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268	https://historysoa.com/items/show/268	The Author, Vol. 05 Issue 04 (September 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.+05+Issue+04+%28September+1894%29"><em>The Author</em>, Vol. 05 Issue 04 (September 1894)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253</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>	1894-09-01-The-Author-5-4					89–112																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=5">5</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-09-01">1894-09-01</a>							4			18940901	C be El u t b or,<br /> (The Organ of the Incorporated Society of Authors.<br /> Monthly.)<br /> CONDUCTED BY WALTER BES.A.N.T.<br /> WOL. W.-No. 4.]<br /> SEPTEMBER 1, 1894.<br /> [PRICE SIXPENCE.<br /> For the Opinions eaſpressed 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 eaſpressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<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 /> important communications within two days will write to him<br /> without delay. All remittances showld be crossed Union.<br /> Bank of London, Chancery-lame, or be sent by registered<br /> letter only.<br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, but on no other sub-<br /> jects whatever. Articles which cannot be accepted are<br /> returned if stamps for the purpose accompany the MSS.<br /> *~ * ~ *<br /> g- - -—s<br /> WARNINGS AND ADVICE,<br /> I. RAWING THE AGREEMENT.-It is not generally<br /> . understood that the author, as the vendor, has the<br /> absolute right of drafting the agreement upon<br /> whatever terms the transaction is to be carried out.<br /> Authors are strongly advised to exercise that right. In<br /> every form of business, this among others, the right of<br /> drawing the agreement rests with him who sells, leases, or<br /> has the control of the property.<br /> 2. SERIAL RIGHTS.—In selling Serial Rights remember<br /> that you may be selling the Serial Right for all time; that<br /> is, the Right to continue the production in papers. If you<br /> object to this, insert a clause to that effect.<br /> 3. STAMP YOUR 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 /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment seldom neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no ea pense to themselves<br /> eacept the cost of the stamp.<br /> 4. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES To<br /> BOTH SIDES BEFORE SIGNING IT.-Remember that an<br /> WOL. W.<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 /> 5. LITERARY AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as yowr<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 /> 6. COST OF PRODUCTION.--Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> 7. 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 /> 8. FUTURE WORK.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> 9. PERSONAL RISK.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> IO. REJECTED 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 /> II. AMERICAN RIGHTS.–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.<br /> 12. CESSION OF COPYRIGHT.-Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> 13. ADVERTISEMENTs. --Reep some control over the<br /> advertisements, if they affect your returns, by a clause in<br /> the agreement.<br /> I4. 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 /> Society&#039;s Offices :—<br /> 4, PORTUGAL STREET, LINCOLN&#039;s INN FIELDs.<br /> *—- - -º<br /> •- - -,<br /> HOW TO USE THE SOCIETY.<br /> I. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor, the member<br /> I 2<br /> <br /> <br /> ## p. 90 (#104) #############################################<br /> <br /> 90<br /> THE AUTHOR.<br /> has a right to an opinion from the Society’s solicitors. If the<br /> case is such that Counsel’s opinion is desirable, the Com-<br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> 2. Remember that questions connected with copyright<br /> and publisher&#039;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 /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This is in<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country.<br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> *~ * ~ *<br /> g- &gt; ---,<br /> THE AUTHORS&#039; SYNDICATE.<br /> EMBERS are informed :<br /> 1. That the Authors&#039; Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details. -<br /> 2. That the expenses of the Authors&#039; Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however,<br /> hereby given that in all cases where there is no current<br /> account, a booking fee is charged to cover postage and<br /> porterage.<br /> 3. That the Authors&#039; Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<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 all<br /> communications relating thereto are referred to it.<br /> 5. That clients can only be seen by the Director by<br /> appointment, and that, when possible, at least four days’<br /> notice should be given.<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 /> 7. That the Authors&#039; Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> 8. That the Syndicate undertakes arrangements for<br /> lectures by some of the leading members of the Society;<br /> that it has a “Transfer Department” for the sale and<br /> purchase of journals and periodicals; and that a “Register<br /> of Wants and Wanted ” has been opened. Members anxious<br /> to obtain literary or artistic work are invited to com-<br /> municate with the Manager.<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 /> NOTICES,<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 /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Awthor complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write P<br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> 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 /> 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, &amp;c.<br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year P. If they will do<br /> this, and remit the amount, if still unpaid, or a banker&#039;s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> Members are most earnestly entreated to attend to the<br /> warning numbered (8). It is a most foolish and may be a<br /> most disastrous thing to enter into an agreement binding<br /> for a term of years. Let them ask themselves if they<br /> would give a solicitor the collection of their rents for five<br /> years to come, whatever his conduct, whether he was honest<br /> or dishonest? Of course they would not. Why then<br /> hesitate for a moment when they are asked to sign them-<br /> selves into literary bondage for three or five years P<br /> Those who possess the “Cost of Production ” are<br /> requested to note that the cost of binding has advanced 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 /> 489 48. The figures in our book are as near the exact truth<br /> <br /> <br /> ## p. 91 (#105) #############################################<br /> <br /> THE AUTHOR. 9 I<br /> as can be procured; but a printer&#039;s, or a binder&#039;s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> Some remarks have been made upon the amount charged<br /> in the “Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher&#039;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 /> *-* -º<br /> * * *<br /> LITERARY PROPERTY,<br /> I.—Fox-Bourn E v. WERNoN AND Co.<br /> HIS case, finished on Aug. 3, heard before<br /> T the Lord Chief Justice and a special jury,<br /> was one in which an editor claimed twelve<br /> months&#039; notice of dismissal, whereas he had only<br /> received six months&#039; notice. The jury found a<br /> verdict for the defendants. The case would have<br /> little interest for this paper but for the words<br /> of the judge in defining what is meant by<br /> “custom &#039;&#039; (see the Times, Aug. 4, 1894).<br /> “Custom,” he said, “in its strict legal sense,<br /> was a uniform and universal practice so well<br /> defined and recognised that contracting parties<br /> must be assumed to have had it in their minds<br /> when they contracted.” Contracting parties,<br /> that is, on both sides. If, for instance, one side<br /> intends to falsify accounts, and excuses himself<br /> on the ground that it is a trade custom, while<br /> the other side know nothing of his intention, and<br /> had never heard of the alleged “custom,” the<br /> excuse, according to this judge&#039;s definition, would<br /> not be allowed. This definition agrees with the<br /> opinion of Mr. Cozens-Hardy, Q.C., and Mr.<br /> Rolt, published in the Author of March last. Of<br /> course the fact that such a practice was common,<br /> not to say universal, would have to be proved.<br /> The warning which the Lord Chief Justice<br /> addresses to journalists equally applies to writers<br /> of books, writers in magazines, dramatists, and<br /> every kind of literary worker. The following is<br /> the summing-up referred to (Times, Aug. 4):—<br /> The Lord Chief Justice, in summing-up, said the plaintiff<br /> was a journalist of good position and long experience,<br /> who had been employed by the defendants as their editor,<br /> and had received from them a six months&#039; notice. The<br /> question for the jury was whether plaintiff was entitled to<br /> twelve months&#039; notice or whether six months’ notice was<br /> such a notice as the defendants were legally entitled to<br /> give plaintiff. Although the case seemed to have excited a<br /> good deal of feeling between journalists and proprietors,<br /> it had no general importance, as in the future journalists<br /> would only have themselves to blame if they had not insisted<br /> upon having an agreement. The jury had no question of<br /> “custom&quot; to consider, for “custom,” in its strict legal<br /> sense, was a uniform and universal practice, so well defined<br /> and recognised that contracting parties must be assumed<br /> to have had it in their minds when they contracted. The<br /> fact that in a large percentage of cases there were special<br /> agreements showed that no such universal custom existed.<br /> But on plaintiff&#039;s behalf it was sought to establish the<br /> existence of a “practice” regulating the relations between<br /> editors and proprietors. What that practice was would be<br /> some guide to the jury in coming to a conclusion as to what<br /> Was or was not a reasonable notice in this case. The case<br /> of Bremon v. Gilbart-Smith, which had been cited, was<br /> really not in point at all, for in that case no notice was<br /> given, and the question of twelve months&#039; notice only arose<br /> incidentally with a view of fixing the amount of damages<br /> plaintiff was entitled to.<br /> II.-MUSICAL COPYRIGHT IN AMERICA.<br /> Mr. G. Dixey, secretary of the Music Pub-<br /> lishers&#039; Association, writes from 9, Air-street,<br /> Regent-street, W., Aug. 4:—“I am instructed<br /> by this association to inform you that the plain-<br /> tiffs in the celebrated American test action of<br /> Novello and Co. v. The Oliver Ditson Company<br /> and others, have just received a telegram from<br /> their counsel, Mr. L. L. Scaife, of Boston, to the<br /> effect that the judge who tried the action has<br /> decided in the plaintiffs&#039; favour on all points.<br /> The action, as you are aware, relates to the<br /> correct construction of what is known as the<br /> manufacturing clause in the American Copyright<br /> Act of 1891, and it was brought to test the ques-<br /> tion whether ‘a book&#039; within the meaning of that<br /> clause includes “musical composition,’ which, in<br /> an earlier part of the Act is mentioned, together<br /> with “book’ and other subjects of copyright, as<br /> being entitled to protection under that Act. The<br /> judgment just delivered has settled the point for<br /> the present, and until that judgment is upset or<br /> varied it must be accepted that the law of the<br /> United States of America is, that the expression<br /> ‘book’ in the Act of 1891 does not include<br /> ‘musical composition,’ and that consequently it<br /> is not necessary that such compositions should<br /> be printed in America as a condition of obtaining<br /> copyright there.”