms of publishers is the most likely to<br />
read, consider, and accept the manuscript in<br />
question.<br />
<br />
Or, say the story is a short one, and many suc-<br />
cessful writers advise the ambitious novelist to<br />
begin with short magazine stories as a prelimi-<br />
nary, like “feeling his feet” before beginning to<br />
walk alone; to which of the hundred and one<br />
magazines, weekly and monthly, that are spread<br />
out on the bookstalls before the dazzled eyes of<br />
<br />
VOL. Iv.<br />
<br />
<br />
<br />
the novice who yearns to see himself in print, is he<br />
to confide that precious firstling, the idol of his<br />
heart and brain. There are few sensations more<br />
sickening than the disappointment of an author<br />
who, having cast himself into the eddy, finds that<br />
he is merely flung back on to the bank, instead<br />
of being carried down with the stream. And<br />
Lorelei herself has enticed fewer victims to their<br />
destruction than has the great and fascinating<br />
Mississippi of literature.<br />
<br />
To lessen some of the disappointment and mis-<br />
adventures that fall to the lot of most young<br />
authors, to prevent good work from going astray<br />
until the worker is all but in despair, would be—<br />
not to flood the market with what is not wanted,<br />
or to set all boys and girls scribbling—but to give<br />
those who have something worth saying and can<br />
say it, a chance of being heard. At present, for<br />
all that is written and said on the subject of<br />
editors being on the look out for fresh talent, it<br />
is all but impossible for a young writer to get a<br />
hearing. Moreover the would-be author is pro-<br />
bably a poor man, he must nevertheless spend<br />
much in stamps, and on consulting the best<br />
literary papers for the names and addresses of the<br />
firms he fancies may take his manuscript. From<br />
these he will learn a little, but not what he most<br />
requires to know. Even the Society of Authors<br />
cannot help him to a publisher, though it can<br />
help him when he has found one. What he<br />
wants is a writers’ handbook, a literary Murray<br />
or Baedeker ; in fact, such a guide as does not<br />
at present exist. The handbook should contain<br />
a list of publishers, magazines, and newspapers,<br />
with their respective addresses. Each publisher<br />
should state the kind of work their firm requires,<br />
the number of volumes preferred, or the length<br />
in words. Any series open to good writers might<br />
be mentioned, those to which only special authors<br />
are invited to contribute might be marked as<br />
closed. It might also be mentioned what firms<br />
will allow an examination of their accounts, and<br />
what firms do not. With regard to magazines<br />
and papers, those that have notices to contributors<br />
should have them reproduced. Here, also, the<br />
best length for a story or article could be given<br />
by the editors, and where there is a fixed scale of<br />
payment, the usual remuneration might be quoted,<br />
so as to prevent misapprehension.<br />
<br />
Such a guide, could it be written, would be of<br />
use to all writers, not only to the tyro who needs<br />
a helping hand; it would be of service to the<br />
editor, who might cease to receive endless manu-<br />
scripts totally unsuited to his requirements, and<br />
it would become a book of reference for all<br />
interested or connected in any way with the great<br />
Republic of Letters.<br />
<br />
The want of a handbook of this description<br />
<br />
aa<br />
366 - THE AUTHOR.<br />
<br />
being admitted, the next question is, who will<br />
undertake to compile such a work ?<br />
Ismay THORN.<br />
Secs<br />
<br />
BOOK TALK.<br />
<br />
<br />
<br />
HE well-deserved success of Mr. Stanley<br />
Weyman’s work “A Gentleman of France,”<br />
will probably lead many of its admirers to<br />
<br />
ask once again how it comes about that good<br />
historical romance has always a charm both for<br />
the youngest and the most experienced reader.<br />
Tt is in the nature of man’s intellectual perfor-<br />
mances to move from unity to variety. In the<br />
history of inventions an improvement on a<br />
previous patent means a distinct advance, and<br />
the creation of a fresh piece of property. So,<br />
too, in the invention of history —a new way<br />
to tell old deeds is a great find, and ought to<br />
be a very valuable educational agent. When<br />
considered with respect to literary form, the<br />
genesis of history seems to be in this wise: The<br />
metrical method broke down when for reciting<br />
from memory was substituted the practice of<br />
writing. So the epic became the chronicle.<br />
Immediately we miss the human voice, an omission<br />
which led the poet to combine the two, the epic<br />
and the chronicle, and to create the historical<br />
drama. There is a sense in which Shakespeare is<br />
our greatest historian, because the necessities of<br />
the drama compelled him to make a choice of<br />
incident. But this necessity in its turn begets<br />
dissatisfaction—curiosity as to what is not told<br />
us, and criticism of the sequence of events. The<br />
fresh writer sees the difficulty, and grapples with<br />
it by giving us the narrative ; he places a date on<br />
each page, and with a passion for filling up spare<br />
time and bare places he becomes diffuse, and the<br />
method loses its hold upon the reader by its over<br />
attention to detail—in a word, its pedantry. The<br />
return to a wish for men and women who, whether<br />
under real names or not, shall at least speak as<br />
men and women might have spoken, is a rebound<br />
back to the drama, with one’s faculties for enjoy-<br />
ing the drama dulled by the narrative. It is true<br />
that it is of the narrative we speak when we use<br />
the word “history” without qualification. We<br />
may be uncertain what ‘‘ history’ implies. Wath<br />
some it is “teaching by examples,’ with others<br />
it is ‘‘ descriptive sociology,” and according to<br />
a man’s mental bias so he will find his definition<br />
to suit himself, unless he is fortunate enough not<br />
to want one. But there can be no doutt in any-<br />
one’s mind, no difference in our opinion that in<br />
England, history must denote the works of<br />
Clarendon and Gibbon, around whom we may<br />
group, according to our taste, other names held to<br />
<br />
be nearly as great, from Bolingbroke to Carlyle.<br />
Of these great authors it is style which dis-<br />
tingvishes them from others. They write as<br />
though they took pride in feeling that their<br />
manner of writing was worthy of their respective<br />
subjects. When these two forms of historical<br />
literature, the drama and the narrative, have<br />
been perfected, the historical novel or romance<br />
becomes possible. It is the next demand. It is<br />
the next necessary advance in the progress of<br />
literature in order of time, though, of course,<br />
order of merit is another affair altogether.<br />
Taking the necessity of a narrative from the<br />
narrative historian, and of persons speaking for<br />
themselves from the drama, these elements of the<br />
historical novel only wait then to be combined.<br />
How is it that the combination is brought about<br />
with poor results in some cases, and in others<br />
with such brilliant success ? Let us put aside the<br />
question for a moment, and, assuming that Scott<br />
and Dumas have written perfect historical<br />
romances, we will note what types of novel have<br />
since been in vogue. There is the novel of con-<br />
temporary history, or political novel, in which<br />
the events described have taken place in the<br />
author’s own time and in which the characters<br />
can be recognised as known public men, and<br />
are intended to be so recognised. Here, as<br />
before, in Dumas and Scott, we have fictitious<br />
characters, the authors’ invention, brought into<br />
relation with real characters, but with this dis-<br />
tinction, that the latter are now bound to bear<br />
disguised names. The most typical stories of<br />
this kind are Lothair and Endymion. We donot<br />
see how it will be possible to refuse the epithet<br />
historical to these novels when the events<br />
described have passed out of the memory of<br />
living men. We may note in passing that<br />
Disraeli took even his fictitious names from<br />
historic personages—“ Endymion” from Endy-<br />
mion Porter, the page to Prince Charles—and<br />
perhaps “Ferrars” from the Ferrars of Little<br />
Gidding fame.<br />
<br />
Since “Endymion” a new type of political<br />
novel has appeared. It is called the human<br />
document. We are to observe that, as before,<br />
courtesy demands that the names shall be dis-<br />
guised, but the peculiarity which marks it asa<br />
fresh species is that there are no fictitious<br />
characters—at least, none of any moment. If<br />
anyone should think that in this last species<br />
the author’s task must be an easy one, there<br />
is Mr. Meredith’s “Tragic Comedians, a study<br />
in a well-known story,’ to convince him of<br />
his error—-and, we hope, delight him as the<br />
fairest variety of its species.<br />
<br />
The next step must be some development of<br />
the method of the “ Tragic Comedians,” and it<br />
<br />
<br />
<br />
oe<br />
<br />
Se &<br />
<br />
eS<br />
<br />
<br />
<br />
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=<br />
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'<br />
Z<br />
ay,<br />
<br />
<br />
<br />
THE AUTHOR. 367<br />
<br />
is clear that any author reverting to a previous<br />
type must of necessity challenge comparison.<br />
Thus, in “A Gentleman of France,” it is Mr.<br />
Stanley Weyman’s good fortune that one thinks<br />
of Dumas, and that, in spite of such a com-<br />
parison, the Sieur de Marsac has a status all his<br />
own. We can well believe that this work may be<br />
to younger readers what ‘“ The Three Musketeers ”<br />
and “Twenty Years After” have been to others,<br />
perhaps to Mr. Weyman himself. Yet there is<br />
one thing that we miss, there is no touch of humour<br />
in the whole book — although the frontispiece<br />
is called “The Sport of Fools.” We do not say<br />
that Mr. Weyman could not make us laugh if he<br />
chose, and it may be that his choice of subject<br />
does not lend itself to humour easily. Certainly<br />
the cruelties of Catholics to the Huguenots are<br />
not matter of sport; but, on the other hand, in<br />
matters of the deepest religious import, whether<br />
for defence or reproval, the judicious use of<br />
raillery has the highest sanction. One would<br />
think that a writer of historical romance might<br />
do worse than make the “Eleventh of the<br />
Provincial Letters”? a happy guide on this point,<br />
which is essential to give the highest merit to<br />
any work of literary art.<br />
<br />
If such be the history of the historical novel,<br />
it is obvious that it has a certain position in<br />
relation to civilisation. Some writers hold that<br />
it is savage man who creates institutions, and<br />
institutions which, in their turn, create civilised<br />
man. If from literature we can in any sense<br />
read off the degree of a nation’s progress, then<br />
it must be owned that the stories produced<br />
just after the fall of Napoleon — Waverley<br />
and Waterloo are of the same year — were<br />
very healthy. War itself deserves no place in<br />
literature. On the other hand, diplomacy, the<br />
love of stratagem and intrigue, the statesman’s<br />
passion when a mistake might embroil nations,<br />
make better romances than, not perhaps the<br />
normal passion of peace, but certainly better<br />
than when the ethics of the indecent are for-<br />
gotten. The examination of particular historical<br />
novels requires not only knowledge of the period<br />
described, but also of the prevailing political<br />
and social views at the time they were written.<br />
Take for instance the reign of Charles II. Dr.<br />
Newman somewhere contrasts ‘‘Peveril of the<br />
Peak” with “ Brambletye House” as instances,<br />
the latter of bald description and the former of<br />
artistic description, or words to that effect. We<br />
have also another widely read story, “ Old Saint<br />
Paul’s,” in which Ainsworth deals with the same<br />
period. The reason for the respective novelists’<br />
choice of this reign is no doubt that it is possible<br />
to get such information so as to describe the<br />
degree of luxury in social life with an accuracy<br />
<br />
VOL. Iv.<br />
<br />
sufficient to compel the reader to accept the<br />
illusion.<br />
<br />
No doubt, if the novelist wrote up his details<br />
with Mr. Thorold Rogers’ researches into the<br />
history of prices in his hands, he would be able<br />
to introduce every luxury of food and clothing as<br />
novelties at their proper period. We may doubt<br />
if in Brambletye House, when the hero is intro-<br />
duced to Lord Rochester, whether his Lordship<br />
would have been drinking tea. Again, on<br />
explaining to the youth how to get on at Court,<br />