—Times, Aug. 7.<br /> III.--ARTISTS PROTECTED BY COPYRIGHT.<br /> (From an American Correspondent.)<br /> Boston, Mass., Aug. 8.-A decision by Judge<br /> Putnam in the United States Circuit Court, filed<br /> to-day, holds that an artist having copyrighted a<br /> painting may restrain reproductions of the paint-<br /> ing, and that a bill in equity for an injunction<br /> may be maintained by one to whom the artist has<br /> sold the right and who has taken out a copyright<br /> in his name. -<br /> The decision was given in the case of Emil<br /> Werckmeister v. The Pierce and Bushnell Manu-<br /> <br /> <br /> ## p. 92 (#106) #############################################<br /> <br /> 92 THE AUTHOR.<br /> facturing Company. G. Naujok, a resident of<br /> Germany, painted a picture called “Die Heilige<br /> Cecilia,” and later executed an instrument con-<br /> veying to the complainant the exclusive right of<br /> reproduction. The painting was publicly exhi-<br /> bited at Munich, and afterwards sold, and its<br /> present location is unknown. The complainant<br /> secured a copyright and filed a photograph of the<br /> painting at Washington. The defendant subse-<br /> quently sold in this country a photograph, which,<br /> it was claimed, is an infringement. The court<br /> ordered a decree for the complainant.<br /> IV.--THREE YEARS OF AMERICAN CoPYRIGHT.<br /> The Daily Chronicle (Aug. 14) publishes<br /> an instructive “interview º&#039; with Professor<br /> Brander Matthews, of Columbia College, New<br /> York, on the result of three years&#039; working<br /> of the American Copyright Act. In the first<br /> place, the pirates are nearly all “knocked out.”<br /> The pirate chief, Lovell, is bankrupt, and his<br /> stock of several millions is being sold at “dry<br /> good stores” at 4d. and 5d. a volume. When<br /> these have been worked through the book market<br /> will improve. Meantime, we must note the<br /> necessity of copyrighting everything. Mr.<br /> Matthews points out how three notable books<br /> of last season—“Dodo,” “The Yellow Aster,”<br /> and “Ships that Pass”— through neglect of this<br /> precaution were pirated and sold for 8 cents.<br /> Next, the effect on American literature is that<br /> American authors no longer have to compete<br /> with stolen goods.<br /> The publishers already show a very large<br /> increase of American books in proportion to<br /> British books. Harper Brothers show British<br /> books in their lists numbering 25 per cent. of<br /> the whole, as against 75 per cent. thirty<br /> years ago. Houghton, Mifflin, and Co. have<br /> reduced the percentage of British books to<br /> Io per cent. London houses in New York are<br /> putting out American books in excess of English<br /> books. -<br /> As to the price of books; novels, as a rule,<br /> appear in One volume, at four, five, or six<br /> shillings. The Americans are, as a rule, a book-<br /> buying, not a book-borrowing, people.<br /> The effect of free libraries tends in America,<br /> he thinks, first to beget and encourage the habit<br /> of reading, and next to develop the desire to<br /> possess books. They make people buyers of<br /> books.<br /> Mr. Matthews further gave his views as to the<br /> difference between the circulation of English and<br /> American magazines. He said:<br /> The main fact is, no doubt, that our reading public is so<br /> much larger than yours, and that for that very reason our<br /> I can learn,<br /> magazine proprietors are enabled to pursue a much more<br /> systematic and spirited policy than is possible with you.<br /> We have made magazine editing at once a fine art and a<br /> science. Each of our great magazines occupies the whole<br /> time and thoughts of a very large editorial staff, consisting<br /> in one case of an editor-in-chief, an associate editor, an<br /> assistant editor, two editorial assistants, and four or five<br /> editorial clerks, to say nothing of two or three art editors.<br /> Every manuscript that is sent in is examined, and articles<br /> and drawings are always paid for on acceptance, instead of,<br /> as with you, on publication. Harper&#039;s or the Century will<br /> often have £10,000 worth of stock in hand, paid for, and<br /> ready for use as occasion offers. The policy of these<br /> magazines is mapped out for years beforehand by experts in<br /> the art of meeting the public taste. But such a policy, it<br /> is clear, can be pursued only when a very large sale is<br /> assured. The circulation of the magazines I have named<br /> runs to something like 200,000 copies a month. From all<br /> no high-priced illustrated magazine on<br /> your side commands more than one-fourth of that<br /> sale. It is a noteworthy fact that not a single English<br /> magazine is to be seen on the American bookstalls, as our<br /> magazines are seen on yours. In the days of piracy your lead-<br /> ing reviews used to be reprinted every month and sold at<br /> low rates, but even before the passing of the Copyright<br /> Act that practice was found unremunerative, and was<br /> accordingly dropped. Now, a few sets of your leading<br /> reviews are sent over in sheets, stitched, and sold to<br /> clubs and libraries. They have practically no general sale<br /> whatever.<br /> “And our cheap magazines, such as the Strand—have<br /> you any periodicals of that class P” -<br /> “No,” replied Mr. Matthews, “and why P. Because<br /> their place is almost precisely occupied by the Sunday<br /> editions published by all our leading daily papers. These<br /> contain serial novels, short stories, and general articles, of<br /> exactly the same class as those which appear in your<br /> cheaper magazines, and illustrated in much the same style.<br /> In fact, the same stories and articles are often supplied by<br /> syndicates to your cheap magazines and to our Sunday<br /> papers.”<br /> W.—THE THREE-VoI,UME Nov EL.<br /> The fate of the three-volume novel still con-<br /> tinues to furnish matter for discussion. The<br /> Publisher&#039;s Circular naturally takes the keenest<br /> interest in the subject.<br /> The writer of an article in the August number<br /> on the Resolution of our council, puts forward<br /> certain statements and opinions which we can<br /> hardly accept. Thus he says:<br /> “We do not know how far this Resolution repre-<br /> sents, the mind of the great body of English<br /> novelists. . The opinion of writers in general, or<br /> even of the majority of the members of the<br /> Authors’ Society, was not, we believe, taken before<br /> the council passed its sweeping motion, and there<br /> are, we fancy, many writers of fiction who would<br /> repudiate this official declaration.”<br /> Now, the great body of English novelists are<br /> members of this Society. With a very few<br /> exceptions all novelists of standing are members.<br /> The Secretary received instructions to ask the<br /> opinions of all those members who are novelists,<br /> but not of other members. A “private and<br /> <br /> <br /> ## p. 93 (#107) #############################################<br /> <br /> THE AUTHOR.<br /> 93<br /> confidential” circular was drawn up giving<br /> the facts of the case : and the opinions which<br /> were sent in were practically unanimous. Of<br /> course there may be, as the writer of the article<br /> thinks, some who would not agree with the Reso-<br /> lution, but they did not come forward.<br /> He says, further, that the “mass of the people<br /> does not read fiction.” The general opinion is<br /> that fiction is all that the mass does read—<br /> that part of the mass which reads anything<br /> besides the daily paper.<br /> He goes on to say, “Possibly the Council did<br /> not see that its resolution, if carried into effect,<br /> would deprive three-fourths of the members of<br /> the Society of their occupation and means of<br /> living.” -<br /> Let us, once more, take refuge in those<br /> figures which do so seriously annoy those who<br /> love a good broad general statement. There are<br /> between 1300 and 1400 members of the Society.<br /> Three-fourths of this number means about a<br /> thousand. It has been pretty conclusively<br /> proved in back numbers of the Author that the<br /> number of novelists whose works possess any<br /> commercial value at all with Mudie and Smith is<br /> under 300, of whom about one hundred are<br /> likely to be affected by the abolition of the three-<br /> volume system. It is a great mistake to suppose<br /> that the members of the Society are nearly all<br /> novelists. Statements to this effect have been<br /> made, over and over again, with intent to injure,<br /> but not in the Publisher&#039;s Circular, whose<br /> attitude towards the Society is generally fair.<br /> The writer probably reveals the truth when he<br /> says that depression in trade has brought about<br /> the present crisis. It is certainly more than<br /> twenty years since the three-volume novel was<br /> fiercely denounced; but it survived. Times<br /> were good; libraries took large numbers; cheap<br /> editions could wait. Now, smaller numbers<br /> must be taken at a less price; that is what the<br /> libraries say. Let us, therefore, go straight to<br /> the general public. That is what the majority of<br /> novelists say ; that is what many of the best<br /> novelists have already begun to do; that is what<br /> many publishers have declared their intention to<br /> do for the future. It is a significant commen-<br /> tory on this article, written clearly in favour of<br /> the old system, that the back page of the<br /> JPublisher&#039;s Circular contains an announcement<br /> that Messrs. Sampson Low, Marston, and Co.<br /> will no longer issue three-volume novels, except<br /> under special circumstances.<br /> The three-volume novel, however, is not yet<br /> dead.<br /> WI.--THE COPYRIGHT Congress AT ANTWERP.<br /> The Association Littéraire et Artistique Inter-<br /> nationale informed us that a copyright congress<br /> would be held at Antwerp from the 18th to the<br /> 25th of Aug., and invited this Society to send<br /> delegates. We regret extremely that the invita-<br /> tion should not have come into our hands until<br /> after the last committee meeting, so that, our<br /> members having dispersed, there was no oppor-<br /> tunity of arranging for the proper representation<br /> of the Society. We wait for a report of the<br /> proceedings. The following is the official pro-<br /> gramme :-<br /> PROGRAMME Gână RAL DEs TRAvAUx.<br /> Du contrat d&#039;édition, en matières littéraires, artistiques et<br /> musicales.<br /> Rapportewrs: MM. Pouillet et Ocampo.<br /> De l&#039;arbitrage en matière de contestation relative à la pro-<br /> priété intellectuelle.<br /> Rapportewr: M. Maunery.<br /> De la propriété littéraire en fait de noms individuels.<br /> Rapportewr: M. Georges Maillard.<br /> De la propriété littéraire en fait de titres.<br /> Rapportew&quot;: Dr. Max Nordau.<br /> De la collaboration.<br /> Rapporteur : M. Harmand.<br /> De la propriété artistique en matière de portrait.<br /> De la propriété des types (clichés) de reproduction.<br /> Rapportewr: M. Davaune. -<br /> De la création d&#039;un répertoire universel au bureau inter-<br /> national de Berne.<br /> De l&#039;obligation du dépôt.<br /> De l&#039;enregistrement.<br /> Rapportewr: M. Jules Lermina.<br /> De la traduction.<br /> De la caution Judicatwm Solvi.<br /> De la photographie.<br /> Rapportewr: M. Eugène Pouillet.<br /> Des droits des auteurs en matière de représentation<br /> gratuite.<br /> Rapportewr: M. Wauwermans.<br /> De la clause de la nation la plus favorisée.<br /> Rapporteur: M. A. Darras.<br /> *- 2-º<br /> -- w -<br /> A POET&#039;S LOWE,<br /> [Imitated from a poem by Felix d&#039;Anvers, quoted by Ste. Beuve<br /> Nouv. Lundis. III., 351.]<br /> Love leaped like instant lightning to my breast<br /> And made himself therein a secret throne :<br /> The hopeless slavery I bear unknown,<br /> By her who caused it least of all is guessed.<br /> I pass her often, as in darkness dressed,<br /> And even when by her side am still alone;<br /> Nor when I lie beneath my burial-stone<br /> Will prayer of mine have ever marred her rest.<br /> She whom God made so tender and so kind<br /> Perceives not, bent upon her daily task,<br /> The sighs of love that round her presence go;<br /> But wrapped in duty, innocently blind, -<br /> Reading the words I write of her, will ask—<br /> “Who was the woman that he worshipped so<br /> H. G. R.<br /> <br /> <br /> ## p. 94 (#108) #############################################<br /> <br /> 94<br /> THE AUTHOR.<br /> THE PRICE OF THE NOVEL–1750-1894.<br /> HE following is a table of the prices at which<br /> the English novel has been issued from the<br /> year 1750 to the year 1860.<br /> It has been<br /> compiled from catalogues and lists published at<br /> the end of books, from magazines, and from<br /> advertisements. The compiler, Mr. R. English,<br /> of the British Museum, made no choice, but wrote<br /> down selections from the lists at random, three<br /> or four for each year. Some of the novels<br /> whose authorship was subsequently acknow-<br /> ledged appeared at first anonymously.<br /> Year. Author. Title, Vols. Price.<br /> I750 Fielding ........................ Tom Jones ...................................................... 4. 3o 12 O<br /> 35 Paltock ........................ Peter Wilkins........... © tº 4 tº e s tº a 4 º&#039; s s º is a t t e º e º tº e º a s - e s a e s is s a e s &amp; 8 2 o 6 O<br /> I75I Smollett ........................ Peregrine Pickle ............................................. 4. O I2 O<br /> 33 Anonymous..................... Adventures of Lucy Frail.................................... I O 3 O<br /> 1760 35 . . . . . . . . . . . . . . . . . . . . Adventures of Sylvia Hughes .............................. I O 3 O<br /> 1761 25 - - - - - - - - - . . . . . . . . . . . . Memoirs of Miss Sidney Biddulph ........................ 2 o 7 6<br /> 1762 Author of Roderick Random Sir Launcelot Greaves ....................................... 2 O 6 O<br /> 25 Anonymous..................... Longwood, Earl of Salisbury .............................. 2 o 6 o<br /> 1770 3 * . . . . . . . . . . . . . . . . . . . . . Adventures of a Bank Note ................................. 4 O I 2 O<br /> 33 33 . . . . . . . . . . . . . . . . . . . . . Constantia ...................................................... I O 3 O<br /> 1771 33 . . . . . . . . . . . . . . . . . . . . . The Captive; or, the History of Mr. Clifford ......... 2 o 6 O<br /> 1772 Author of Roderick Random Expedition of Humphrey Clinker................. ......... I O 3 O<br /> 1780 Anonymous..................... Alwyn ; or, the Gentleman Comedian..................... 2 o 6 O<br /> 1782 33 • - - - - - - - - - - - - - - - - - - - - George Bateman ............................................. 3 o 7 6<br /> 1784 23 - . . . . . . . . . . . . . . . . . . . . Barnham Downs ............................................. 2 o 7 o<br /> 1789 L. Lewis ........................ Lord Walford................................................... 2 O 6 O<br /> I790 Mrs Bonhote .................. Darnley Wale; or, Emilia Fitzroy ........................ 3 o 7 6<br /> 32 Anonymous..................... History of Miss Meredith.................................... 2 O 6 O<br /> 35 35 . . . . . . . . . . . . . . . . . . . . The Man of Feeling .......................................... 2 O 5 O<br /> 33 33 . . . . . . . . . . . . . . . . . . . . . The Recluse ................................................... 2 O 5 O<br /> 99 35 - . . . . . . . . . . . . . . . . . . . . The Maid of Kent ............................................. 3 O 9 O<br /> 35 23 . . . . . . . . . . . . . . . . . . . . Louisa Forester................................................ 3 7 6 o<br /> 33 Charlotte Lennox ............ Euphemia. ...................................................... 4. O I 2 O<br /> I79I Jane Timbury.................. The Philanthropic Rambler ................................. I O 3 O<br /> 33 Anonymous..................... St. Julian&#039;s Abbey............................................. 2 O 5 O<br /> 33 35 . . . . . . . . . . . . . . . . . . . . . . Charles Henley ................................................ 2 O 5 O<br /> 33 35 - - - - - - - - * * * * * * * * * * * * * Sempronia ...................................................... 3 O 9 O<br /> 33 Clara Reeve .................. School for Widows............................................. 3 O 9 O<br /> 33 J. White ........................ - The Adventures of Richard Coeur de Lion.............., 3 O 9 O<br /> I792 Anonymous..................... Dinabas ......................................................... I O 3 O<br /> 33 By a Lady ..................... The Baroness of Beaumont ................................. 2 O 6 O<br /> 33 Anonymous..................... Modern Miniature ............................................. 2 O 6 O<br /> 33 33 • . . . . . . . . . . . . . . . . . . Delineations of the Heart.................................... 3 O 9 O<br /> 33 Charlotte Smith ............... Desmond, a Novel............................................. 3 O 9 O<br /> I793 35 • * * * * * * * * * * * * Wanderings of Warwick .................................... I O 4 O<br /> 33 Anonymous..................... Siavery; or, the Times....................................... 2 O 6 O<br /> 33 23 . . . . . . . . . . . . . . . . . . . History of Philip Waldegrave .............................. 2 O 6 O<br /> 33 35 - &quot; . . . . . . . . . . . . . . . . . . . The Dupe ...................................................... 2 O 5 O<br /> 33 33 - - - - - - - - - - - - - - - - - - - - - Selinor............................................................ 6 O 18 O<br /> I794 Geo. Hutton .................. Amantus and Elmore ....................................... I O 3 O<br /> 35 Anonymous..................... Ivey Castle ...................................................... 2 O 6 O<br /> 33 33 s = &lt; * * * * * * * * * * * * * * * * * * The Tales of Elam............................................. 2 o 6 o<br /> 35 S. Pearson ..................... The Medallion ................................................ 3 O 9 O<br /> 32 55 - - - - - - - - - - - - - - - - - - - - - Ellen, Countess of Castle Howell ........................ 4 O I 2 O<br /> I795 Anonymous..................... The Ghost-Seer ................................................ I O 3 O<br /> 35 Geo. Brewer ... ............... The Motto ...................................................... 2 O 6 O<br /> 33 Anonymous..................... Elisa Powell ................................................... 2 o 7 o<br /> 33 Mary E. Parker ............... Orwell Manor................................................... 3 O 9 O<br /> 33 Anonymous..................... Secrecy, a Novel ............................................. 3 O 9 O<br /> 53 35 - . . . . . . . . . . . . . . . . . . . . Henry, a Novel ................................................ 4. O I 2 O<br /> 1796 J. Palmer ..................... The Haunted Cavern.......................................... I O 3 O<br /> 3? Anonymous..................... Arville Castle................................................... 2 O 6 O<br /> 93 IRichard Hey .................. Edington, a Novel............................................. 2 o 6 o<br /> 33 Mary Robinson ............... Angelina, a Novel ............................................. 3 O I3 O<br /> 33 Mrs. Meeke..................... The Abbey of Clugny ....................................... 3 O 9 O<br /> 35 Anonymous..................... Agatha, a Novel ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 O I 2 O<br /> 1797 93 s = &lt; * * * * * &amp; 2 e º e º &#039;º e s tº a c is The Village Curate ...... a 2 &amp; º º ſº tº is º f tº 6 s is tº 4 e º a tº 9 s s a s s a tº e s s s a s a I o 3 6<br /> <br /> <br /> ## p. 95 (#109) #############################################<br /> <br /> THE AUTHOR.<br /> Year. Author. Title. Wols. Price.<br /> 1797 Anonymous..................... The Inquisition ................................................ 2 O 6 O<br /> 25 23 ° e º • * * * * * * * * * * * * * * * The Nun......................................................... 2 O 8 O<br /> 35 M. G. Lewis .................. The Monk ...................................................... 3 o IO 6<br /> 23 J. Fox ........................... Santa Maria ................................................... 3 O 1 o 6<br /> 33 Anonymous..................... The Church of St. Sifford.................................... 4. O I4. O<br /> 1798 33 s = * * * * * * * * * * * * * * * * * * * Statira ; or, the Mother....................................... I o 3 6<br /> 33 33 - &quot; - e s • * * * * * * * * * * * * * * * Henry Willoughby............................................. 2 o 7 o<br /> 23 Anna Plumtree ............... The Rector&#039;s Son ............................................. 3 O IO 6<br /> 35 Mrs. Tomlins ................. Rosalind de Tracy............................................. 3 O IO 6<br /> 33 Geo. Walker .................. Cinthelia ...................................................... - - - 4. O I4. O<br /> I799 Anonymous.......... .* * * * * * * * * * * The Orphan Heiress of St. Gregory........................ I O 4 O<br /> 23 33 - - - - - - - * * * * * * * * * * * * * * Helen Sinclair ................................................ 2 O 7 o<br /> 25 3) - - - - - - - - - * * * * * * * * * * * * Sketches of Modern Life .................................... 2 O 7 o<br /> 25 33 - &quot; &quot; &quot; - s • * * * * * * * * * * * * * * Tale of the Times ............................................. 3 O I 2 O<br /> 53 3 * * * * * * * * * * * * * * * * * * * * * Castle of St. Donats.......................................... 3 O IO 6<br /> 33 E. Helme........................ Albert, a Novel ................................................ 4 O I4. O<br /> I8OO A. Thicknesse.................. The School of Fashion ....................................... 2 O I2 O<br /> 33 Anonymous...................... A Northumbrian Tale ....................................... I o 4 6<br /> 33 Mrs. Robinson ſº tº e s : s a The Natural Daughter ....................................... 2 O 7 O<br /> 32 Anonymous..................... Selina, a Novel ................................................ 3 O IO 6<br /> 33 Miss Gunning .................. The Gipsey Countess.......................................... 4. O I4. O<br /> 33 Anonymous..................... Exhibitions of the Heart .................................... 4 I I O<br /> 33 C. Selden........................ Serena ............................................................ 3 o Io 6<br /> 18OI Anonymous..................... The Castle of Eridan.......................................... I O 4 6<br /> 23 33 - * * * * * * * * * * * * * * * * * * * * The Picture of the Age ....................................... 2 o 6 O<br /> 22 Mrs. Burke ..................... Elliot, a Novel ................................................ 2 o 8 O<br /> 25 P. Littlejohn .................. The Mistake ................................................... 3 O I2 O<br /> 33 Anonymous..................... Adonia, a Novel................................................ 4. o 18 O<br /> 33 M. A. Hanway ............... Andrew Stuart ................................................ 4 O 18 O<br /> 1802 Miss Hatfield .................. She Lives in Hopes, &amp;c. .................................... 2 O 9 O<br /> 33 Anonymous..................... Belmont, a Novel ............................................. 3 O IO 6<br /> 39 Anne Plumtree ............... Something New ; or, Adventures at Campbell House... 3 O I5 O<br /> 25 H. Ventum ..................... Justinia, a Novel ..... ... .................................... 4. O 18 O<br /> 33 Mrs. Hunter .................. Letitia, a Novel ................................................ 4 I I O<br /> 1803 Anonymous..................... Lucy Osmond................