he asks him, “Can you sing a naughty song<br />
like my Lord Arlington, or a blasphemous one<br />
like your humble servant, have you a pretty<br />
sister, or a pretty cousin, or even a little terrier<br />
dog with bells.” We may hesitate whether the<br />
author—Horace Smith—did not mean a spaniel.<br />
Here is the critic’s opportunity to expound the<br />
lore of tea and terriers and show there is no<br />
anachronism. The same remarks might be made<br />
of each of these three works, that in each the<br />
local colour may be exact to a fault, but that the<br />
view of the Restoration period is drawn from<br />
the bias of the author’s politics, as to the<br />
proper view to take of that period, which bias<br />
was, as we know, a wish to exculpate the Stuarts<br />
at the expense of the Puritans. It implied that<br />
the lies of one sovereign and the heartless-<br />
ness of another should be all hidden away under<br />
gaiety and good humour, the pigments out of<br />
which the glowing colours of romance are com-<br />
pounded, If a writer were to lay the scene of<br />
his novel at the same time nowadays—he would<br />
have to go to the same sources for his details of<br />
social life; but how would it be possible for him<br />
not to draw on the histories of Dr. Stoughton for<br />
a truer picture of the Puritans, to whom, when<br />
all is said and done, England owed so much, and<br />
who were neither so inartistic or such enemies to<br />
innocent pleasure as those who hold a brief for<br />
the Stuart dynasty consider it their duty to make<br />
out. J. W.S.<br />
<br />
<br />
<br />
<br />
<br />
NOTES AND NEWS.<br />
<br />
ONCERNING the interview trouble. An<br />
editor writes to a man who is an expert,<br />
<br />
a recognised authority, on a certain subject ;<br />
<br />
he asks this man, probably a very busy man, to<br />
give his representative an interview. The expert<br />
accedes good naturedly—if he is a young expert<br />
he is flattered perhaps; if he desires to be more<br />
widely acknowledged as an expert he is pleased.<br />
The interviewer calls. He stays two hours<br />
asking questions; he generally shows by his<br />
questions that he knows nothing whatever of the<br />
subject ; he makes notes ; he goesaway. The man<br />
<br />
aa2<br />
<br />
<br />
368<br />
<br />
interviewed has therefore lost two hours of<br />
valuable time ; probably an whole morning has<br />
been broken up; if the man is young at the<br />
work he leaves the interviewer to do his worst.<br />
In course of time his opinions appear—a feeble,<br />
flabby, half true, wholly inadequate expression of<br />
what he really said and really thinks. If the man<br />
interviewed is not young, he stipulates for a<br />
proof. This he receives, and he then sits down to<br />
read and correct. He has to rewrite every single<br />
sentence; it costs him about three hours of work,<br />
He has thus been mulcted of five hours’ work.<br />
The editor of the paper, on the other hand, has<br />
received a paper on this man’s opinion, which any<br />
magazine would have been delighted to publish<br />
on the usual terms—or on special terms. It is<br />
very nice, indeed for that editor; but what is it<br />
for that expert? As for myself, my latest<br />
experience is that after a distinct pledge was given<br />
by the reporter that nothing should be printed<br />
that was not passed by myself, he kept his<br />
promise so far as to send the proofs, and then the<br />
paper did not wait for the revise, but published<br />
the hugger mugger mess that the interviewer had<br />
put forward as my opinion. The moral of this is,<br />
that people who are interviewed must obtain from<br />
the editor himself a letter to promise that the<br />
proofs should be revised.<br />
<br />
<br />
<br />
One would not pretend to argue after lawyers,<br />
but one may ask a question. What possible<br />
injury can be done to a picture by a tableau<br />
vivant copying it—group—setting—everything ?<br />
A picture is either the property of the painter, or<br />
of some private person, or of a picture dealer, or<br />
of a public gallery. In the first place, a tableau<br />
vivant makes the picture known; in the second<br />
place it may add value to a picture; in the third<br />
place it calls attention to a picture, and may make<br />
it more desirable; and, in the last case, since the<br />
picture cannot be bought, it may make people go<br />
to the gallery in order to see it. If the subject is<br />
good, but the picture bad, a tableau vivant may<br />
call attention to bad drawing, bad light, bad<br />
colouring. If the picture is good, as well as the<br />
subject, the tableau vivant must contribute to<br />
the painter’s reputation. From every point of<br />
view it seems to an outsider that an artist, or the<br />
owner of a picture, should be pleased with a<br />
tableau vivant—if it is a good and faithful repro-<br />
duction—which places his picture on the stage for<br />
all the world to see.<br />
<br />
<br />
<br />
A second letter, signed “ Clerk,” on publishing<br />
generally, appears elsewhere, with a few words of<br />
comment. Deep rooted are the traditions of the<br />
trade, Secrecy as to the cost of production, the<br />
<br />
THE AUTHOR.<br />
<br />
retail price—everything—has been hitherto the<br />
rule. So we have done our best to admit light<br />
into all the details of the business. But when<br />
we ask the simple—the elementary—question,<br />
What does the publisher do for a book outside<br />
the work covered by what is called the “ establish-<br />
ment?” we are met with the remark that the<br />
question is “amazing.” No doubt ; it is amazing,<br />
Yet it must be put; and if any understanding is<br />
to be arrived at, it must be answered. Under-<br />
stand that there is no intention to assert, as<br />
“Clerk” says we assert, that the publisher does<br />
nothing outside his “ establishment” services—not<br />
at all—but one only asks what it is that he does.<br />
The printing, binding, advertising, subscribing,<br />
placing in the market, all is plain routine work<br />
with the majority of books. Here and _ there, to<br />
be sure, there must be troublesome books—those<br />
with dainty illustrations, beautiful binding, edi-<br />
tions de luxe. But for the majority of books it<br />
is certainly plain routine.<br />
<br />
<br />
<br />
You think this is mere outside assertion ? Then<br />
I offer you my experience, which has led_me to<br />
understand and to discover this fact. First of<br />
all, as the secretary and hon. secretary of two<br />
societies, both of which have published many<br />
books, I have myself put through the press and<br />
done the exact work which to “Clerk ’’ means so<br />
much anxiety. Now, I will tell you what for most<br />
books this anxiety means. I have edited, written,<br />
or translated: I have caused to be illustrated: I<br />
have annotated: I have put through the press,<br />
generally, about fifty works for these societies.<br />
The volumes are as handsome, as well produced,<br />
as those of any firm in the country. The awful<br />
anxiety and careful thought required for the work<br />
necessitated a half hour’s talk with the printer, who<br />
brought specimens of type and form of page; an<br />
hour’s talk with the binder, who produced designs; —<br />
and some trouble with the illustrations. One work,<br />
a great work, in eight volumes royal octavo, with<br />
thousands of illustrations, gave me a great deal<br />
of trouble, because I had, as general editor, to<br />
annotate it and to look after the illustrations.<br />
I confess that the work was very laborious, but<br />
not on account of the printing. Then, as regards —<br />
novels, the first three or four novels published<br />
under the joint names of Mr. James Rice and<br />
myself were printed by ourselves. We did not,<br />
you see, pay for production, as is meant when one<br />
speaks of paying for production; we gave the<br />
book printed and bound to the publisher, who —<br />
issued it on commission. The wear and tear of —<br />
thought required for the production of these —<br />
books amounted to a quarter of an hour with ~<br />
the printer and about five minutes with the binder. _<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
These details are given to show that I know what<br />
I am talking about when I say, that for nine-<br />
tenths of the books produced there is no trouble<br />
at all in the production. It is routine work.<br />
Understand, again, that there is no desire to<br />
depreciate the part taken by the publisher outside<br />
the “establishment”? work. One only wants to<br />
know what that is.<br />
<br />
A member sends a letter on the subject of<br />
the injury inflicted on women journalists by<br />
women who are not professionals, who take work<br />
for nothing, or for next to nothing, and who are<br />
not earning their livelihood by their work. Many<br />
of them, the writer complains, are ladies in good<br />
position and wealthy; titled ladies—but then<br />
titles are not always accompanied by wealth.<br />
The letter belongs to the Instztute of Journalists,<br />
rather than to ourselves; but literature and<br />
journalism overlap, and it is hard to say where<br />
one ends and the other begins. Certainly the<br />
essays and leading articles in our best papers<br />
are literature; and certainly the paragraph and<br />
the report are not literature. The point raised<br />
is more difficult than it seems. Our correspon-<br />
dent excludes those women who think they have<br />
a thing to say—a message to deliver. She does<br />
not, and cannot, include such writers in her<br />
denunciations. The lowering of scale pay is<br />
certainly a crying evil. In this, as im every<br />
other department of women’s work, the lowering<br />
of pay is a recognised curse. But who is to decide<br />
when a woman is entitled to become a journalist ?<br />
To write descriptive articles, critical articles, lead-<br />
ing articles, is to many women, as to many men,<br />
the most delightful work possible, without the<br />
least consideration of pay. Then, again, the<br />
question of means and income is not so simple;<br />
for where a hundred a year is poverty to one<br />
woman, it is wealth to another. Can we not, in<br />
such a matter as this, try to awaken public<br />
opinion ? Can we not teach all writers that they<br />
must not take low and miserable pay, because<br />
this means, in the inferior papers and journals,<br />
lowering the whole standard? If ladies of<br />
wealth and position write at all, let them,<br />
at least, insist upon payment on the same<br />
scale as those who write for bread have and<br />
must have. Not to do so may inflict the<br />
most grievous hardship on their poorer sisters.<br />
But I very much doubt whether any repre-<br />
sentations at all will induce ladies to give up<br />
the pleasure—and the power—of writing for the<br />
papers. Some time ago I found that a lady of<br />
wealth was in the habit of giving her papers to a<br />
certain organ, which was thus induced to try if<br />
it could not get all its work done for nothing. I<br />
pointed out the mischief done in this way, and the<br />
<br />
<br />
<br />
369<br />
<br />
lady at once perceived her mistake, and either<br />
ceased to write, or, if she continued to write,<br />
began to insist on proper payment.<br />
<br />
<br />
<br />
The Westminster Gazette calls attention to the<br />
loose way in which an edition is numbered:<br />
<br />
How many copies constitute an edition P Most publishers<br />
would probably say of a three-volume novel 250 copies, of a<br />
6s. novel 1000, and of a 1s. novel 5000. ‘The public<br />
generally believe that a new edition means some alteration<br />
in the text, and it does so often, but not always.<br />
<br />
In connection with this question of editions, a curious<br />
incident occurred the other day. A prominent firm of<br />
London publishers had a proposal from an author, who has<br />
already written several books which have not been a success,<br />
to produce another. The author asked for an estimate for<br />
a thousand copies, each hundred to be printed with a fresh<br />
title page, and to bear that it was a new edition. That is to<br />
say, if 900 copies were sold, the book would then be in its<br />
tenth edition. It is needless to say that the author’s pro-<br />
posal was not entertained.<br />
<br />
I would cap this story about the author with<br />
another. It happened some years ago. The<br />
public were startled by an advertisement of a<br />
very well-known firm indeed, to the effect that<br />
Mr. ’s novel, in three volumes, was in its<br />
twelfth — fourteenth —anything you please—<br />
edition. It was amazing, because such leaps<br />
and bounds were unknown to other publishers.<br />
One publisher, however, he who told me the story,<br />
discovered that each edition consisted of a hun-<br />
dred copies only. He pointed out to the offenders<br />
that if this trick was continued everybody would<br />
have to follow suit, and no more confidence could<br />
be placed in the number of editions. It was, I<br />