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I O 3 O<br /> 33 Eliza N. Bromley ............ The Cave of Cosenza.................... * * * * * * * * * * * * * * * * * * * , , , 2 O I2 O<br /> 33 Anonymous..................... Lady Geraldine Beaufort .................................... 3 O IO 6<br /> 35 Mrs. Hunter .................. Letters from Mrs. Palmerston, &amp;c......................... 3 O I5 O<br /> : 3 Anonymous..................... Follies of Fashion ............................................. 3 o 13 6<br /> 23 33 - - - - - - - - - - - - - - - - - - - - - Helen of Glenross ............................................. 4. O 16 o<br /> 1804 25 - - - - - - - - - - - - - - - - - - - - - Leopold ; or, the Bastard.................................... 2 o 8 O<br /> 33 25 - - - - - - - - - - - - - . . . . . . . . Letters of Mrs. Riversdale ........................ ... . . . . . . 3 o 13 6<br /> 2 3 Eugenia de Acton ............ A Tale without a Title ....................................... 3 O I2 O<br /> 23 Anonymous..................... Pride of Ancestry ............................................. 4. o 16 O<br /> 33 Mrs. Thomson.................. St. Clair of the Isles .......................................... 4. O I4. O<br /> 1805 Mrs. Hunter .................. The Unexpected Legacy .................................... 2 O 9 O<br /> 33 Mary Goldsmith............... Casualities ............ . . . . . . . . . . . . . . . . . . . . . . . . .................. 2 O 6 O<br /> 22 Mrs. Le Noir .................. Village Anecdotes ............................................. 3 O I2 O<br /> 3) A. M. Porter .................. The Lake of Killarney ....................................... 3 o 13 6<br /> 33 Anonymous..................... What You Please, &amp;c. ......................... . . . . . . . . . . . . . . 4. o 16 o<br /> 33 M. Malden ..................... Jessica Mandeville............................................. 5 o 17 6<br /> I806 Anonymous..................... - Belville House ............................................. ... 2 O 8 O<br /> 23 35 - - - - - - - - - - - - - - - - - - - - - A Sailor&#039;s Friendship ....................................... 2 O 8 O<br /> 33 33 - - - - * * * * * * * * * * * * * * * * * Flim Flams, &amp;c................................................. 3 I I O<br /> 35 Mrs. Opie ..................... Adeline Mowbray ............................................. 3 o 13 6<br /> 33 Eliz. Helme..................... Pilgrim of the Cross.......................................... 4. O 18 O<br /> 33 R. C. Dallas .................. The Morlands................................................... 4. I I O<br /> 1807 F. Lathom ..................... The Impenetrable Secret .................................... 2 o 6 O<br /> 33 Robert Semple ............... Charles Ellis ................................................... 2 O 9 O<br /> 35 Mrs. Edgworth ............... Lenora...........• * * * g e s e e s tº e º e s - a • * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 2 o IO 6.<br /> 33 J. Mackintosh ............... Men and Women ............................................. 3 o 13 6<br /> 93. Mrs. Opie ..................... Simple Tales .............................. . . . . . . . . . . . . . . . . . . . . . 4 I I O<br /> 33 M. A. Lewis .................. Feudal Tyrants ........................... . . . . . . . . . . . . . . . . . . . . 4 I 8 O<br /> 1808 M. Rymer ..................... The Spaniard, &amp;c. ........................... . . . . . . . . . . . . . . . . . . I O 4 O<br /> 92 Anonymous..................... Helen, a Novel ................................................ 2 o Io 6<br /> 22 39 &amp; B tº º e º &#039;º - e º a º - G tº a c e º e &amp; George the Third ............................................. 3 o 13 6.<br /> WOL. W. K.<br /> <br /> <br /> ## p. 96 (#110) #############################################<br /> <br /> THE AUTHOR.<br /> Wear. Author, Title. Wols. Price.<br /> 1808 Anonymous................ © e º e e Theodore; or, the Enthusiast .............................. 4. I I O<br /> 3? Madame Genlis ............... Alphonsine, &amp;c. ................................................ 4 I 8 O<br /> 1809 || Anonymous..................... Theodore; or, the Peruvians .............................. I o 4 6<br /> 22 F. Lathom ..................... The Fatal Wow ................................................ 2 O 9 O<br /> 33 J. N. Brewer .................. Mountville Castle ............................................. 3 O I5 O<br /> 33 G. Amphlett .................. Ned Bentley ................................................... 3 O I5 O<br /> 33 Peter Peregrine ............... Matilda Montford ............................................. 4. I I O<br /> 33 Miss M. Linwood ............ Leicestershire Tales .......................................... 4. I I O<br /> 1810 Anonymous..................... Faulconstein Forest .......................................... I O 6 6<br /> 25 92 - e s - - - - - - - - - - - - - - - - - - Calibia, Choosing a Husband .............................. 2 O IO O<br /> 55 Miss Edgeworth............... Tales of Fashionable Life.................................... 3 O 18 O<br /> 33 Anonymous.......... * . . . . . . . . . . The Acceptance................................................ 3 o 18 o<br /> 33 Harriet Jones.................. The Family of Santraile ..................... .............. 4 I 4 O<br /> 35 Alicia T. Palmer............... The Daughters of Isonberg ................................. 4 I 4 O<br /> 33 F. Melville ..................... The Benevolent Monk ....................................... 3 o 13 6<br /> 25 Anne Ormsby.................. The Soldier&#039;s Family... ...................................... 4 I 6 O<br /> 35 Anonymous............... ..... “Frederick” ................................................... 2 O I 2 O<br /> 181 I C. H. Wilson .................. The Irish Valet ....................................... ........ I O 5 O<br /> 35 Anonymous..................... The Reformist ................................................ 2 O IO O<br /> 33 23 ° - * * * * * * * * * * * * * * * * * * * Self Control ................................................... 3 I 4 O<br /> 33 Theodore Edgeworth ......... The Shipwreck ................................................ 3 O I5 O<br /> 35 Emma Parker.................. Virginia, &amp;c. ................................................... 4. I 4 O<br /> 1812 Mrs. Roberts ................. Rose and Emily................................................ I o 5 6<br /> 33 Anonymous..................... Things by their Right Names .............................. 2 O IO 6<br /> 33 33 - - - - - - - - - - - - - - - - - - - - - Rhydisel; or, the Devil in Oxford ........................ 2 O Io 6<br /> 32 23 - - - - - - - - - - - - - - - - - - - - - Adventures of Dick Distich ................................. 3 O 16 6<br /> 33 Mrs. Opie ..................... Tempter ; or, Domestic Scenes ........................... 3 I I O<br /> 35 Ann Plumtree.................. History of Myself and Friend .............................. 4 I 8 O<br /> 1813 Anonymous .................... The Sisters, a Domestic Tale .............................. I O 5 O<br /> 55 Miss Benger .................. The Heart and the Fancy........................... ........ 2 O I 2 O<br /> 35 Anonymous..................... She Thinks for Herself ....................................... 3 o 16 6<br /> 92 Mrs. Peck ..................... Waga ; or, View of Nature ................................. 3 O 18 O<br /> 93 Miss Burney .................. Traits of Nature................................................ 4. I 8 O<br /> 1814 Anonymous..................... Sara, a Tale ............... 6 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * I o 5 6<br /> 33 W. H. Hitchener ............ The Towers of Ravenswold ................................. 2 O IO O<br /> 32 Anonymous..................... The Adventures of a Dramatist ........................... 2 O I 2 O<br /> 33 Lady Morgan .................. O&#039;Donnel, a National Tale ................................. 3 I I O<br /> 33 Miss Houghton ...... ..... .. The Border Chieftain.......................................... 3 O 18 O<br /> 95 Maria Edgeworth ............ Patronage, a Novel .......................................... 4. I 8 O<br /> 1815 Maria Benson .................. System or no System.......................................... I O 6 O<br /> 22 John Gamble .................. Howard, a Novel ............................................. 2 O 9 O<br /> 35 Sir Walter Scott...... . . . . . . . . . Guy Mannering ................................................ 3 I I O<br /> 23 Emma Parker.................. The Guerrilla Chief .............................. ........... 3 I I O<br /> 25 Anonymous..................... History of John de Castro ................................. 4 I 4 O<br /> 33 Ann M. Porter ............... The Recluse of Norway....................................... 4 I 4 O<br /> 1816 Anonymous..................... A Tale for Gentle and Simple .............................. I o 7 o<br /> 95 23 ° - * * * * * * * * * * * * * * * * * * * Adventures of Peter Wilkins .............................. 2 o Io 6<br /> 33 Mrs. Opie ..................... Valentine&#039;s Eve ................................................ 3 I I O<br /> 35 T. S. Surr ..................... Magic of Wealth ............................................. 3 O 18 O<br /> 32 Anonymous..................... Chronicles of an Illustrious House ........................ 5 I 7 6<br /> 33 23 * * * * * * * * * * * * * * * * * * * * s Clara Albin........ * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * , , , s a s 4. I 8 O<br /> 1817 33 ° e º s • * * * * * * * * * * * * * * * * Headlong Hall ..................... ... ............. ......... I O 6 o<br /> 93. Emma Parker.................. Self Deception .......................................... . ... 2 O I 2 O<br /> 35 Anonymous..................... Melincourt, &amp;c. ............ ............................. ..... 3 O 18 O<br /> 53 3 x * * * * * * * * * * * * * * * * * * * * * Six Weeks at Long&#039;s.................................... . ... 3 I I O<br /> 35 Fanny Holcroft ............... Fortitude and Frailty * * * * * * * * * * * * * * * * * s g g a s e e 4. I 2 O<br /> 33 Anonymous..................... The Pastor&#039;s Fireside * * * * * * * * * * * * * * * * * * * * * * * * . e. e. 4 I I I 6<br /> 1818 Eliz. B. Lester ............... The Quakers ............... ....................... ... ........ I O 6 o<br /> 33 Anonymous..................... Northern Irish Tales............... .. • * * * * * * * * * * * * * * * * * e s e 2 O I 2 O<br /> 2) }} • * * * * * * * * * * * * * * * * * * * Manners, a Novel .............................. ... ........... 3 O 18 O<br /> 33 Anna M. Porter ............... The Knight of St. John ... ... ........... ................. 3 I I O<br /> 33 Mrs. Opie ..................... New Tales ...................................................... 4 I 8 O<br /> 35 By the Earl of Erpingham... Some Account of Myself ............ .....,.............. .. 4 I 2 O<br /> 33 Anonymous..... tº s e º e º e s a s a e º e a e Rosabella ; or, Mother&#039;s Marriage ......,,................ 5 I IO O<br /> 1819 33 - &quot; &quot; &quot; &quot; &quot; : * * * * * * * * * * * * s a Conidans, &amp;c,.................. . . ........................... I o 7 O<br /> 25 Madame Planche ,,,,,,,,, A Year and a Day... ................... i . . . . . . . . . . . . . . . . . . . 2 O I2 O<br /> <br /> <br /> ## p. 97 (#111) #############################################<br /> <br /> THE AUTHOR.<br /> 97<br /> Year. Author. Title, Wols. Price,<br /> 1819 Anonymous..................... Errors and their Consequences.............................. 2 O I3 O<br /> 35 Miss Porter..................... The Fast of St. Magdalen......................... 3 I I O<br /> 22 Miss Croker .................. The Question, Who is Anna P .............................. 3 I 4 O<br /> 33 Mrs. Robert Moore............ Eveleen Mountjoy ............................................. 4. I 4 O<br /> 182O M. A. Grant .................. Tales Founded on Facts .................................... I O 7 O<br /> 29 Anonymous..................... The Retreat ................................................... 2 O I 2 O<br /> 22 A. Marmacopt.................. The Wharbroke Legend....................................... 2 O 14 O<br /> 33 Sir Walter Scott............... The Abbot ...................................................... 3 I 4 O<br /> 35 Mrs. Opie ..................... Tales of the Heart............................................. 4. I 8 O<br /> 32 R. C. Dallas .................. Sir Francis Darrell............................................. 4. I 8 O<br /> 33 Anonymous..................... The Mystery of Forty Years Ago ........................ 3 I I O<br /> 1821 H. B. Gascoigne............... Sympathy, &amp;c. ............... ................................ I O 5 O<br /> 32 J. H. Brady .................. The Spanish Rogue .......................................... 2 O I5 O<br /> 95 Anonymous..................... Concealment ......................... # * * * * * * * * * * * * * * * * * * * * s a e s s 3 I I O<br /> 95 Lee Gibbons .................. The Cavalier ................................................... 3 I I O<br /> 39 Anonymous..................... A Legend of Argyle .............................. . ......... 3 I I O<br /> 1822 Sir Walter Scott ............ The Pirate ...................................................... . 3 I I I 6<br /> 53 Charlotte C. Richardson ... The Soldier&#039;s Child ... ....................................... 2 O I 2 O<br /> 22 Anonymous..................... Maid Marian ................................................... I o 7 o<br /> 33 James Hogg .................. Three Perils of Man .......................................... 3 I 4 O<br /> 33 Anonymous..................... Pen Owen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 I II 6<br /> 33 Sir Walter Scott..... ......... Peveril of the Peak ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4. 2 2 O<br /> 1823 Anonymous..................... A New England Tale.......................................... I o 6 o<br /> 3? 35 - - - - - - - - - - - - - - - - - - - - - Which is the Heroine P....................................... 2 O I 2 O<br /> 33 33 s • * * * * * * * * * * * * * * * * * * * The Confederate................................................ 3 I I O<br /> 39 99 • * * * * * * * * e &amp; © tº a 9 tº e º e º e King of the Peak ................................ ............ 3 I I O<br /> 33 Sir Walter Scott............... Quentin Durward ............................................. 3 I I I 6<br /> 33 Anonymous..................... Reginald Dalton................................................ 3 I I I 6<br /> 1824 35 s • * * * * * * * * * * * * * * * * * * * The Stranger&#039;s Grave ....................................... I O 6 O<br /> 33 Geo. Soane ..................... The Outcasts ................................................... 2 o 16 O<br /> 2 3 Geo. Butt........................ The Spanish Daughter ....................................... 2 o 16 o<br /> 35 Anonymous..................... Trials, a Novel ................................................ 3 I I O<br /> 2 3 Sir Walter Scott............... Red Gauntlet ................................................... 3 I I I 6<br /> 33 3.5 s = * * * * * * * * * * * * * St. Roman&#039;s Well ............................................. 3 I I I 6<br /> 1825 B. D&#039;Israeli..................... Vivian Grey ................................................... 2 O 18 O<br /> 23 Anonymous..................... Matilda, a Tale of the Day .............. . . . . . . . . . . . . . . . . . . . I O IO 6<br /> 33 33 • * * * * * * * * * * * * * * * * * * The Story of a Life .......................................... 2 o 18 o<br /> 35 35 • * * * * * * * * * * * * * * * * * * The Foresters................................................... 3 I 7 O<br /> 23 5 * * * * * * * * * * * * * * * * * * * * * * Tremaine; or, Man of Refinement ........................ 3 I 4 O<br /> 5 § Sir Walter Scott.............., Tales of the Crusaders ....................................... 4. 2 2 O<br /> 92 H. Willis........................ Castle Baynard ................................................ I O 8 O<br /> 35 T. Lister........................ Granby ......................................................... 3 I I I 6<br /> 25 H. Smith........................ Brambletye House .............................. ... . . . . . . . . . . . . 3 I I I 6<br /> 1826 Anonymous..................... Sir John Chiverton, a Romance ........................... I O IO 6<br /> 33 33 - - - - - - - - - - - - - - - - - - - - - Truth, a Novel ................................................ 3 I 4 O<br /> 33 Allan Cunningham............ Paul Jones ...................................................... 3 I I I 6<br /> 35 33 - e s • * * * * * * * * * * * * * * * * * The Tor Hill, a Novel ....................................... 3 I I I 6<br /> 1827 33 e s , , s a s • * * * * * * * * * * * * * Falkland, a Novel............................................. I o Io 6<br /> 35 23 ° • * * * * * * * * * * * * * * * Confessions of an Old Bachelor ........................... I o Io 6<br /> 35 32 - . . . * * * * * * * * * * * * * * * * * Belmour, a Novel ..................... ....................... 2 O 18 O<br /> 33 39 - - - - - - - - - - - - - - - - - - - - - English Fashionables Abroad ........................... &amp; e &amp; 3 I I I 6<br /> 33 35 • * * * * * * * * * * * * * * * * * Historiettes, Tales of Continental Life .................. 3 I I I 6<br /> 32 33 - - - - - - - - - - - - - - - - - - - - - Richmond, &amp;c., a Novel .................................... 3 I I I 6<br /> 1828 Sir Walter Scott............... Tales of a Grandfather....................................... I o Io 6<br /> 33 Anonymous..................... Yes or No, a Novel .......................................... 2 I I O<br /> 92 35 . . . * * * * * * * * * * * * * * * Confessions of an Old Maid .............. .................. 3 I 8 6<br /> 35 25 - - - - - - - * * * * * * * * * * * * * * Herbert Lacy, a Novel ................................... ... 3 I I I 6<br /> 33 35 • * * * * * * * * * * * * * * * * * * Tales and Legends.............. .............................. 3 I II 6<br /> 35 33 - e s • * * * * * * * * * * * * * * * * * De Lisle; or, the Distrustful Man ........................ 3 I I I 6<br /> 93 35 e s • * * * * * * * * * * * * * * * Herbert Milton ............................................. tº &amp; &amp; 3 I I I 6<br /> 1830 Marryatt........................ The King&#039;s Own................................................ 3 I I I 6<br /> 25 Ritchie........................... The Game of Life ............................................. 2 O 18 O<br /> 22 E. Lane ........................ The Fugitives................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I O 9 O<br /> 1835 Sir E. B. Lytton............... The Student .................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 I I O<br /> 39 Anonymous..................... Agnes Searle ................................................... 3 I II 6<br /> ?? ?? * * * * * * * * * * * * Finesse, a Novel * c s , , , , , , , , , , , , , a t w w w w • * * * * * * * * * * * * * * 2 I I Q<br /> <br /> <br /> ## p. 98 (#112) #############################################<br /> <br /> 98<br /> THE AUTHOR.<br /> <br /> Year. Author. Title. Wols. Price.<br /> 1840 G. P. R. James ............... The King&#039;s Highway................................. ........ 3 I I I 6<br /> 1841 Anonymous..................... Bllen Braye; or, the Fortune Teller ..................... 2 I I O<br /> 1845 35 . . . . . . . . . . . . . . . . . . . . . Mary Aston..................... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * I O 6 O<br /> 35 D. Lister........................ College Chums ................................................ 2 I I O<br /> 33 G. P. R. James ............... The Smuggler............................ * * * * * * * * * * * * * * * * * * * * * * * 3 I I I 6<br /> 1850 Anonymous..................... Shadow and Sunshine ...................... ................. I O 6 O<br /> 33 35 . . . . . . . . . . . . . . . . . . . . . Silwood, a Novel ............................................. 2 I I O<br /> 35 P. Leicester..................... Ada Greville ................................................... 3 I I I 6<br /> I86o Capt. Wraxall.................. Camp Life ...................................................... I O IO 6<br /> 32 Anonymous..................... Hulse House, by the Author of Anne Grey............... 2 I I O<br /> 2 3 F. J. Greenwood ............ Under a Cloud ................................................ 3 I I I 6<br /> If we analyse this list the following facts are<br /> established:<br /> 1. From 1750 to 1792 inclusive the ruling price<br /> of a novel was 3s. a volume, so that a four-volume<br /> novel was 12s. and a three-volume novel was 98.<br /> Occasionally, however, there is observed a<br /> tendency to cheaper forms, as in 1790, when<br /> there occur two cases of novels at 2s. 6d. a<br /> volume. This price was “net;” there was no<br /> reduction or discount to the public.<br /> The novels of this period were for the most part<br /> very short; now and then, as in the case of “Tom<br /> Jones” and “Peregrine Pickle,” they were long;<br /> as a rule they were much shorter than the modern<br /> Three-Decker. .<br /> 2. In the year 1793 there is a sign of an<br /> upward tendency. A single volume book is<br /> announced at 4s. Then for three or four years<br /> the old price is maintained. In 1796 Mary<br /> Robinson’s “Angelina.” is priced at 4s. 6d. a<br /> volume, and “Agatha,” whatever her merits may<br /> have been, appears at 4s. a volume. In 1797<br /> 3s. 6d. and 4s. are the rule. In 1798 the old<br /> price is forgotten. In 1799 nothing is under<br /> 3s. 6d. In 1800 prices range from 3s. 6d.,<br /> 4s. 6d., 5s. 3d., to 6s. a volume. In 18O1,<br /> nothing is higher than 4.s. 6d. In 1802 we range<br /> from 4s. 6d. to 5s. 3d. The same prices are<br /> asked in 1803, 1804, 1805.<br /> of “Flim Flams ” asks 7s. a piece for his<br /> volumes. A common form is now the four-<br /> volume novel at a guinea. Here and there, all<br /> the time, we find the old price of 3s. In 1807<br /> Lewis’s “Feudal Tyrants” is issued in four<br /> volumes at £1 8s. In 1808 Mdme. Genlis&#039;<br /> “Euphrosyne” is published in four volumes at<br /> the same price. In 1809 and 18 IO 6s. a volume<br /> is the rule. In 181 I an Anonymous issues a<br /> three-volume novel at £I 4s.--we are getting<br /> very close to the guinea and a half. From 1812<br /> to 1821 prices range from 6s. to 8s. a volume.<br /> In 1822 for the first time occurs the ominous<br /> price of a guinea and a half. There may<br /> be earlier cases, but the first discovered by Mr.<br /> In 1806 the author<br /> English was that of Sir Walter Scott&#039;s “Pirate,”<br /> in three volumes. In the same year “Peveril of<br /> the Peak” was published in four volumes at<br /> 282 2s., viz., half a guinea for every volume.<br /> From 1823 to 1830 one-volume novels are<br /> issued at 6s, and at Ios. 6d., but by far the<br /> larger at the latter price. Two-volume novels<br /> appear at 12s., 16s., 18s., and a guinea. Three-<br /> volume novels at a guinea, 31 48., 31 7s., and<br /> 31 IIs. 6d. That is, out of twenty-one three<br /> volume novels on this list fifteen are at a guinea.<br /> and a half, two at £1 8s. 6d., one at £I 7s.,<br /> two at £1 4s., and one at a guinea.<br /> From the year 1825 to 1860 the price of half a<br /> guinea for every volume was the rule, with here<br /> and there a rare exception.<br /> Of late years there have been many experiments<br /> in price and form. Certain well-known writers<br /> have never produced a three-volume novel at all;<br /> the price of the single volume has become a<br /> uniform 6s., exactly double the price a hundred<br /> years ago.