believe, discontinued, and it remains a trick and<br />
not a custom. Therefore, I think we may still<br />
believe in the popularity of a book in its tenth<br />
edition. If the editor of the Westminster Gazette<br />
should wish to receive, privately, the name of the<br />
firm in question I can supply it.<br />
<br />
<br />
<br />
<br />
<br />
There is a very good essay on Literary Popu-<br />
larity, by Mr. Edgar Faweett, in Lippincott’s<br />
Magazine. He begins with the proposition that<br />
“where an author declares himself<br />
glad that he is unpopular, it may nearly always<br />
be taken for granted that he regrets his unpopu-<br />
larity very much indeed.” The writer goes on<br />
to contend that every writer must desire popu-<br />
larity, but that he desires the popularity of a<br />
circle selected by himself. Is that quite the way<br />
to put the case? I think not. Every writer, it<br />
seems to me, must desire as wide a public as<br />
there are readers. From pole to pole he would<br />
like his name to resound, from every people, and<br />
in every tongue. If he is a preacher with a<br />
message to deliver, he must, he cannot choose but<br />
wish his message to be heard everywhere ; if he<br />
<br />
<br />
3/1?<br />
<br />
is a poet, who respects himself after the manner<br />
of all poets, the universal nature of his audience is<br />
a gauge of the advance of human understanding ;<br />
if he is a novelist who pourtrays human nature<br />
and character, he must ardently desire that all<br />
mankind should read him. It is true that pro-<br />
found consolation is daily administered to them-<br />
selves by many from the reflection that the multi-<br />
tude often sets up a false god, and worships an<br />
image of clay. But look again after ten years.<br />
Where is their image of clay? Itis gone. And<br />
where are the unsuccessful men of that time?<br />
They are gone, too. The lmited immortality<br />
which is obtained by a few writers is granted to<br />
<br />
none but the best; and it is quite certain that.<br />
<br />
the best writers in every age are recognised even<br />
in their own generation. Ask any librarian who<br />
are the real favourites of the people. He will<br />
tell you that in the long run, and after<br />
many years, they are the best writers of the<br />
world. This means that though immediate<br />
popularity may not always fall to the lot of<br />
the best work, yet that the best work does<br />
always get recognition; that a man does well to<br />
desire recognition, and that of the widest kind.<br />
“ Are we,” asks the man who writes for his little<br />
circle, and affects scorn of popularity, “to seek<br />
the popularity of Stallabras, who writes for the<br />
telegraph boys and the dressmakers?” This<br />
definition of Stallabras is not uncommon, but it<br />
is unjust. Stallabras writes with dramatic force,<br />
and considerable insight into human nature, for<br />
all the world to read him if they please. But<br />
you say he is vulgar. Perhaps. The world, how-<br />
ever, does not read him because he is vulgar, but<br />
because he is truthful and dramatic. For which<br />
reason let us all desire the recognition of the<br />
world rather than that of a circle.<br />
<br />
<br />
<br />
T have been allowed to read, in proof, an essay<br />
which is now in everybody’s hands. It is the<br />
article on Tennyson in the March number of the<br />
New Review by the late Mr. Francis Adams—<br />
probably the last paper that we shall have from<br />
his hand. It is an attempt to speak of Tennyson’s<br />
work coldly and critically. This is, for the<br />
present, impossible, for the reason, as the writer<br />
himself acknowledges, that Tennyson still domi-<br />
nates both the older and the younger men. The<br />
effort to get outside that domination results in a<br />
certain harshness of judgment, which is not good<br />
criticism. It may be true, as Mr. Adams says,<br />
that there is a great deal of destructible stuff in<br />
Tennyson—there is a great deal of destructible<br />
stuff in Wordsworth; and in Browning; it is<br />
one characteristic of genius to be irregular; but<br />
I do not think that the time has come to separate<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
the work of Tennyson that will live from the<br />
work that will perish. Every man’s most lasting<br />
ideals are those which come to him im the<br />
vigour of his age—say, the years from thirty to<br />
forty. The time has not yet come for those who<br />
belong to ’94 to condemn and depreciate those<br />
who belonged to ’44. Once, however, outside<br />
Tennyson’s doctrinal “ teachings,” Mr. Adams is<br />
able to do full justice to the poet.<br />
<br />
<br />
<br />
An interview sometimes has its brighter<br />
side. I think that everyone must have been<br />
pleased to read the “chat” with Mr. F. W.<br />
Robinson in the Westminster Gazette the other<br />
day. Mr. Robinson is a popular novelist, whom<br />
the critics somehow agree to leave in undisturbed<br />
possession of his popularity. Others, more un-<br />
fortunate, get “slatings ” and plainness of speech.<br />
Nobody grudges Mr. Rubinson this success which<br />
he deserves. He has written about fifty novels,<br />
mostly in three volumes. He was also for ten<br />
years—the whole period of its existence—editor of<br />
the magazine called Home Chimes, which did so<br />
much during its life to introduce new and un-<br />
known writers to the public. Among these were<br />
Mr. Barrie, Mr. Jerome, Mr. Coulson Kernahan,<br />
Mr. Eden Philpotts, Mr. Burgin, and Mr. Hugh<br />
Coleman Davidson. Among the “ already known”<br />
men and women who contributed to the magazine<br />
were Swinburne, Mrs. Lovett Cameron, Mabel<br />
Collins, Philip Marston, Emma Marshall, Grace<br />
Stebbing, Theodore Watts, May Thomas, Savile<br />
Clark. It may be safely announced, at any time,<br />
without fear of contradiction or trouble of mquiry,<br />
that Mr. F. W. Robinson is ‘ engaged upon a<br />
new novel.” May the fifty of the future be<br />
successful rivals to the fifty of the past !<br />
<br />
<br />
<br />
I owe an apology to “John Bickerdyke” for<br />
my remarks upon his communication in last<br />
Author. He did not mean that a contract con-<br />
cerning a book was simply a matter of buying<br />
and selling. He used the word “price” .in its<br />
wider signification, meaning that whatever<br />
system of publishing was adopted, the publisher<br />
would get as much as he could out of it. Very<br />
true. In all kinds of business and in all con-<br />
tracts both sides study their own interests first.<br />
An important aim and object of the Society is—<br />
first, to make every literary man or woman under-<br />
stand quite clearly that the publisher with whom<br />
negotiations are going on is trying to get as much<br />
as he possibly can for himself by the bargain ;<br />
and secondly, to enable the author to meet him as<br />
one business man meets another. In order to assist<br />
the man of our side, we have provided him with a<br />
most valuable mass of information, armed with<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
which he should be prepared to meet the man of<br />
the other side. If he does not feel equal to the<br />
contest, he must get the assistance of those who<br />
do. That, also, we have provided for him. Too<br />
often he feels quite equal to the contest, and goes<br />
forth smiling, to return plucked and shorn to the<br />
skin. Water Besant.<br />
<br />
><br />
<br />
FEUILLETON.<br />
<br />
<br />
<br />
<br />
<br />
I.—ANoTHER VIEW.<br />
<br />
< HE great mistake that some of you fellows<br />
make,” said the Man of the World,<br />
“is that you get angry about these<br />
<br />
simple—natural—things, and call names.”<br />
<br />
“Simple? Natural? Not get angry?”<br />
<br />
“Sit down—take a cigar or something—and<br />
listen to me. I will show you that most of the<br />
things in this book ”—he held in his hand a copy<br />
of a book called “ Methods of Publishing ””—“ are<br />
just exactly what should be expected. Don’t<br />
interrupt me. Don’t say anything until I have<br />
finished.”<br />
<br />
« Very well, then, go on.”<br />
<br />
“All kinds of business,’ the Man of the<br />
World took a wooden armchair, which gave him a<br />
little advantage over the other man, who lay back<br />
in a low easy chair. “All kinds of business, I<br />
say, are conducted on one or two common and<br />
recognised principles. First. There is no friend-<br />
ship in business. That is a maxim accepted by<br />
every one. Second. And it is lawful, laudable,<br />
and not dishonourable in business to use private<br />
information, special knowledge, and_ superior<br />
knowledge in every transaction. Apply this to<br />
publishing. You will admit that it is one form<br />
of trade, I suppose. You will admit that, like all<br />
forms of trade, it is carried on with the hope and<br />
intention of making profit by it. Very well,<br />
then. Why should the publisher, alone among<br />
men in business, be refused the right of using his<br />
superior knowledge—his special knowledge—to<br />
his own advantage? Don’t interrupt; I will<br />
illustrate my meaning.<br />
<br />
“ You have a book which you desire to publish<br />
for your own double advantage— your reputation<br />
and your income—perhaps for a third reason<br />
also—the desire to spread some doctrines, dis-<br />
coveries, or facts which you think will be generally<br />
useful. With this book in your hand you are one<br />
party to the transaction, the publisher is the<br />
other party.<br />
<br />
“Now, compare the two parties. On the one side<br />
—his side—stands a man who knows all about the<br />
<br />
trade in books. He can tell you, after a few<br />
minutes’ examination of the book, what it will<br />
<br />
AUTHOR.<br />
<br />
Bi}<br />
<br />
cost to print, bind, advertise, and produce; he<br />
can tell you at what price he will put it in the<br />
market; he can tell you very nearly how many<br />
copies he can get subscribed at the outset ; he<br />
can tell you, in many cases, what the maximum<br />
as well as the minimum demand will be. He can<br />
tell you beforehand what the profit, ve, the<br />
excess of returns over expenditure, will prove for<br />
any given number of copies sold ; he knows what<br />
he means to spend in advertising it. Unless there<br />
is a tolerably certain excess of returns over expen-<br />
diture he is not likely to undertake the expense.<br />
<br />
“Very well. That is what he knows. What<br />
does he tell you—the other party ? Nothing at all.<br />
What do youknow? Nothing atall. Absolutely<br />
nothing, unless you have been intelligently study-<br />
ing the figures given by the Society of Authors.<br />
You are somewhat in the position of a savage who<br />
brings a gold nugget to a traveller, and is ready<br />
to exchange it for a string of beads. Not quite,<br />
however, because you know that your stuff may be<br />
a big gold nugget. This makes you suspicious<br />
and uneasy. And you have heard how other<br />
people, with similar stuff to negotiate, have been<br />
persuaded to part with their property for a song.<br />
But you are helpless. Why? Because you are<br />
trading on wholly unequal terms; because you<br />
are in the hands of a man who possesses superior<br />
knowledge—an intimate knowledge, that is, of the<br />
very business in which, in complete ignorance,<br />
you are venturing to compete with him.”<br />
<br />
“But we don’t—we place ourselves in his<br />
hands. And he cheats us.”<br />
<br />
“ Softly, softly. You place yourself in his<br />
hands — blindly. You certainly do. That is<br />
because of your ignorance. That is because of your<br />
folly. That he should persuade you to do so is part<br />
of his superior knowledge. He knows that you<br />
are ignorant; he knows that you are most anxious<br />
to have your book published ; he is plausible ; he is<br />
friendly ; he is expansive; he is sympathetic.<br />
Why, man, these are the most valuable qualities<br />
to a man in any kind of business, even business<br />
between those of equal knowleige. In this case<br />
they are part of the superior knowledge, because<br />
he knows that by the exhibition of these arts he<br />
can lead you on into adopting any proposal that<br />
he may like to make. Later on, you may repent,<br />
and swear. But, my dear fellow, swear at your-<br />
self—not at this sharp man of business.”<br />
<br />
«But he persuades us to trust him to our own<br />
ruin.”<br />
<br />
“You trust him. You sign an agreement<br />
which you do not understand, but he does. You<br />
think it means one thing; he knows it means<br />
another.”<br />
<br />
“Tsn’t that fraud ?”<br />
<br />
“Not at all. He doesn’t tell you what it<br />
372<br />
<br />
means. You can find out for yourself. There<br />
is the agreement. Examine it. If you sign it<br />
you can have no right to grumble, except at your<br />
own folly.”<br />
<br />
“What are we to do then?”<br />
<br />
“Don’t sign the agreement, Have it examined<br />
before you sign it. Ascertain what it means<br />
for a large circulation of your stuff—which<br />
is always possible but generally improbable<br />
—and for a small circulation. Understand it<br />
before you sign it, Consider a little. Would<br />
you sella house and lands to the first stranger<br />
who makes an offer? Certainly not. You would<br />
put the thing into the hands of a solicitor for pro-<br />
tection. Yet you go toa stranger with a MS.<br />
worth perhaps many houses, and you are such a<br />
blank drivelling idiot as to imagine that the<br />
stranger is going to act in your interest instead<br />
of his own, and is going to forego, in your interest<br />
—yours! a complete stranger to him!—all the<br />
advantage of his superior knowledge. Man alive!<br />
The whole credulity which the sporting papers<br />
condense into the name and personality of Juggins<br />
is suspicion and jealousy and wakefulness com-<br />
pared with your blind confidence. And yet you<br />
dare to call the man who gets the better of you<br />
a cheat—a rogue-- and anything else you please!”<br />
<br />
The other man sat in silence. This view was<br />
new to him.<br />
<br />
“ Are we,” he said at last, ‘‘ never to find a<br />
publisher who will not—will not—”<br />
<br />
“Will not take advantage of his superior<br />
knowledge? Never! Don’t expect it. Learn<br />
the facts ; they are not difficult; your Society has<br />
put them all within everybody’s reach. Then go<br />
to your publisher armed with this knowledge, and<br />
you will havea little intellectual duello which will<br />
really be most enjoyable to you. I will give you<br />
an instance. I brought out a book some time<br />
ago. I took the precaution, before taking it to a<br />
publisher, to master all the facts that I could get<br />
at—not all that exist; but all that the Society has<br />
published. I then invited my man to lunch. I<br />
offered him champagne. It is a common trick in<br />
every kind of business to offer drink, and to keep<br />
sober while the other man gets slightly elevated.<br />
It failed with me, because it was an old and<br />
familiar dodge well known to my friend, and often<br />
practised. He touched the glass with his lips,<br />
and looked across the table expecting me to finish<br />
the bottle. That failed with him, because, you<br />
see, I knew the trick too.<br />
<br />
‘So, this little fencing over, we got to: busi-<br />
ness. And very soon we were at close quarters.<br />
I had all my facts written down, ready. Of<br />
course he disputed them all; but had to give<br />
in. Finally, only one point remained. On<br />
this he would not give in. So I drew up<br />
<br />
THE AUTHOR.<br />
<br />
a little table showing the figures exactly. It<br />
would have done you good —it did me good<br />
—to see his face expand into a stage smile<br />
—an affected laugh—of surprise when he could<br />
no longer dispute the thing. “Can it be pos-<br />
sible,” he asked, looking at the figures as if they<br />
were a puzzle. “Is it possible that I was mis-<br />
taken? Yes—I fear—I very much fear—that I<br />
have been wrong.” He was wrong, and he was<br />
extremely surprised that I had found him out.<br />
So I won the day. That is, I won all I fought<br />
for. Do you suppose, however, that there was<br />
no superior knowledge behind? Do you suppose<br />
that the Society fellows have found out every-<br />
thing? Do you suppose that he did not best me<br />
on some point—somehow? Of course he did.<br />
When the fight was finished, and not before,<br />
he tackled the champagne with zeal. He is<br />
fond of champagne—and he went home in a<br />
four-wheeled cab.”<br />
““Yes—yes,” the other man ventured timidly.<br />
“ But how about the falsification of accounts ? ”’<br />
“Ah! There we touch the Common Rogue.”<br />
“ And how about the Religious Societies, which<br />
buy of some poor lady for thirty pounds a book<br />
of which they are going to make hundreds ?”<br />
“There we touch the Common Sweater. But<br />
as to the rest, my friend, in every case of a one-<br />
sided agreement, curse yourself and your own<br />
folly. Don’t curse the other trader, who has<br />
only done what is practised in every form of trade<br />
—used for his own profit his own superior know-<br />
ledge.”<br />
<br />
<br />
<br />
II.— Fastze.—Tue Porr anp THE TrIPE-<br />
DRESSER.<br />
<br />
A Poet and a Tripe-Dresser were bragging about<br />
the usefulness of their wares.<br />
<br />
“You both provide luxuries,’ observed the<br />
Publican who owned the premises, and was acting<br />
as umpire to the dispute.<br />
<br />
“Yes, but,” said the Tripe- Dresser, “‘ sometimes<br />
luxuries become necessities. If there were a war,<br />
tripe would run to a premium, and would be<br />
apportioned out by Government as a part of the<br />
daily ration. Now, as poetry does not fill<br />
readers’ stomachs, I guess you producers would<br />
starve.”<br />
<br />
“ By no means,” said the Poet. “I have a<br />
private income, or how could I be a Poet?”<br />
<br />
“ The moral of this,” said the Publican, “ seems<br />
to be that literary gents should take all they can<br />
get, and not talk nonsense about getting what<br />
<br />
they can. Two gins—fourpence, please.”<br />
C. J. C. H.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
3<br />
<br />
Fata Se D pee oT er<br />
<br />
PA<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
RUSSIAN NEWSPAPERS.<br />
<br />
IRST and foremost among Russian journals<br />
i comes the Moskévskiya Vyédomosti, or<br />
Moscow News, a paper of respectable<br />
antiquity. It is now in its hundred and thirty-<br />
fourth year. Under the editorship of the well-<br />
known Katkéff, who died in 1887, and with such<br />
contributors as Vishnegradski and Pobiedonos-<br />
tseff, it enjoyed very considerable influence in<br />
directing Russian policy. The Moscow News<br />
contains eight pages, of six columns each, rather<br />
less in size than those of our Standard. A<br />
liberal discount of four pages must be deducted,<br />
that proportion being usually allotted to advertise-<br />
ments. The latter differ decidedly in substance<br />
and composition from the notices to which we in<br />
England are accustomed. Our familiar Matches<br />
and Despatches column is replaced by gigantic<br />
announcements, 6in wide, and heavily “ruled”<br />
with funereal block lines, to the effect than Ivan<br />
Ivanovich Ivanov has departed this life, be-<br />
mourned by all his relations (their various degrees<br />
are enumerated in full), and that the panikhidi,<br />
or masses for the dead, will take place at such<br />
and such an hour, &c. It is an easy way of<br />
filing up space. Another device of a similar<br />
kind is to insert full page notices of lottery draw-<br />
ings, or balance-sheets of railway companies.<br />
Amongst the personal advertisements one remarks<br />
at once that a considerable number of angli-<br />
chankas, or English nursery governesses, and of<br />
English tutors, are on the look-out for engage-<br />
ments. The Vyédomosti is very well printed,<br />
though the paper is rather thin in texture. In<br />
one part it affects the use of the old-fashioned<br />
eighteenth century brevier type, which shows a<br />
slight difference in the formation of certain<br />
letters, the #’s for instance. The price at the<br />
publishing office is 10 kop¢éks, or about 23d.,<br />
though, as in the case with all Russian papers,<br />
the newsvendors ask for more, and one has to<br />
haggle for it in the streets. M. Petrovski, the<br />
present editor, conforms to the Slavophile policy<br />
of Aksakov (the late editor of Rus), embodied in<br />
the famous phrase pord domot, 7.e., “it is time to<br />
return home,” and shake off western influence<br />
and modes of thought.<br />
<br />
The remaining Moscow dailies are the Mos-<br />
hovski Listék (Moscow Leaflet), Névosti Dnyd<br />
(News of the Day), Russki Listéh, and Moshévskiya<br />
Gazéta, with one or two others. All founded<br />
within the last ten years, they have a strong<br />
resemblance to each other. Their price is from<br />
3 to 5 kopéks, which is quite enough to pay<br />
for their very scanty four-paged editions. The<br />
last-named certainly publishes an_ illustrated<br />
weekly issue.<br />
<br />
<br />
<br />
31S<br />
<br />
In St. Petersburg the leading position is held<br />
by the semi-official Névoye Vremya (New Times).<br />
This is a comparatively youthful journal, being<br />
only eighteen years of age. It has, so far,<br />
weathered the storms in which its ablest rival the<br />
Golos (Voice), and other liberal minded organs<br />
have foundered. The Novoye Vremya is one of<br />
the few Russian papers which publish more than<br />
one edition a day. Its nominal price is five<br />
kopéks (1}d.), for which one usually gets six<br />
eight-column pages of Daily Chronicle size.<br />
These columns are filled with fairly varied and<br />
readable matter, enough of which is daily forth-<br />
coming to enable the editor, M. Fyédorov, to<br />
dispense with the customary feudlleton. A feature<br />
of interest to English subscribers is the weekly<br />
letter of M. de Wesselitsky-Bojidarovitch, the<br />
London correspondent of the Novoye Vremya.<br />
His articles are signed ‘““A—s,”’ an abbreviation for<br />
* Arous,” his nom de guerre when correspondent<br />
at Vienna. The New Times is largely used as a<br />
medium for advertisers, and is only one of the<br />
many publications which issue from Suvdrin’s<br />
office on the Nevski Prospect.<br />
<br />
Second in importance comes Prince Mest-<br />
cherski’s organ, the Grazhdanin (Citizen), a<br />
paper which enjoys the patronage of the Tsar.<br />
The price (6 kopéks) is higher than that of the<br />
Novoye Vremya, but the contents are less. Only<br />
four seven-column pages are provided, with a<br />
serial story thrown in. Other papers, similar in<br />
size, are the Sin Otéchestva (Son of the Father-<br />
land), an old-established print, dating from the<br />
year 1812; the Peterburgshi Listék (Leaflet), the<br />
Svyét (World), and the Névosti, which makes a<br />
specialty of Bourse intelligence. Besides these,<br />
there are the official Russki Invalid (the War<br />
Office organ), the Journal de St. Pétersbourg,<br />
and the Ze¢tung, the last two published in French<br />
and German respectively.<br />
<br />
The Russian provincial dailies are neither<br />
numerous nor influential. Certainly, a cosmo-<br />
politan centre, like Odessa, maintains a variety in<br />
different languages. Warsaw has its Polish,<br />
Russian, German, and Yiddish prints. In<br />
Helsingfors the chief organs are conducted in<br />
Swedish. In the other “governments,” such as<br />
Riga, Revel, Vilna, Tiflis, &c., one or two papers<br />
suffice to satisfy the scanty demand for news.<br />
The Kharkov Vuzhni Krdi (Southern Land) has<br />
a fairly large circulation, and the Telégraph of<br />
Novorossisk, a town on the shores of the Black<br />
Sea, is now notorious for its Anti-German and<br />
Judophobe policy.<br />
<br />
If we turn to the weeklies, we find a tolerably<br />
comprehensive selection of illustrated, comic, and<br />
purely literary journals. Russia can boast of a<br />
picture paper, which is even older than our<br />
374<br />
<br />
Illustrated London News—the Zhivopisnoye<br />
Obozrénie, or “ Pictorial Review,” now fifty-seven<br />
years old. It corresponds, on the whole, to the<br />
defunct “ Pictorial News” of London, and, with<br />
16 pp., is a fair three-penny worth. As is the<br />
case, however, with most of the illustrated Russian<br />
papers, too large a proportion of the drawings are<br />
executed with “autographic chalk” on grained<br />
paper, and reproduced by cheap processes.<br />
<br />
The Vsemirnaya Illustritsiya (Universal Tlus-<br />
tration) is a larger, and at the same time more<br />
expensive production. _ The price is 35 kopéks,<br />
or nearly ninepence. For that sum, however, we<br />
get a periodical which reaches the average<br />
English or French standard in point of letter-<br />
press and general get-up, though the engravings<br />
are of very unequal merit. Perhaps the best thing<br />
about it isthe pale yellow or mauve cover, with<br />
the very decorative antique Slavonic lettering of<br />
the title-page.<br />
<br />
A cheaper and less ambitious paper of the<br />
kind is the Peterbirgskiya Zhish, or ‘ St. Peters-<br />
burg Life.” Rough sketches, caricatures, and<br />
reproductions of French illustrations form the<br />
chief items provided in its programme. Of the<br />
smaller journals, Syéver (The North) is one of<br />
the best, and almost comes under the heading of<br />
an illustrated magazine. One peculiarity about<br />
it that the columns are numbered instead of the<br />
pages. Every page is headed with two consecu-<br />
tive numbers, one at eacb top corner. Like its<br />
congeners, the Syéver endeavours to attract sub-<br />
scribers by the occasional issue of special supple-<br />
ments, editions of Russian classics, &c.<br />
<br />
The Niva (Field) does not in any way corre-<br />
spond to our journal of that name. It contains<br />
twenty-four pages, of the size of Punch, and its<br />
illustration department is very well managed.<br />