<br /> The first appearance of the cheap edition<br /> seems to have been the series of novels issued by<br /> Messrs. Colburn and Bentley in 1831, called<br /> “Bentley’s Standard Novels and Romances,” at<br /> 2s. 6d. each. Of this series the Athenæum of<br /> that date says: “If these works do not succeed,<br /> and eminently, it is no use catering honestly for<br /> the public. These are among the very best and<br /> cheapest ever issued from the press.”<br /> The first appearance of the six-shilling novel<br /> seems to have been in 1861, when Messrs.<br /> Blackwood and Sons published at that price<br /> George Eliot’s “Silas Marner.” Others followed<br /> at the same price, and the London publishers, as<br /> Bentley and Son, Sampson Low, &amp;c., speedily<br /> began to publish at the same price.<br /> The second and cheap edition of the novel, in<br /> regular succession, either at 6s. Or 3s. 6d., or less,<br /> is a thing of not more than thirty years’ existence.<br /> The old rule was one form of publication, either<br /> serially or in three-volume form, and then an end.<br /> Until the year 1865 or thereabouts, if a novel<br /> <br /> <br /> ## p. 99 (#113) #############################################<br /> <br /> THE AUTHOR.<br /> 99<br /> appeared in a magazine, that was its first and final<br /> appearance. The two-shilling novel, for which<br /> Miss Braddon is chiefly responsible, began the<br /> cheap edition. But the ordinary successful<br /> novelist did not, as a rule, look forward to a cheap<br /> edition of his story, however well it was received<br /> by the public, and there were critics who spoke of<br /> a reprint, even if it contained an acknowledgment<br /> of the journal from which it was taken, as if the<br /> publisher and the author were committing some<br /> kind of fraud upon the public in presenting old<br /> Wares a,S new.<br /> The rise in price from 3s. to half a guinea a<br /> volume may perhaps be explained by more than<br /> one theory. Perhaps the following explanation<br /> may find acceptance :<br /> The rise in price begins towards the close of<br /> the last century.<br /> For nearly a quarter of a century the country<br /> was engaged in a deadly contest for life and<br /> liberty. This contest demanded the most cruel<br /> sacrifices. Therefore, although the seas were<br /> kept pretty well open and a great part of our<br /> foreign trade remained with us, the taxation fell<br /> heavily on all classes, but most heavily on that<br /> class which then formed the great bulk of readers<br /> —the clergy and the professional people. The<br /> examples of Edinburgh, Lichfield, Exeter, Norwich,<br /> and other places illustrate the importance of the<br /> literary circles—some of them containing men of<br /> great literary ability—which had sprung up all<br /> over the country. The members of these coteries,<br /> perforce, ceased to buy books; they formed book<br /> clubs and circulating libraries. The natural result<br /> of the narrowed circulation was a rise in price.<br /> From 3s. a volume the novel became gradually, as<br /> we have seen, half a guinea. And this price con-<br /> tinued, because the people had lost the habit of<br /> buying books, and, though the book clubs fell to<br /> pieces and the literary coteries were broken up,<br /> the habit of reading remained and was extended<br /> more and more, while the central circulating<br /> library took the place of the country book club<br /> and supplied the reading, the demand for which<br /> far exceeded, and still exceeds, the purchasing<br /> power of the people.<br /> *-<br /> r= - -<br /> THE AUTUMN ANNOUNCEMENTS,<br /> HEY have already begun in the Athenæum.<br /> The number for August 25 contains the<br /> autumn lists of four publishers. It is<br /> proposed to analyse and classify these lists as was<br /> done last year in these columns. This classifica-<br /> tion cannot be complete before the end of October<br /> or perhaps later. Meantime, with thirty-five<br /> WOL. W.<br /> new books and new editions announced by<br /> Messrs. Longman; fifty-four by Messrs. Chatto<br /> and Windus; seventeen by Messrs. Chambers;<br /> and four by Messrs. Putnam, we make a good<br /> beginning. At present we may only observe that,<br /> as appears from these lists, the three-volume<br /> novel is not dead yet.<br /> *- - -º<br /> ON “WARNINGS AND ADVICE.”<br /> CORRESPONDENT addresses a letter to<br /> the editor which seems to demand especial<br /> attention. He writes to this effect :<br /> “I read your paper regularly from beginning<br /> to end. It afflicts me, every month, with a pro-<br /> found melancholy on account of your “Warnings<br /> and Advice.’ They may be most useful, for those<br /> who can follow them. I cannot. I am one of<br /> those whose first desire is to get my work pub-<br /> lished at all. Why? Because I have a message<br /> for the world? Not at all. But because I can<br /> write things of a kind which command a certain,<br /> but not a great, success. My line is the novel, but<br /> there are many others, like myself, though in other<br /> lines, who can produce work which gets bought,<br /> somehow, to some small extent. They write<br /> readable essays; ‘ historical’ chapters, cribbed<br /> from recent investigations in the Record Office<br /> and elsewhere; concocted out of old books in a<br /> library, and made to look something like work of<br /> Original research among unpublished documents;<br /> biographies of half-forgotten celebrities; poetry.<br /> But the poets are not quite up to my level,<br /> for they have to pay for their things; I want<br /> my work published, and not at my own cost. I want,<br /> also, to be known in my own circle as a man of<br /> letters. It gives one a certain distinction to have<br /> produced one book and to be engaged upon<br /> another. My vanity is, I believe, the leading<br /> motive. But, besides, I always have a suspicion<br /> that my work may be worth large sums of money,<br /> and I naturally want all I can get, and more.<br /> So that I go to my publisher, first and above<br /> all things, anxious that he should take my stuff;<br /> next, suspicious of his terms; and, lastly, afraid to<br /> stipulate any conditions. As for independence, I<br /> really haven’t any. I am in his hands; he makes<br /> me feel that he is obliging me. Not that he is<br /> insolent ; he is even kindly ; sometimes he makes<br /> me miserable by telling me how much he loses<br /> by his authors; sometimes he makes me mad by<br /> little condescensions and words of patronage.<br /> Always, of course, I am to be the obliged and<br /> grateful party in the business. I am never, as<br /> you desire me to be, independent of him. He<br /> will very kindly take my work ; he will very<br /> I.<br /> <br /> <br /> ## p. 100 (#114) ############################################<br /> <br /> I OO<br /> THE AUTHOR.<br /> nobly, though he says he is certain to be a loser by<br /> it, make me an offer. He has produced half-a-dozen<br /> books of my mine; on every one he says he has lost;<br /> yet he is always ready to take another. There-<br /> fore, as he is a business man, I do not believe<br /> him. But I don’t dare tell him so. What have<br /> your warnings and your information done for<br /> me P. Well, they have proved clearly that, even<br /> with my limited sale, the gratitude should be on<br /> his side, not mine. As a (hitherto) grateful<br /> dependant on this disinterested Patron, it is<br /> gall and wormwood to me to learn what his<br /> agreement really means, and what it is that I<br /> have had to accept. Your “Warnings and Advice’<br /> are fourteen in number; they are all practical;<br /> they are all, I dare say, to other people, useful.<br /> But, alas ! they are of no use to me, because I am<br /> Quite unable to adopt any of them. I might, it<br /> is true, go so far as to stamp the agreement—I<br /> don’t think he would find it out—but the<br /> nature of the document makes it quite un-<br /> necessary for me. The other man can stamp his,<br /> if he likes, but it seems unnecessary. Then,<br /> again, I might take your advice about a literary<br /> agent, but I fear that my commercial value at<br /> the best is not great enough to make any agent<br /> anxious to have me as a client—my last book,<br /> produced on the half-profit plan, showed a loss of<br /> eleven pounds, eleven and eightpence. As regards<br /> “future work, my Patron has not yet tried to bind<br /> me down; but he would do so, I dare say, if he<br /> thought of it. And as for drawing the agreement<br /> myself, or reserving anything, or having a say in<br /> the advertisements, I think I see my Patron&#039;s face<br /> if I dared to suggest anything of the kind. One<br /> poor man, a friend in the same line as myself, and<br /> of about equal commercial value, ventured once<br /> to suggest to his Patron that he might have the<br /> accounts of the joint venture audited. “What?’<br /> cried the Patron, “do you think I mean to cheat<br /> you ?’ The retort was obvious ; there can be<br /> but one reason for your partner hiding his books;<br /> but my friend did not dare to make use of it.<br /> I myself on one occasion when a royalty was<br /> offered—I will not lower myself in your eyes<br /> by confessing the amount of that royalty or<br /> the number of copies which had to be sold<br /> before the royalty began—ventured to ask<br /> Smilingly—it was a hollow, forced smile, I fear<br /> —what share of profit the proposed arrange-<br /> ment might leave to the other side. He replied,<br /> icily, that he must really be allowed to manage<br /> nis property—he called it his property—in his<br /> own way, and it was no affair of mine whether<br /> he lost or gained. Most likely, he added, pump-<br /> ing up a sigh, he should be a very heavy loser.<br /> “In plain words, I am entirely dependent on<br /> my publisher. He gives me exactly what he<br /> chooses; I must accept or go elsewhere. And<br /> where should I go? Your advice is excellent, in<br /> fact, to those whose books are commercially valu-<br /> able. For the rank and file I submit that it is<br /> unpractical.”<br /> That the writer&#039;s position is such as he<br /> describes one need not doubt. That he is one<br /> of many in the same position we know too well.<br /> That the position is one of necessity is another<br /> question. For, if we consider, very nearly the<br /> whole business of the smaller publisher—and of<br /> all publishers except a few large houses—lies<br /> with the writers of the day, and of these by<br /> far the greater number, like our correspondent,<br /> possess individually but little commercial value.<br /> Yet, taken together, they may be very valuable,<br /> because every one represents a certain amount<br /> of gain to the publisher, otherwise his books<br /> would not be produced, and one or two among<br /> them, especially among the younger sort, may at<br /> any moment become popular and very valuable<br /> indeed.<br /> If such a writer, then, would offer his next work<br /> on our conditions to his friend the “Patron,” he<br /> would probably find it indignantly refused. He<br /> could then try elsewhere, and here the Society<br /> might possibly help him. But if all such<br /> writers—all that very large class of writers<br /> whose works possess some commercial value,<br /> however small—demanded such conditions, the<br /> result would be — must be — submission and<br /> acceptance. For, since our conditions involve<br /> nothing in the world that can be considered<br /> derogatory to the publisher, nothing unfair,<br /> nothing out of the common course, nothing but<br /> the common sense of an ordinary business trans-<br /> action, and nothing more than the Ordinary pre-<br /> cautions with which one person admits another<br /> to the management of, or partnership in, his<br /> property, it stands to reason that opposition<br /> would disappear as soon as it was found<br /> impossible or difficult to get such agency or such<br /> partnership without these conditions. The<br /> “warnings and advice,” on the other hand, to<br /> those whose work is in demand are so simple<br /> that it is their own fault if they do not stipulate<br /> for their observance. For instance, in the<br /> common case of a royalty, the “warnings”<br /> numbered respectively (I), (3), (4), (7), (8), (II),<br /> and (I2) are the only points necessary to be<br /> observed, and of these especially numbers (4),<br /> (8), (II), and (I2).