Three papers, which serve more for household<br />
reading, are the Semydé (Family), Vékrug Svyetd<br />
(Round the World), and Zvezdd (Star). The<br />
last-named bids for the support of lady readers<br />
by issuing coloured needlework designs. Some<br />
of the prints of this class have an undesirable<br />
habit of breaking off their contents in the middle<br />
of a sentence, or even of a word, in order appa-<br />
rently to obtain continuous subscriptions. Among<br />
the serious and non-illustrated weeklies comes the<br />
well-known and influential Nedyélya (Week).<br />
This may be compared in size and aims to the<br />
Spectator.<br />
<br />
The “comics”? are rather of a heavy order,<br />
but contain the work of a few clever artists.<br />
About the best is Strekozé (the Dragonfly), with<br />
black and white illustrations. Its eight pages,<br />
though they are large, are scarcely worth 20<br />
kopéks. Bauerlander, and Labutch, the very<br />
<br />
able draughtsman who uses the nom de crayon of<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
“Ovod” or “Gadfly,” contribute typical and<br />
original designs to the Strekozd. More may be<br />
learnt from a glance at their caricatures than<br />
from a whole library of Russian pessimistic<br />
novels. The hand of the censor, though, is<br />
heavy, and political skis, which form the life of<br />
English papers, will be sought for in vain.<br />
<br />
Three other so-called humorous papers, of the<br />
same size and price as the last are Oskolki<br />
(Chips), Budilnik (the Watchman), and Shit<br />
(the Jester). They are all very similar, being<br />
coloured after the style of the French journauxr<br />
pour rire. Their jokes are also sometimes ve<br />
French. Leikin’s, Porphyriev’s, and Lilin’s<br />
sketches are forcible and characteristic. There<br />
are, of course, other less refined periodicals, such<br />
as Razvlechénie (Recreation), which one would<br />
not always care to leave about in a drawing-room.<br />
It comes as an occasional surprise to see sketches<br />
from Pick-me-up, Fliegende Blitter, and other<br />
Continental comic papers reproduced in the<br />
Muscovite priuts above mentioned.<br />
<br />
As to the monthlies and annuals, they are of a<br />
severely technical and solid character. The<br />
zhurndl, as a magazine is called, in distinction<br />
from a gazéta or newspaper, appeals more to the<br />
professor than to the man in the street. A great<br />
many organs of the various Imperial Academies<br />
are published, but it is scarcely worth while<br />
troubling the reader with their names.<br />
<br />
During part of last year and the year before a<br />
four-paged journal printed in Russian maintained<br />
a precarious existence in Paris. Its name was<br />
the Russki Parizhdnin, or ‘ Russo-Parisian.” A<br />
few copies strayed over to London week by week.<br />
It has now, however, died a natural death, not<br />
even the recent Muscovite “boom” at Toulon<br />
and Paris producing a quantum of subscribers.<br />
A similar fate, it is to be feared, would await the<br />
enterprising editor of an Anglo-Russian news-<br />
paper, though a flourishing society of that name<br />
already exists at the Imperial Institute.<br />
<br />
Artuur A. SYKES.<br />
<br />
pecs<br />
<br />
THE LITERARY OPTIMIST.<br />
<br />
MONG the many correspondents to the<br />
Author who dwell upon the discouraging<br />
aspects of the literary calling, few have<br />
<br />
chosen to dwell-on its sunnier side. Now, I feel<br />
tempted to turn optimist, and linger lovingly on<br />
the charms of the literary vocation. Yet, like<br />
others, have I oft been constrained ‘ to trouble<br />
heaven (and the still deafer ear of the editor)<br />
with my bootless cries ”—for acceptance.<br />
Foremost among those literary optimists who<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 375<br />
<br />
have cheered me most by the con amore pursuit<br />
of their craft, is Leigh Hunt, born just a hundred<br />
and ten yearsago. With what thorns was the path<br />
of the author beset then! Writers of the present<br />
day have but the wiles of the publisher to guard<br />
against; but the wielder of the pen in the latter<br />
end of the eighteenth century, and the beginning<br />
of the nineteenth, were destined to fight for the<br />
right of free speech—religious and political—and<br />
for the liberty of the Press.<br />
<br />
In 1810 Leigh Hunt was prosecuted by the<br />
Attorney-General for some articles written in the<br />
Examiner, of which he, Leigh Hunt, was the<br />
editor. This was the seemingly mild and inoffen-<br />
sive paragraph for which the Attorney-General<br />
thought fit to prosecute the author :—‘‘ What a<br />
crowd of blessings rush upon one’s mind, that<br />
might be bestowed upon the country in_ the<br />
event of such achange. Of all monarchs, indeed,<br />
since the Revolution, the successor of George ITI.<br />
will have the finest opvortunity of becoming<br />
nobly popular.” This was written of the proposed<br />
Regency.<br />
<br />
In 1811 a second prosecution was instituted<br />
against Leigh Hunt for some alleged expressions,<br />
he made use of against the practice of flogging<br />
in the army. Fortunately the jury had the<br />
justice to acquit him of this absurd charge.<br />
<br />
Finally, both the brothers Hunt, again made<br />
their appearance in the law courts on a more<br />
preposterous charge still, and had to share the<br />
responsibility of an article in which Leigh Hunt<br />
had described the Prince Regent as an “ Adonis<br />
of fifty!” Each was fined £500, or to suffer<br />
two years imprisonment ; this they suffered, rather<br />
than give any promise which might limit the<br />
free expression of opinion in future editions of<br />
the Examiner.<br />
<br />
Then, taking into account the social and _poli-<br />
tical condition of the life of the litterateur in the<br />
early period of the present century, it was one<br />
much oftener menaced not only by privation and<br />
danger, but by malice and petry insults, than is<br />
the author's life of the present day. I bave<br />
cited Leigh Hunt as the type of literary optimist,<br />
because I imagine his work to have been so<br />
unsparing of toil and so ill-paid. To him, more<br />
than almost any other denizen of the vast king-<br />
dom of literature—literature, for its own “sweet<br />
sake,” was an abiding source of joy, and that to<br />
him the pleasures of the literary imagination<br />
were very vivid.<br />
<br />
I do not know if his poetry and the essays,<br />
“Men, Women, and Books,” are much read; or<br />
whether he lingers merely in the minds of so<br />
many, as a literary tradition, because of his<br />
association with the Carlyles, Charles Dickens,<br />
and Wilkie Collins, and so many names more<br />
<br />
<br />
<br />
illustrious than his own. I have cherished, with<br />
great affection from my childhood, a treasured<br />
copy of “A Jar of Honey from Mount Hybla,”<br />
illustrated by Richard Doyle, with the symbolic<br />
blue jar of Sicilian honey upon its dainty cover.<br />
<br />
Leigh Hunt was an airy, optimistic interpreter<br />
of men and books ; his pages radiate the sunshine<br />
of the Italian pastorals he loved to dream of;<br />
and this sunny temperament withstood the some-<br />
what unkindly influences of a personal lot<br />
rendered hard by debts, privation, and domestic<br />
SOITOWS.<br />
<br />
I think it is with some books, as with the early<br />
remembered associations of scenery and pictures,<br />
one has a certain visionary delight in a book,<br />
often quite irrespective of its intrinsic merit, just<br />
as one’s happiest dreams elude transcription.<br />
<br />
As angels in some brighter dreams<br />
<br />
Call to the soul when man doth sleep,<br />
So some strange thoughts transcend our mortal themes,<br />
And into glory peep.<br />
GRAcE GILCHRIST.<br />
<br />
—<br />
<br />
EQUIPMENT.<br />
<br />
<br />
<br />
NE or two recent successes have shown<br />
pretty conclusively that the British<br />
reading public cares very little about the<br />
<br />
“equipment ” of its authors, so far at least as<br />
their power of writing grammar is concerned.<br />
And as editors cater for the public they, too,<br />
are not, as a rule, over fastidious in this respect.<br />
<br />
Bad grammar and a bad style are nota help;<br />
the writer who has a story to tell, and the<br />
knack of telling it, will succeed in spite of them.<br />
The best writer, from a grammatical point of<br />
view, is he who makes fewest mistakes. Not<br />
many perhaps can expect to escape them alto-<br />
gether, especially in these days of hurry. But<br />
the work is not spoilt for the British public by<br />
being written in decent English, and it is im-<br />
proved to the taste of the few who have preju-<br />
dices in favour of grammar, and often suffer<br />
from having their teeth set on edge.<br />
<br />
The public itself might learn to prefer good<br />
English in time, if nothing else were set before<br />
it. Why then should not the members of the<br />
Society of Authors combine to eschew at least the<br />
barbarisms enumerated below? They will have<br />
the satisfaction of doing their part towards<br />
keeping the “ well of English undefiled.”<br />
<br />
1. Misuse of relative pronouns, when followed<br />
by a parenthesis.<br />
<br />
“These are the two men whom, P. asserts,<br />
cried ‘ Retire.’ ”’<br />
<br />
“Dr. A. whom, she thought, was a specialist.”<br />
<br />
<br />
<br />
376<br />
<br />
2. Verbs governing the dative of the person<br />
used in the passive voice, the dative being turned<br />
into the nominative.<br />
<br />
“The pig was given a feed.” Why should not<br />
the feed be given to the pig, who no doubt<br />
wanted it.<br />
<br />
«“ Awarded the highest honours.” Did the<br />
coffee or mustard make the award, or receive it ?<br />
<br />
“The demonstrators are conceded to have the<br />
most praiseworthy object.”<br />
<br />
“He was offered to have his secretaryship<br />
continued ” (Blackwood).<br />
<br />
«They were voted a reward.”<br />
<br />
“The defeat . . . is given<br />
denial.”<br />
<br />
3. Ambiguous use of the present participle.<br />
<br />
“Tt is hoped with much confidence that a<br />
fortnight’s sojourn at A , breathing its<br />
bracing air, may, &c.”<br />
<br />
“However, after perusing them, they were<br />
duly returned.”<br />
<br />
Here is a particularly choice example :—<br />
<br />
“Following this road, it was found to open<br />
into a wide valley, with fields, &. Pausing to<br />
gaze, there appeared, gliding quickly through the<br />
air, a small boat, propelled, &c.; and, still tollow-<br />
ing the road, a large building was presently seen,<br />
fronted by huge columns, and from it there came<br />
a being, &c. Following this form as it re-entered<br />
the building, there was seen a figure in a simpler<br />
form!”<br />
<br />
Now, the person who actually “followed” and<br />
“paused,” and ‘still followed,” and “followed ”’<br />
again, was the narrator, but, grammatically, it<br />
was “it,” the “small boat,” ‘a large building,”<br />
and a “figure.”<br />
<br />
“Sweeping down the great avenue, the grass<br />
and the great trees, and the bit of water crossed<br />
by the bridge, all look soft, charming, &c.”’<br />
<br />
Here it is, of course, the grass, the trees, and<br />
the water which “sweep,” for they are the only<br />
nominatives in the sentence.<br />
<br />
4. Using verbal substantives as if they were<br />
adjectives, which surely is very ugly as well as<br />
ungrammatical, though it is very common.<br />
<br />
“Pardon me asking,’ is not precisely equiva-<br />
lent to “ pardon my asking.”<br />
<br />
“There is, I think, no fear of you making<br />
such an exhibition of yourself.”<br />
<br />
“Tnstead of René deriving.”<br />
<br />
“There cannot be a doubt as to the king<br />
believing.”<br />
<br />
' “It was only the prelude to them being laid<br />
are.”<br />
<br />
Surely each of the underlined words ought to<br />
be in the genitive case. Sometimes, indeed, it<br />
<br />
an official<br />
<br />
<br />
<br />
may be as well to suppress this “for the sake of<br />
To say,<br />
<br />
euphony,” but for no other reason.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
“there is no hope of the General recovering his<br />
health,” means, strictly speaking, the General,<br />
who zs recovering his health, though ‘there is<br />
no hope” of him for some other reason. If<br />
“recovering”? is a substantive, used in place of<br />
“recovery,” then “where two substantives come<br />
together.”<br />
<br />
5. “And which,” “and whose,” ‘ but whom,”<br />
“and where,’ when there is nothing, properly<br />
speaking, for the conjunction to connect. *‘ These<br />
were how grown men, but” still young for their<br />
years, or something of that sort, is what we<br />
expect; what we get is: “but whom we had<br />
parted from,”<br />
<br />
‘‘The careful sportsman may light on a little<br />
bit of old French binding, and”—what else?<br />
Nothing! “and which a little repairmg will<br />
put in good condition,” that is all.<br />