<br /> Next, it must be remembered that the business<br /> of the Society is to defend literary property, and<br /> to show how it must be defended. If writers<br /> will not trouble to defend their property because<br /> it is of small value that is their concern. We<br /> <br /> <br /> ## p. 101 (#115) ############################################<br /> <br /> THE AUTHOR.<br /> IO I<br /> tell them, at least, how they may estimate its<br /> possibilities, and how they may guard and keep<br /> their own. In defence of other kinds of property,<br /> the law does not permit the invasion of its rights<br /> where the value is small any more than when it<br /> is large. A pocket must not be picked of a<br /> handkerchief any more than of a watch. Nor<br /> should a literary agreement over a small property<br /> be more unfair than one over a large property.<br /> There is another way of looking at it. The<br /> one-sided old I oper cent. royalty; the penny in the<br /> shilling; the 20 per cent. when 5000 copies (say)<br /> have been sold ; and many other of the tricks<br /> which we know so well—if they are now tried with<br /> even the youngest and most dependent writer,<br /> are tried with the consciousness that they have<br /> been exposed; that the victim can ascertain for<br /> himself the reality of his position; and that,<br /> dependent as he may be for the moment, should<br /> the day of success arrive when his works would<br /> become by themselves an income to his pub-<br /> lishers, he will certainly go elsewhere. The<br /> Society has rendered many of the old “dodges *<br /> impossible by ascertaining and publishing what<br /> is really meant by the mysterious Cost of<br /> Production.<br /> To return to the class represented by our cor-<br /> respondent. They want to publish, very often,<br /> because they believe that their work is “as good<br /> as other people’s.” This desire overcomes, as is<br /> apparent from this letter, every other considera-<br /> tion. In order to be published they will accept any<br /> terms. This desire, therefore, makes the author<br /> a supplicant and a dependant. He invites a one-<br /> sided offer. If he refuses it the chances are<br /> that he is not worth much, and he is told to<br /> go elsewhere. On the other hand, if he is a<br /> young man, it is possible that he may become a<br /> success, in which case it is, perhaps, wiser to treat<br /> him with fairness, as a client whose business is<br /> desirable. This consideration smoothes the way<br /> to a better understanding.<br /> Here is a very simple rule. Such a writer<br /> generally avoids the leading Houses, thinking<br /> foolishly that he will do better with the smaller<br /> Houses—and forgetting that there is but one<br /> public. Let him, therefore, before going to one of<br /> the smaller Houses examine its lists. If he finds<br /> that it can show only one or two works of any<br /> popular author, and those his earliest works, let<br /> him ask why this popular author left this<br /> House. Naturally, because he was, or thought he<br /> was, unfairly treated. Then let this young<br /> writer make up his mind to avoid a House which<br /> cannot keep its clients. On the other hand, a<br /> House which has long lists of popular authors is,<br /> primá facie, one which acts so as to retain the<br /> confidence of writers.<br /> But if a writer considers that warning which<br /> stands last in our list, he will do well, either by a<br /> man of business or in person, to address a<br /> publisher as one business man with another.<br /> “Here,” he will say, “is a work which I believe<br /> to be a possible property, even if a small<br /> property. If your advisers also think so, is it<br /> worth your while to undertake its production<br /> on the following terms P I contribute the work<br /> itself; you contribute the liability to pay the<br /> difference, if any, between the actual cost<br /> of production and the demand for the book.<br /> You also undertake the distribution, collection,<br /> &amp;c.; in return for which you shall have such a<br /> share of the profits as may be agreed upon as<br /> equitable. The partnership is to be quite open,<br /> as between two honourable men ; books always<br /> accessible ; nothing charged but out of pocket<br /> expenses; the proposed list of advertisements to<br /> be arranged with me : and, of course, no secret<br /> profits of any kind.” Such a letter, at all events,<br /> would not be the letter of a dependant. And the<br /> answer would probably show the true character of<br /> the publisher to whom it was addressed.<br /> NOTES AND NEWS,<br /> Rº: of the Author will rejoice to learn<br /> that Mr. Robert Sherard is about to resume<br /> his Letters from Paris in these columns.<br /> Arrangements have also been made for a Letter<br /> from New York, on American Literature and<br /> Literary Folk. The former letter will begin, it is<br /> hoped, next month ; the latter in November or<br /> December.<br /> Mr. Strachey&#039;s paper in the National Review<br /> for August, on the Heroic Couplet in English<br /> verse, indicates a new line of critical research,<br /> which will, I hope, be followed up either by Mr.<br /> Strachey or by other competent scholars. The<br /> construction—the structure—of English poetry,<br /> not the lives of the poets, or criticisms on their<br /> works, but the origin, growth, and development<br /> of its many metres, has never, so far as I know, been<br /> seriously and adequately treated. Mr. Strachey&#039;s<br /> paper is only a chapter, and that an imperfect<br /> chapter, on one branch of the subject. Where did<br /> Chaucer find his favourite metre P Why did he<br /> choose that metre in preference to the shorter line<br /> most common in the fabliaua, or the longer line<br /> which was used by his friend Eustache Deschamps?<br /> Where did Skelton find—or did he invent—his<br /> short metre P How was it that the six-foot line<br /> failed to hold its own? Sonnet, blank verse, ode,<br /> lyrical ballad, song—every branch of poetry down<br /> <br /> <br /> ## p. 102 (#116) ############################################<br /> <br /> I O2<br /> THE AUTHOR.<br /> to the new-old metres of modern versifiers—the<br /> ballade, triolet, villanelle, chanson royale—which<br /> seem to have had their day. Again, there is the<br /> splendid music of Swinburne. Is there anything,<br /> anywhere, in the history of poetry, which can<br /> compare with his march of song P Can there be<br /> any verse, anywhere, to which he owes anything P<br /> Such a paper as Mr. Strachey&#039;s takes time and<br /> reading and scholarship. Therefore it is rare.<br /> I have received from America the First Part<br /> of “The Art of Short Story Writing.” It is<br /> only a typewritten part, and I am earnestly<br /> begged to guard it from being published in this<br /> country. It would therefore be unfair to quote<br /> from the pages, or to set forth the methods and<br /> plan of the book, or to express any opinion upon<br /> the treatment or the literary value of the book,<br /> or its probable usefulness to beginners. The<br /> author of the work prefers to remain anonymous,<br /> which is perhaps wise. Many writers, seeing the<br /> terrible mistakes and the waste of good material<br /> committed by beginners in their first attempts,<br /> have thought that a school of fiction might do<br /> useful preliminary training work just as well as a<br /> school of painting. The anonymous author of<br /> this work, which will be issued by “the Revised<br /> Literary Bureau,” of New York, declares him-<br /> self strongly of this opinion. The first and<br /> obvious objection to such a school is that every-<br /> body so far has got on without it. Quite true.<br /> On the other hand, how many would have got on<br /> more quickly and better with it P. How many,<br /> again, would have been deterred from entering<br /> upon a line of work for which they had no ability?<br /> There is in the construction, the arrangement, the<br /> setting, the dialogue of a novel, as much art asthere<br /> is in the grouping of a picture, the management of<br /> the light, &amp;c. This truth, which is perfectly well<br /> known to all those who have studied, and intelli-<br /> gently attempted, the art of fiction, has been<br /> denied, or derided, by those who write on the<br /> subject without any study of it or any sympathy<br /> with it. It may be objected that those who have<br /> the natural aptitude will find out these things<br /> for themselves. Perhaps they will ; perhaps<br /> they will not; perhaps it will take them years of<br /> work and partial failure, with the sacrifice of<br /> their best materials. Of course, those who have<br /> not the natural gift will never be able to use, even<br /> if they find out, the true methods. Why, then,<br /> teach them P. We cannot create a story teller,<br /> any more than a poet, by teaching; but we may<br /> stop at the outset those who are certain, to fail;<br /> we may teach the methods, and put into the right<br /> line the rank and file of the story tellers; and we<br /> may save genius itself from blunders and from<br /> disappointments. Another objection, however,<br /> less obvious, presents itself. After going to such<br /> a school the candidate who failed would most<br /> certainly throw the whole blame of failure upon<br /> the school. It would therefore be mecessary for<br /> the lecturers and teachers to be very ready with<br /> their warnings. He must be a stupid person,<br /> however, who was unable in six months to find<br /> out whether a student would fail or succeed. We<br /> now await the American treatise.<br /> Every year, as regularly as the showers of<br /> August, appears the letter complaining of the<br /> bold bad smuggler who imports Tauchnitz editions<br /> in his pockets. The whole family, girls and all, enter<br /> with zeal into the smuggling business; impromptu<br /> pockets are devised in feminine garments; men’s<br /> coats are found to contain stowage room pre-<br /> viously unsuspected; a successful run is made ;<br /> and the family shelves are enriched with another<br /> row of Tauchnitz books. They have been bought<br /> at half the cost of the English edition, you see.<br /> Cheapness before anything. These books, more-<br /> over, are openly sold in this country; one may<br /> sometimes see rows of them in the secondhand<br /> shops. What is to be done P. It is impossible to<br /> touch the conscience of the traveller homeward<br /> bound. He will not smuggle lace, because he<br /> understands that lace is property—it is visible<br /> property—he must not defraud the revenue;<br /> literary property he does not understand—he<br /> cannot see it. Here is a book—why cannot he<br /> take the book home with him P Because the law<br /> prohibits? Nonsense; it can hurt nobody. It is<br /> impossible to make him see that to import this<br /> book is an infringement of right; a robbery of<br /> author or publisher, or both. Therefore some-<br /> thing else must be attempted. What? Let us<br /> take counsel together. There must surely be some<br /> way of preventing the smuggling of books. Now<br /> the rough and ready way by which dockyard<br /> labourers are prevented from stealing dockyard<br /> stores might be attempted. Wardens of the yard<br /> stand at the gates and feel the men as they pass.<br /> An expert hand would detect a Tauchnitz in the<br /> coat pocket. And a substantial fine judiciously<br /> and sternly administered would do the rest. But<br /> perhaps some other method might be suggested.<br /> - We referred last month to the critic who<br /> desires the reduction of three volumes to one,<br /> because we should then get a shorter novel. I<br /> have before me two novels, each in one volume.