<br />
6. One is naturally keenly alive to the faults of<br />
critics. Here is a choice sentence: ‘“ Books such<br />
as these are not ones to be rushed through in<br />
a hasty loan from some circulating library.”<br />
<br />
7. “TIT should have been glad to have gone.<br />
Why two “haves?” ‘I should be glad to have<br />
gone,’ or “I should have been glad to go,” is<br />
surly enough.<br />
<br />
Almost more provoking than the ungram-<br />
matical writer, is he who writes in constant fear<br />
of the shade of Lindley Murray, and falls into<br />
error from sheer anxiety to avoid it. So<br />
impressed is it upon his mind that verbs are<br />
qualified by adverbs, that he dares not to say.<br />
“ He looked fierce,’ or “she looked sweet,”<br />
though he would be right if he did, but is<br />
always careful to write “fiercely” and “sweetly.”<br />
<br />
A curious example of over-carefulness came in<br />
our way a few days ago. The writer was<br />
describing a fancy ball: “ Who am I? a lady<br />
asked me in,’ was it French or German? No!<br />
“in questionable grammar.” Now, where does<br />
the “questionable grammar” come in? “In<br />
questionable grammar” is itself peculiar, but<br />
ought the lady to have said “ what,” or ‘‘ whom,”<br />
or ‘ which?”<br />
<br />
8. What has the verb “to dare” done that it<br />
should be treated as invariable? I dare (past),<br />
he dare (present and past), we dare (past). Why<br />
not “he dares, dared,” &c. S. G.<br />
<br />
De<br />
<br />
CORRESPONDENCE.<br />
I.—* Tue Mezruops or PuBLIsHING.”<br />
<br />
N the notes on my letter in your last issue<br />
you suggest that I wish to balance “ secret<br />
losses” against ‘secret profits,” and you<br />
<br />
go on to say that you do not understand<br />
what “secret losses” are. I did not mean to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 37]<br />
<br />
justify so dishonest a proceeding as falsifica-<br />
tion of accounts, and though opinions may<br />
differ as to what are or are not secret profits,<br />
there can be no doubt as to the dishonesty<br />
of misrepresenting the true state of affairs<br />
to an author. By secret losses I mean the<br />
innumerable items of expenditure incurred by<br />
the publisher in connection with any book—<br />
from the bad debt of £500 to the request for a<br />
“few odd volumes” to be given as prizes at a<br />
local bazaar, levied as blackmail by the teacher<br />
who has “used your spelling book for fifteen<br />
years ”—unavoidable charges on a publisher of<br />
which you as an outsider have happily no know-<br />
ledge or conception. I may point out, too, that<br />
most of the disputes between author and pub-<br />
lisher arise from the inability of an author to<br />
erasp technical details. And this is the reason<br />
why a publisher does not always care to allow an<br />
author to examine his ledgers—because the most<br />
business-like of authors does not understand the<br />
meaning of the accounts, and will carry away<br />
false impressions which cannot afterwards be<br />
eradicated. You have a perfect right to ask how<br />
the charge of 10 per cent. for ‘‘ business expenses”<br />
is arrived at. The process is simple. Take a<br />
publisher’s total proceeds by sales for a year, and<br />
his total establishment expenses, and the latter<br />
are found to be almost exactly 10 per cent. of the<br />
former. But this percentage does not include<br />
any remuneration for the publisher himself. It<br />
merely pays for his clerks and his office. In your<br />
notes on page 334, you say that the S.P.C.K.<br />
tried to represent as “ profits” “what was left<br />
after all the servants and all the directors<br />
had drawn their wages, and their salaries, and<br />
their shares.”” But the charge of 10 per cent. does<br />
not allow anything for the directors, and in a<br />
private firm the question is how much the pub-<br />
lisher is entitled to for himself. Youask, *‘ Why<br />
is a publisher entitled to anything after his<br />
expenses are paid?’ The answer to this amazing<br />
<br />
uestion is obvious. If an author thinks he can<br />
sell his book as well without a publisher’s help,<br />
he is at liberty to do so. If he thinks that the<br />
publisher’s name and power of pushing a book<br />
are necessary for its success, this advantage must<br />
of course be paid for. It is the same in any<br />
other business or profession. Why should a<br />
lawyer be paid beyond his expenses for making a<br />
will? Or what right has a railway company to<br />
charge anything beyond the working expenses?<br />
The principle is the same. And it may be re-<br />
marked, that a lawyer charges for every visit, and<br />
for all correspondence, whereas a publisher may<br />
be bothered by continual unnecessary interviews<br />
with an author, and may have to spend hours in<br />
correspondence, for which he makes no charge.<br />
<br />
In a case where, as is most usual, the publisher<br />
provides the capital for the publication of a book,<br />
it is of course only just that he should have some<br />
reward. As to the question of the amount of<br />
work (other than routine work) entailed in pub-<br />
lishing a book, I must ask to be allowed to retain<br />
my own opinion. CLERK.<br />
<br />
A few notes elsewhere are made on this letter.<br />
Here one would only put the following ques-<br />
tions :—<br />
<br />
1. From what researches has the writer dis-<br />
covered that a publisher’s establishment expenses<br />
are ‘almost exactly 10 per cent. on his sales ?<br />
One does not dispute the point, but one asks in<br />
wonder how the writer arrives at this law. Are<br />
all publishers alike in this respect? Has the<br />
writer had an opportunity of examining the books<br />
of—say—the twenty leading houses? Has he<br />
examined the books of any house? Has he<br />
accepted loose and conventional talk? This is,<br />
perhaps, what he must have done. Or, perhaps,<br />
be has seen the books of one firm for one year.<br />
What right has he to conclude that these<br />
correspond with the books of other firms ?<br />
<br />
Let us see what the statement means. It<br />
means this. A firm whose sales amount to<br />
£30,0c0 a year would spend £3000 a year in<br />
rent, clerks, accountants, travellers, servants,<br />
advertising, and all the little things of which our<br />
correspondent speaks with so much feeling. The<br />
same firm finds, next year, an increase to double<br />
that amount—sales to the amount of £60,000.<br />
It would therefore spend double its former sum<br />
on the estabiishment. If the returns amounted<br />
to £90,000, the firm would have to spend £9000<br />
a year on the house. Now, let anyone ask<br />
whether this is credible on the face of it.<br />
<br />
Understand that we do not deny that in a<br />
certain house ina certain year the expenses did<br />
amount to 10 per cent. We only ask on what<br />
grounds that sum is set down as representing<br />
the expenses every year for every publisher’s<br />
house in London.<br />
<br />
2. As to “secret profits’? there can be no<br />
difference of opinion at all about what they<br />
mean. They are profits gotten behind the agree-<br />
ment, unknown to the author, and concealed.<br />
For the most part they are gotten by falsifying<br />
the accounts.<br />
<br />
3. The writer then says, “ You ask ‘ Why is a<br />
publisher entitled to anything after his expenses<br />
are paid?’ ”’<br />
<br />
We asked nothing of the kind. If our corre-<br />
spondent will turn to the Author, vol. 4, p. 349<br />
(February issue), he will find these words, which<br />
are quoted exactly, not garbled :<br />
<br />
“When people talk about publisher’s profit<br />
<br />
<br />
378<br />
<br />
beginning after he has paid all his clerks and<br />
people, they forget the very important question,<br />
‘What claim has the publisher to any share in<br />
the book when his services are paid?’ We do<br />
not say that he has none, but we should like to<br />
know what, and why, it is?”<br />
<br />
This question is the elementary, necessary,<br />
question which underlies all attempts to arrive at<br />
a modus vivendi—a system of publishing which<br />
shall be recognised by all honourable men. What<br />
does the publisher do for a book—outside his<br />
services ? These services include the use of his<br />
establishment and his staff, and his machinery<br />
and his name,<br />
<br />
Of course the question does not apply in cases<br />
where the publisher offers a man a sum of money<br />
for writing a book. He then engages an author.<br />
There is, then, no question of service ; the author,<br />
in fact, becomes the publisher’s servant,<br />
<br />
It is instructive to find an attempt made to put<br />
aside this question as “amazing ”—1.e., extremely<br />
inconvenient. First, the author must not dare<br />
to inquire into the cost of production; next, the<br />
figures produced by the Society were all wrong;<br />
thirdly, the agreements paraded and exposed by<br />
us were invented by ourselves; then, the tricks<br />
exposed were only the work of wretched out-<br />
siders. And now, when one puts the real<br />
question, on the answer to which everything<br />
depends, we are met by the assurance that it is<br />
“amazing,” What next? W. Bz<br />
<br />
<br />
<br />
Il.—Epirors.<br />
<br />
As a new reader of the Author, may I volun-<br />
teer aremark on “ Lunette’s” bitter tirade against<br />
editors? It seems to me that literary aspirants<br />
do not prepare, as they should, to secure a chance<br />
of success. A musician practises six or seven<br />
hours daily, repeating continually the same<br />
scales, the same everlasting fugues and sonata,<br />
for years before he invites the public to purchase<br />
his compositions, or to listen to his playing. A<br />
painter covers many square yards (miles?) of<br />
canvas, going from Galleries to Dame Nature for<br />
models and lessons, before he ventures to place<br />
his work before the public. And here are we,<br />
literary aspirants and beginners, rushing head-<br />
long from the school desk into the arena of lite-<br />
rature, and shaking our fist (figuratively, of<br />
course!) at the editors who grimly bar the<br />
entrance with their eternal ‘“ declined with<br />
thanks.” Since we won’t practise and follow the<br />
wise rules so clearly laid down by the veteran<br />
writers, but eagerly look out for delightful<br />
cheques in return for our crude first efforts,<br />
editors act as wise brakesmen in forcing us to go<br />
slowly over the beaten track. VILAAMSCH.<br />
<br />
————<br />
<br />
THE AUTHOR.<br />
<br />
IlI.—Grerx Novets.<br />
<br />
Notwithstanding the apparent lament of Mr.<br />
Bayford Harrison, in this month’s issue of the<br />
Author, upon the paucity of authors in the city<br />
of Sophocles, Euripides, and Aristophanes, [<br />
presume to state my well-grounded conviction<br />
that the literary profession is as much over-<br />
stocked in Athens as in London. But there<br />
are no novels, or “almost none,’ Mr. Harrison<br />
says.<br />
<br />
M. Gennadios, the ex-minister at St. James’s, in<br />
his introduction to the novel “ Lonki’s Laras ”’ of<br />
Dr. Bikelas, which has been translated into<br />
almost every European language, pertinently<br />
remarks that, “novel writing is the luxuriant<br />
and superabundant efflorescence of letters which<br />
presupposes a large and wealthy class of<br />
readers.”<br />
<br />
The outpour of Greek novelists will certainly<br />
follow upon the other literary activities, and<br />
Greece can well afford to wait for them; but<br />
surely those already existing from the pens of<br />
Rhangabe, Palsologos, Ramphos, Ambellas,<br />
Xenos, Roidis, Bikelas, Drosines, Xenopoulos,<br />
Kourtides, Palamas, &c., might well serve to fill<br />
the gap which Mr. Harrison seems to experience<br />
in the “City of Aristophanes.” The names of<br />
the novels themselves would take up too much<br />
space. They are good, true, and living pictures<br />
of the times they portray, and are well worth a<br />
perusal. Meanwhile, let no Englishman, how-<br />
ever well he thinks he could write in modern<br />
Greek, follow Mr. Harrison’s suggestion, unless<br />
he is willing to pay all the costs Most<br />
assuredly, no Athenian publisher will make him<br />
any offer. Translations find favour — why?<br />
Translators are not paid as a rule for their wares.<br />
<br />
Ex1z. MayHEw-EpMmonps.<br />
<br />
<br />
<br />
IV.—Catatoeuine, &e.<br />
<br />
Some years ago I published several books on<br />
half share terms with a fairly well known firm.<br />
These books have been successful, and I still<br />
receive my cheque every half year, but on com-<br />
paring the charges of production with those in<br />
“The Cost of Production,” and some made by<br />
another firm, I find them very excessive ; of this,<br />
however, I have now nothing to say, as I have<br />
paid for my experience. What [ wish to draw your<br />
attention to is, that, in addition to charging me<br />
15 per cent. commission for publishing, they<br />
charge me one guinea each book every half year<br />
for cataloguing. This I consider an unfair charge,<br />
as most tradesmen must publish a list of their<br />
wares before they can sell, and what is my 15 per<br />
cent. paid for? Nothing was said in the original<br />
<br />
agreement about cataloguing, although the general<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i<br />
<br />
wey<br />
<br />
<br />
<br />
<br />
<br />
oe<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
advertising was left in the hands of the pub-<br />
lisher. The question is, Can such a charge be<br />
legally maintained ? CwmraG JONES.<br />
<br />
<br />
<br />
V.— Literary Criticism.<br />
<br />
The Queen, in reviewing my “Songs Grave<br />
and Gay,’ said the grave poems evinced con-<br />
siderable poetic power, but that the would-be<br />
humorous ones were simply saddening in their<br />
effects.<br />
<br />
The P. M. G., on the contrary, tells me I have<br />
a pretty knack of parody enough, that I can<br />
imitate Hood to good purpose, and that some of<br />
my gay ditties are to be commended as clever,<br />
but that my love story in verse (Dorothy) is<br />
“impossibly idiotic,’ and would have been the<br />
death of poor “C. 8S. C.” had he seen it! Here<br />
are two typical papers pulling in divers directions.<br />
Which is right ? F. B. Doverton.<br />
<br />
> exe<br />
<br />
“AT THE SIGN OF THE AUTHOR'S HEAD.”<br />
<br />
ESSRS. LONGMAN, GREEN, and CO.<br />
i will shortly issue the fifth edition of<br />
Mr. Powis Bale’s ‘‘ Handbook for Steam<br />
<br />
<br />
<br />
Users.<br />
<br />
Mrs. Alfred Baldwin, author of “ The Story of<br />
a Marriage”’ and “Where Town and Country<br />
Meet,” has another novel in the press : “ Richard<br />
Dare.” Two vols. It will shortly be published<br />
by Messrs. Smith, Elder.<br />
<br />
Under the title of “Rambles "I['ween Dusty<br />
Leaves: Desultory Notes of a Bookworm,” Mr.<br />
George Morley, author of ‘“ Rambles in Shake-<br />
speare’s Land,” is preparing for publication the<br />
series of articles on Books and Bookmakers con-<br />
tributed by him some years ago to the now<br />
defunct Magazine and Book Review. The same<br />
writer has recently completed a collection of rural<br />
and urban papers, to which he has given the name<br />
of “Sketches of Leafy Warwickshire.” Mr.<br />
Morley, who is becoming especially known as a<br />
writer of sketches and scenes descriptive of life in<br />
rural Warwickshire, has also written a rural<br />
story, ‘‘ The Scarlet Wing,” for the Queen, and a<br />
sketch entitled ‘Rural Merrymakings,” for Mr.<br />
Meldrum, editor of Rod and Gun.<br />
<br />
A new novel, by Mr. W. H. Wilkins (W. H.<br />
De Winton) and Mr. Herbert Vivian, some time<br />
editor of the defunct Whirlwind, will be pub-<br />
lished by Mr. Hutchinson early in February. It<br />
is called ‘“‘ The Green Bay Tree,” and claims to be<br />
a “ daring departure ”’ in fiction.<br />
<br />
Miss Rose De Crespigny has lately written a<br />
“Dulce Domum,” as a breaking-up song for<br />
<br />
a9<br />
<br />
girls’ schools. It appears in Part V. of “ Part<br />
Songs for High Schools,” published by Novello.<br />
The music is by M. A. Sidebottom.<br />
<br />
“A Superfluous Woman” is the title of a<br />
novel which, if we judge from the reviews, is<br />
likely to enjoy a wide reputation; one critic,<br />
indeed, suggests that the title isa misnomer. We<br />
can only suppose it was suggested from a happy<br />
agreement with the apostolic injunction “to lay<br />
apart all superfluity of naughtiness.”<br />
<br />
Here are some American bits. They are taken<br />
from the New York Critic and from Current<br />
Literature.<br />
<br />
No fewer than eighteen uew books on Japan<br />
and the Japanese are in the American press.<br />
<br />
What is the book most in demand by the<br />
Boston people of all classes, ¢.e., the people who<br />
use the public libraries? It is “The Count of<br />
Monte Cristo.<br />
<br />
There is to be a new magazine called the Lake-<br />
side on the same lines as the Century. It will<br />
be published by the Chicago University, under<br />
the editorship of Mr. 8. A. Harris.<br />
<br />
Oliver Wendell Holmes is at work every day<br />
upon his memoirs, which will not be published<br />
until after his death. Long may the day of their<br />
publication be deferred !<br />
<br />
The “Adventures of Verdant Green’’ has<br />
actually been revived and republished by Little,<br />
Brown, and Co., with new illustrations. It must<br />
be forty years since first that great work appeared.<br />
After this there is hope for the survival of any-<br />
thing.<br />
<br />
Mr. W. D. Howells has written a story dealing<br />
with the difficulties which a young dramatist<br />
has to encounter in order to get his piece pro-<br />
duced. A few personal reminiscences, collected<br />
from any half dozen men of letters, would per-<br />
haps save hini the trouble.<br />
<br />
From the Atheneum the following announce-<br />
ments have been copied :<br />
<br />
Mr. Andrew Lang has two new books in the<br />
press. The first is a series of papers called “The<br />
Cock Lane Ghost and Common Sense.” They are<br />
a study of “spooks.” The second is a collection<br />
of verses called “ Ban and Arritre Ban.”<br />
<br />
Miss Laurence Alma Tadema will publish imme-<br />
diately a new novel, called the “ Wings of Icarus.”<br />
<br />
The Dean of Lichfield, Dr. lLuckock, a<br />
“History of Marriage, Jewish and Christian”<br />
(Longmans. )<br />
<br />
Mr. Lowell’s Lecture on “ Imagination ”’ is to be<br />
published for the first time in complete form in<br />
the new (March) number of the Century.<br />
<br />
A second series of ‘“‘ Village Sermons,” by the<br />
late Dean of St. Paul’s, will be published by<br />
Messrs. Macmillan.<br />
380 THE AUTHOR.<br />
<br />
About £150 has been collected for the proposed<br />
memorial to Professor Minto, which is to take the<br />
form, according to the wish of Mrs. Minto, of<br />
a scholarship or prize in connection with the<br />
English class at Aberdeen University.<br />
<br />
Mr. Coulson Kernehan has nearly ready a<br />
volume of essays called “Sorrow and Song”<br />
(Ward, Lock, and Bowden.)<br />
<br />
Gerhardt Hauffman’s Heinrich has been trans-<br />
lated by Mr. William Archer, and will appear in<br />
the New Review.<br />
<br />
The “ History of the Scottish People,’ begun<br />
by the late Rev. Thomas Thomson, has been<br />
completed by Dr. Charles Annandale.<br />
<br />
Mr. F. Moore has in the press a new work deal-<br />
ing with journalistic life. It is entitled “A<br />
Journalist’s Note-Book.”’<br />
<br />
Mr. Arthur Paterson, author of “A Partner<br />
from the West,” will produce a new story imme-<br />
diately, in two volumes (Bentley and Son), It is<br />
founded on an episode in the recent history of the<br />
Red Indians; one that has not hitherto been<br />
presented to English readers: a brief and gallant<br />
struggle made by the Nez Percés Indians against<br />
the United States Government, in which a few<br />
hundred braves, carrying with them their wives and<br />
children, fought their way for a thousand miles<br />
with the design of settling in British territory,<br />
and were only defeated when the frontier was<br />
actually in sight.<br />
<br />
The Andover Review has suspended publication<br />
in its tenth year.<br />
<br />
An odd volume of Emerson’s Essays, picked up<br />
at an old bookstall by the late Professor Tyndall,<br />
is said to have upon the fly-leaf the words,<br />
‘Purchased by inspiration.”<br />
<br />
James Whitcomb Riley, hke Mr. Howell’s new<br />
hero, proposes to attempt the stage.<br />
<br />
Deas<br />
<br />
WHAT THE PAPERS SAY.<br />
<br />
<br />
<br />
I.—R. M. BaLuanryne.<br />
<br />
HE death of Mr. R. M. Ballantyne, which<br />
<br />
we announced yesterday, is the close of<br />
<br />
a long and busy and distinguished literary<br />
career. The news will have been received with<br />
regret by the many readers whom Mr. Ballantyne’s<br />
books have stirred and stimulated and charmed.<br />
They were written avowedly for boys, but they<br />
have been caught up eagerly by readers of<br />
every age, old and young alike, and when once<br />
taken in hand have seldom been laid down<br />
again until the last page had been reached. Mr.<br />
Ballantyne was a writer of almost inexhaustible<br />
fertility. He is’ credited with being the author<br />
<br />
°<br />
<br />
of seventy-four books for boys, and all marked<br />
by the same general characteristics. They are<br />
books specially of adventure, full of stirring inci.<br />
dents, of hairbreadth escapes, and of deeds of<br />
courage and of devotion to duty. But if the<br />
nature of their subject is somewhat narrow, their<br />
range is none the less wide. They take us with<br />
them to all parts of the habited and uninhabited<br />
globe. We follow with rapt attention the<br />
fortunes of their young heroes over sea and land,<br />
The scene is laid sometimes at home, more often<br />
in far distant countries, but the type is every-<br />
where the same. It is the triumph of energy<br />
and courage and perseverance over dangers and<br />
difficulties by the way. The central figures of<br />
Mr. Ballantyne’s tales never fail to be interest-<br />
ing. They represent to boys just what boys<br />
themselves most wish to be and to do, and small<br />
blame it is to older readers if they, too, force an<br />
entrance into the charmed circle, and submit<br />
themselves for awhile in fancy to the same spell.<br />
We need not say much about the positive instruc-<br />
tion which Mr. Ballantyne’s books afford. He<br />
was a careful writer, well aware that he must<br />
learn before he could describe, and that his own<br />
personal experience was the surest warrant for<br />
the correct setting of his descriptions. This,<br />
however, is a comparatively small matter. His<br />
readers would have been well satisfied with less<br />
accurate work. They asked not to be instructed,<br />
but to be amused, and Mr. Ballantyne was always<br />
ready to meet them on their own ground, to<br />
amuse them to their heart’s content, and to set<br />
before them at the same time those lessons of<br />
pluck and steadfastness and ready resource with<br />
which his stories are everywhere replete, and to<br />
which they owe at once their value and their<br />
charm. They are thus good reading in every<br />
sense of the word, and we do not envy those boys<br />
for whom they have no attraction and no message.<br />
<br />
Boys in the present day have much to be<br />
thankful for. They are better treated in a<br />
thousand ways than their predecessors were half<br />
a century ago, and more perhaps in their books<br />
than in anything else. In no other department<br />
is there a more marked contrast between the<br />
present and the past, between tales for the young<br />
as they used to be and as they are now. - Those<br />
<br />
‘of our readers whose memories can carry them<br />
<br />
back to the old days will be in doubt as to the<br />
change which has been brought about. They<br />
will remember a time when boys’ bookshelves<br />
were slenderly furnished with reading matter of<br />
any kind, and when they hardly owned a volume,<br />
except the immortal “Robinson Crusoe,” which<br />
boys of the present day would so much as con-<br />
descend to look at. Miss Edgeworth’s Tales were<br />
<br />
among the best, and are not wholly out of favour .<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ise<br />
<br />
ont<br />
(OAG<br />
<br />
16Q<br />
BES<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
yet, though they no longer stand in anything like<br />
the front rank. But can we say as much as this<br />
for ‘Sandford and Merton,” for the ‘‘ Fairchild<br />
Family,” or for the well-meant efforts of Mrs.<br />
Barbauld and Mrs. Cameron? For Sunday<br />
reading there was the “ Pilgrim’s Progress” of<br />
immortal fame, but when this was exhausted<br />
there was little else, except possibly some tracts<br />
on the evils of Sabbath-breaking or of drinking<br />
and profane swearing. The present generation<br />
of boys is more lavishly supplied. It has com-<br />
mand of the services of half a dozen first-class<br />
writers and of half a hundred others. Mr. R. M.<br />
Ballantyne is but one of the great host. We<br />
must add the names of Kingston and Henty and<br />
Jules Verne to the list, and though Mr. R. L.<br />
Stevenson and Mr. Rider Haggard do not write<br />
<br />
only for boys, we have had boys’ stories from<br />
both of them, and stories such as boys love. We<br />
will not go further with the catalogue. Our<br />
<br />
recent notices of Christmas books are proof how<br />
long it might be made, and what an almost<br />
endless variety of books of all sorts it would<br />
include. It presents, indeed, a positive embar-<br />
rassment of riches, so many and so excellent<br />
are the authors of the new literature which it<br />
chronicles. And this, it must be remembered, is<br />
but one season’s work, one drop, as it were, added<br />
to swell the ever-flowing tide of books for the<br />
young.<br />
<br />
It may be thought that there is danger in the<br />
profusion, tbat with so many books to choose<br />
from the choice will often not be of the best, and<br />
that an age of careless, inattentive, desultory<br />
half-reading will succeed an age in which every<br />
book that was worth reading had to be read a<br />
dozen times over, and in hick a good many<br />
books had to be read that were not worth reading<br />
atall. We are not sure that it is a danger much<br />
to be feared. Boys are not now the passive<br />
recipients of literature furnished for their use.<br />
They have become a critical. race, with rules and<br />
canons of their own construction to which books<br />
must conform if they are to read them. They<br />
are a gregarious race, too. The word is soon<br />
passed from one to another of them what books<br />
are and what are not to be read, and though they<br />
may not always follow the best guides, it is some-<br />
thing that they will submit to be guided, and<br />
most important of all that, pick and choose as<br />
they will, they will find nothing mischievous or<br />
debasing in any of the books written for them<br />
and likely to come into their hands. Their<br />
instincts will usually be correct. They are<br />
no hypocrites in their pleasures. They know<br />
what they like, and they turn with confidence<br />
to books which come out recommended by<br />
the right name. It is certain that a great deal<br />
<br />
381<br />
<br />
of what is written for them misses its mark, and<br />
falls flat and unappreciated. Ballantyne they<br />
could always trust, and their choice of him as a<br />
chief favourite is no small proof of their dis-<br />
cernment and of their literary good sense.—<br />
Times, Feb. 10, 1894.<br />
<br />
<br />
<br />
Il.—ConsrancE Fenrimore Woo.son.<br />
<br />
By the death of Miss Constance Fenimore<br />
Woolson, which occurred at Venice, Italy,<br />
January 24, America lost one of the best of its<br />
fiction writers. She wrvte a great many short<br />
stories and sketches, besides a half dozen or so<br />
extended novels; the last of these, “ Horace<br />
Chase,’ was lately published as a serial in<br />
“ Harper’s Monthly,” and will soon appear in<br />
book form, Miss Woolson was born at Clare-<br />
mont, N. H., in 1845, her mother being a niece of<br />
Fenimore Cooper. From an authentic sketch of<br />
her life, written by Mr. Arthur Stedman, and<br />
published in “The Book Buyer” for October,<br />
1889, we make the following extracts:<br />
<br />
“While yet a child, Miss Woolson,was taken<br />
by her parents to Cleveland, Ohio, her father’s<br />
business interests having become centred there.<br />
She was educated at a Cleveland young ladies’<br />
seminary and at the famous French school of<br />
Madame Chegaray in New York. Her summers<br />
were chiefly spent, while a girl, on the island of<br />
Mackinac, in the straits connecting Lakes Huron<br />
and Michigan. She often, however, accompanied<br />
her father on his business trips to the shores of<br />
Lake Superior, through the farming districts of<br />
the Western Reserve, and up and down the Ohio<br />
Valley, until she became familiar with a great<br />
part f the country that imcludes the great lakes<br />
and the Central States.<br />
<br />
“Her father’s death, in 1869, and the conse-<br />
quent breaking up of the family, cast a shadow<br />
on her life, and urged her to serious pursuits.<br />
She had been brought up strictly in the Episcopal<br />
faith, and at this time had published a number<br />
of articles in periodicals of that denomination.<br />
<br />
Her literary field soon extended, and<br />
stories, sketches, and poems appeared in profusion<br />
in ‘Harper’ s’ and other leading magazines.<br />
Selected stories relating to the region “of the<br />
great lakes were published as Miss Woolson’s<br />
first book, in 1875, with the title, ‘Castle<br />
Nowhere: Lake-Country Sketches.’<br />
<br />
“In the fall of 1873, her mother’s failing<br />
health necessitated a trip to Florida. There, at<br />
St. Augustine, and on an island in the St. John’s<br />
River, Mrs. and Miss Woolson remained for five<br />
winters, the summers being spent in the mountains<br />
of North Carolina and Virginia, in South<br />
Carolina and Georgia, and later with their<br />
<br />
<br />
382<br />
<br />
The literary results<br />
of this long stay in the South are readily to be<br />
discerned.<br />
<br />
“The death of her mother in February, 1879,<br />
caused a complete change in Miss Woolson’s<br />
plans, and the same year she sailed fur England.<br />
Since then she has been in America but once,<br />
<br />
relatives at Cooperstown.<br />
<br />
and fora very short time. Her winters have been<br />
passed chiefly at Florence, though she has resided<br />
for long periods at Rome and Sorrento. In<br />
summer she has lived at Venice, and at various<br />
resorts in Switzerland and Germany. -.<br />
Since the beginning of 1887 Miss Woolson has<br />
lived at the Villa Bricchieri, just outside the<br />
Roman gate of Florence, the same locality that<br />
is mentioned in Mrs. Browning’s ‘ Aurora<br />
Leigh,’—<br />
“*¢T found a house at Florence on the hill of Bellosguardo.<br />
—The Dial, Chicago.<br />
<br />
229<br />
<br />
<br />
<br />
III.—Dr. Jounson’s Haunts.<br />
<br />
With reference to a recent statement that Dr.<br />
Johnson entertained his friends at the Cheshire<br />
Cheese, the assertion is absolutely devoid of<br />
foundation. I have seen it again and again, but<br />
so far have never taken the trouble to contradict<br />
it. But the City Press is an authority on every<br />
archeological question with the City, and its<br />
accuracy makes its statements pass for gospel,<br />
and, as a lover of the City and its archeology<br />
and of accuracy, I protest against the paper<br />
seeming to stamp that legend with the seal of<br />
truth. I have known the Cheshire Cheese inti-<br />
mately for nearly a quarter of a century—for<br />
many years I dined there, three times out<br />
of four—and I have seen the legend grow up.<br />
Dr. Johnson’s tavern, of course, was the Mitre;<br />
“his place of frequent resort was the Mitre<br />
Tavern in Fleet-street,’’ says Boswell, who spent<br />
his first evening at the tavern “ with the orthodox<br />
High-Church sound of the Mitre.” And when<br />
the Doctor, nearly twenty years after that first<br />
meeting, was writing to “* Bozzy,”’ he closes with<br />
the remark, ‘“‘ We will go again to the Mitre, and<br />
talk old times over.” Nor is the Mitre the only<br />
tavern mentioned in the immortal “ Life.” We<br />
have the Anchor and the Black Boy, the Boar’s<br />
Head and the Crown and Anchor, the Hssex<br />
Head and the Hummums, the Old Swan and the<br />
Pine Apple, the Prince’s and the Somerset<br />
Coffee House in the Strand, and Tom’s and the<br />
Turk’s Head, and others, as frequented by<br />
Johnson or mentioned by Boswell; but on the<br />
Cheshire Cheese the oracles are dumb. Nay,<br />
more, although Fleet-street, Bolt-court, Falcon-<br />
court, Fetter-lane, Gough-square, Johnson’s-<br />
court, New-street, and other purlieus of Fleet-<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
street are mentioned; Wine Office-court, in<br />
which the Old Cheshire Cheese is situate, nowhere<br />
finds mention. Bosweiiran.—City Press.<br />
<br />
<br />
<br />
IV.—CrEnsorsHip AND JEWISH LITERATURE.<br />
<br />
At a meeting of the Bibliographical Society,<br />
the Rev. A. Lowy, LL.D., read a learned and<br />
interesting paper on “Censorship and Jewish<br />
Literature.’ He divided the subject into two<br />
parts, the first dealing with censorship in so far as<br />
it affected Jewish literature, the second devoted to<br />
considering a very rare MS. copy of the “ Index<br />
Expurgatorius,” or list of books forbidden to be<br />
read by Catholics, dating from 1596. This was<br />
recently sent from Paris to Dr. Lowy; only one<br />
other copy is said to exist, and that is in the<br />
Vatican library. The lecturer said that the<br />
censors appointed by the Popes to consider what<br />
works or passages in works were dangerous to<br />
Christian faith or morals belonged chiefly to the<br />
Dominican Order, but by far the severest among<br />
them were ex-Jews—men who reflected little<br />
credit on the synagogue that produced them or<br />
the church that fostered them. The Talmud was<br />
specially obnoxious to them. This volume was<br />
originally written partly in Aramaic, partly in<br />
faulty Hebrew, intermixed with Greek and Latin<br />
words, and treated of Jewish ceremonies, ethics,<br />
customs, and folk-lore. It was compiled about<br />
the year 550 of the Christian era, and remained<br />
nearly 1000 years in MS., but with the invention<br />
of printing copies multiplied. Dr. Lowy gave<br />
particulars of the various defacements and muti-<br />
lations suffered by the Talmud previous to the<br />
edition of 1578, when Marco Marino, a Christian<br />
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‘“ A very interesting story, and one that excels in clever contrast of character and close study of individualism.<br />
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The characters make the impression of reality on the reader. . . . Extremely pleasant are the sketches<br />
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‘* Mr. James Payn is here quite at his usual level all through, and that level is quite high enough to please most<br />
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book to read distinctly.”—Daily Chronicie.<br />
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. The dramatic unity of time, place, and circumstance has never had a more novel setting. . . .”—<br />
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Crown 8vo., with Illustrations, price 3s. 6d.<br />
<br />
THE MARTYRDOM OF SOCIETY.<br />
By QUILLIM RITTER<br />
<br />
‘* For his satirical arrows he has chosen promising game — the heiress who would reclaim the East-end<br />
and all humanity; the working man M.P., who thinks to run the nation as easily as a Hyde Park demonstra-<br />
tion; the man about town who, to be in the swim, forswears drink to talk about the inequality of social<br />
punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the suppression<br />
of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants. The most successful<br />
passage is that recording the final catastrophe, when the benevolence of the West leads, not to the building<br />
of palaces of delight, but to its own destruction by an Hast-end weary of being patronised ; and there is a laugh<br />
in the fate of heiress and working man left to punt in peace on a placid river.”"—Pall Mall Gazette.<br />
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“ This is a powerful one-volume story.”—Publishers’ Circular.<br />
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‘*It is an odd world that Henry Jacobson sways. . . . Mr. Quillim Ritter has put it all very cleverly, and<br />
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WINDSOR HOUSH, BREAM’S BUILDINGS, EC,<br />
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390 ADVERTISEMENTS.<br />
PUBLICATIONS OF THE SOCIETY.<br />
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1. The Annual Report. That for January 1893 can be had on application to the Secretary.<br />
<br />
®. The Author, A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members. Back numbers are offered at the following prices:<br />
Vol. L., ros. 6d. (Bound) ; Vols. II. and III., 8s. 6d. each (Bound).<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 Conuzs, Barrister-at-Law. (Henry Glaisher,<br />
95, Strand, W.C.) 3s.<br />
<br />
5. The History of the Société des Gens de Lettres. By S. Squirz Srricez, late Secretary to<br />
the Society. Is.<br />
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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 />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
7, The Various Methods of Publication. By S. Squire Spriegax. In this work, compiled from the<br />
papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 3s.<br />
<br />
8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
ment. With Hxtracts from the Report of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br />
and Spottiswoode. 1s. 6d.<br />
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9. The Society of Authors. A Record of its Action from its Foundation. By Watrer Besant<br />
(Chairman of Committee, 1888—1892). 1s.<br />
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PRINTING WORKS,<br />
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OrFiIces oF ‘‘ THE FIELD,” ‘THE QUEEN,” “THE LAW TIMES,’”’ &c.<br />
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Mr. HORACE COX, Printer to the Authors’ Society, takes the<br />
opportunity of informing Authors that, having a very large office, and<br />
an extensive plant of type of every description, he is in a position to<br />
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ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND. | https://historysoa.com/files/original/5/460/1894-03-01-The-Author-4-10.pdf | publications, The Author |