<br /> One is called “Marcella,&quot; and the other “The<br /> Manxman.” The former contains about 28O,OOO<br /> words, and is therefore twice as long as the<br /> ordinary three-volume novel; the latter contains<br /> <br /> <br /> ## p. 103 (#117) ############################################<br /> <br /> THE AUTHOR.<br /> IO3<br /> about 236,000 words, and is therefore half as<br /> large again. No ; we shall not necessarily get<br /> our novels any shorter when they are published<br /> in orie volume; and, as was said last month, a<br /> book may be very short and yet very ill-con-<br /> structed.<br /> It is well known that Mr. Hall Caine<br /> deliberately resolved to try the result of appealing<br /> to the public at once with his new novel “The<br /> Manxman.” The following was the result, pub-<br /> lished here with the author&#039;s sanction, eight days<br /> before the day of issue:—<br /> Mudie&#039;s subscription .......... IOOO<br /> Smith’s 35 ............... 200<br /> Smith&#039;s railway stalls............ ... 2COO<br /> The trade, &amp;c. ..................... 4OOO<br /> Separate Colonial edition ......... 5OOO<br /> Total, I 2,260, before the book was out. Now, it<br /> must be remembered that Izoo, or even looo, is a<br /> very large subscription for a three-volume novel.<br /> The publishers’ immediate returns, therefore, are<br /> probably more than doubled by the new system.<br /> Everybody, however, it is objected, is not so<br /> popular as Mr. Hall Caine. That is quite true.<br /> The figures must therefore be taken to show what<br /> may be meant by a popular work, and they<br /> certainly do carry encouragement to those<br /> who believe in going to the whole public of<br /> readers in the first instance.<br /> Since this was written the Athenaeum (Aug. 25)<br /> states that the first edition of 20,000 “ ran low ’’<br /> in a fortnight.<br /> We have been accused of encouraging persons<br /> who have not the faintest chance of achieving<br /> either kind of literary reputation—that is,<br /> reputation for literary style, or popularity—to<br /> believe that figures such as these may apply to<br /> themselves. Disappointment most probably awaits<br /> those sanguine persons, But is it not the same<br /> in other professions P. The freshman from the<br /> country grammar school goes up to the university<br /> dreaming of the Craven, with a first-class and a<br /> fellowship to follow. In five or six years he has<br /> found his place as a third-class man and an<br /> assistant master in his old school. The young<br /> barrister recognises the splendid prizes of his<br /> profession and dreams of becoming a leader, a<br /> Q.C., a judge, a Lord Chancellor. Why should<br /> not the young writer in the same way dream of<br /> vast popularity ? Meantime, as the Society is in<br /> existence mainly for the defence of literary pro-<br /> perty, is it not necessary to show what literary<br /> property means ?<br /> A paper on the “Art of the Novelist,” by the<br /> late Amelia B, Edwards, is published in the<br /> August number of the Contemporary. The<br /> paper bears the appearance of being unfinished,<br /> or, at least, uncorrected, being out of proportion,<br /> covering too much ground, and generally “un-<br /> workmanlike.” But, for one thing, it is valuable.<br /> The author speaks out strongly on behalf of a<br /> novelist whom we seem to be forgetting, viz.,<br /> Anthony Trollope. His works will perhaps be<br /> read again, but not until the time comes when<br /> the society of this century has become the study<br /> of the historian. Then, indeed, Trollope will be<br /> found a mine of wealth for the ideas, the habits,<br /> the prejudices of that kind of society — the<br /> higher middle class — which he drew so well.<br /> Perhaps no novelist has ever understood his own<br /> generation better than Trollope. Dickens knew<br /> the lower middle class; Trollope knew the class<br /> above — the gentlefolk of the country town;<br /> the clergy; the country people; the professionals. .<br /> Last year in America. I met a lady—a lady no<br /> longer young—a lady of reading and culture—<br /> who declared to me that, in her opinion, whatever<br /> might be said to the contrary, Trollope was the<br /> first English novelist of this century. Trollope&#039;s<br /> greatest vogue was in the Sixties. When he died<br /> —was it not in 1879 P−he had not outlived his<br /> reputation, because there were millions who<br /> remembered his work, but his circle of readers<br /> had wofully diminished. Those of us who<br /> remember the Sixties can recall the joy with<br /> which his novels were received, one after the other;<br /> the firm drawing; the clearly outlined portrait—<br /> all his figures were types; the individuality of<br /> the author who owed nothing to any predecessor.<br /> Thinking over these things, I understood what<br /> that American lady meant. And here is Amelia B.<br /> Edwards, after her death, speaking to us to much<br /> the same effect. I wonder how a modern young<br /> lady would like one of Trollope&#039;s novels of the<br /> Sixties, with its illustrations — the dumpy girl<br /> with her hair in a net, the crinolined skirts, the<br /> flat heels, her round face with the great innocent<br /> eyes, her honest worship of Man the Superior—<br /> ohl so very, very different from her daughter,<br /> from the new girl, who defers to no masculine<br /> mind, talks on all subjects, writes on all, and<br /> carries a latch key !<br /> The testimony of Professor Brander Matthews,<br /> of New York (see p. 29), to the working of the<br /> American Copyright Act, which we owe to the<br /> Daily Chronicle, is extremely valuable. He<br /> shows, especially, how the Act has weeded out<br /> the reprints of English authors, and encouraged<br /> and stimulated American authors, who for the<br /> first time find themselves, he says, free from com-<br /> petition with stolen goods. Henceforth all the<br /> best books will belong to both countries alike;<br /> <br /> <br /> ## p. 104 (#118) ############################################<br /> <br /> IO4<br /> THE AUTHOR.<br /> but the bulk of the more popular literature will<br /> remain American for the Americans, and British<br /> for Britons; in other words, while the writers<br /> who can command an audience on both sides of<br /> the Atlantic will enjoy the widest audience that<br /> was ever granted to any writer in any country,<br /> the people for their daily reading will prefer their<br /> own folk, their own local setting, and their own<br /> dialect. I am pleased to read Professor<br /> Matthews’ opinion on the effect of free libraries,<br /> because I have always maintained, from my own<br /> experience, observation, and conversation with<br /> those who know, viz., librarians themselves, pre-<br /> cisely the same opinion.<br /> As regards the magazines, it is also pleasant<br /> to find Professor Matthews practically saying<br /> exactly what has been said in the Author. In<br /> one or two points he does not speak from know-<br /> ledge. For instance, he says that the American<br /> weekly paper contains much the same kind of<br /> work, and is illustrated in the same way, as our<br /> Strand. Obviously he has never seen the illustra-<br /> tions of the Strand, or he would not compare<br /> them with the terrible things of the American<br /> weekly. Again, I doubt his “main&quot; fact;<br /> namely, that the American reading public is so<br /> much larger than our own. He quotes a circula-<br /> tion of 200,000 copies. We can show a circulation<br /> of 3OO,OOO copies of this same magazine, the<br /> Strand. The questions are, it seems to me—<br /> What makes popularity ? Is good work com-<br /> patible with popularity ? The example of the<br /> American magazines seem to prove that it is—<br /> unless, which would be a most humiliating con-<br /> fession, we must own that the middle class in<br /> this country is below the corresponding class in<br /> America in intelligence, taste, and cultivation.<br /> WALTER BESANT.<br /> *-* →<br /> r- - -,<br /> PUBLIC LIBRARIES IN AMERICA.”<br /> C{INCE writing the notes on English Free<br /> S Libraries and the books read by the people<br /> who use them, for the number of August,<br /> I have received a work by Mr. William J.<br /> Fletcher, Librarian of Amherst, on the Public<br /> Libraries in America (Columbian Knowledge<br /> Series: Sampson Low and Co). This little book<br /> supplements the information already gathered<br /> concerning our own libraries. The greater part<br /> of it is, it is true, devoted to topics belonging to<br /> * Public Libraries in America. By William J. Fletcher,<br /> M.A., Librarian of Amherst College. London; Sampson<br /> Low, Marston, and Co. 1894,<br /> librarians, such as classification, cataloguing, pre-<br /> servation, distribution, buying, and binding.<br /> There are, however, many points of more general<br /> interest. For instance, as to the number of public<br /> libraries. In the year 1858 there were in the<br /> United States no more than IOO libraries, with<br /> something like a million volumes altogether.<br /> The largest was that of Harvard College, with<br /> 70,000 volumes. In 1890 the number of libraries<br /> in the country was 4000, the number of volumes<br /> amounted altogether to 27,OOO,OOO ; and there<br /> were fifty libraries with more than 50,000 volumes<br /> each. Moreover, free libraries are multiplying<br /> much more rapidly than ever before. Not only<br /> are there founded every year many new libraries,<br /> but it is found that the old libraries cost more<br /> every year to maintain, the growth of a large<br /> library being much faster in proportion than<br /> that of a small library. Neglected depart-<br /> ments are discovered and brought up to date;<br /> serial publications have to be continued; the<br /> reference department is always increasing.<br /> A great deal has been done in the States by<br /> private gifts. This book contains a list of donors<br /> and donations, including only those of 50,000<br /> dollars and upwards, amounting in all to<br /> 17,OOO,OOO dollars, or three and a half million<br /> sterling ! How much has been given to free<br /> libraries in this country by private persons P<br /> The incomes of the hundred largest public<br /> libraries are also given in a classified list ;<br /> they amount to nearly a million and a half of<br /> dollars, or £300,000, but the returns of ten out of<br /> the hundred are not complete. The number of<br /> free public libraries which contain more than<br /> 10,000 volumes does not much exceed one hundred.<br /> But in the smaller towns there are a great many<br /> libraries as yet quite small, too small to be<br /> included in the Government report.<br /> The 4ooo libraries above mentioned may be<br /> divided roughly as follows:<br /> College and school libraries... . 2 OOO<br /> Subscription libraries ... 5CO<br /> Libraries of societies, &amp;c. . IOOO<br /> Free public libraries 5CO<br /> The free public libraries are all lending libraries.<br /> For instance, in the Newark (New Jersey) library<br /> any resident of the town may freely borrow books,<br /> under certain conditions to insure the library<br /> against loss. This extension of the public library,<br /> once introduced, seems essential for its true<br /> usefulness. A large number of the libraries are<br /> open on Sunday, but not the greater number.<br /> Again, there are a large number of special<br /> libraries not included in the lists already con-<br /> sidered. Almost every State has its Historical<br /> Society, which has its library, free and open to<br /> <br /> <br /> ## p. 105 (#119) ############################################<br /> <br /> THE AUTHOR.<br /> iO5<br /> any student. There are also the State libraries,<br /> which are composed chiefly of law books and<br /> public documents, of great use for purposes of<br /> reference. And there are the special collections of<br /> scientific books. At Washington alone there are<br /> nine special libraries, including more than a<br /> million volumes, and of the university libraries<br /> there are six at least which contain over IOO,OOO<br /> volumes each ; that of Harvard alone contains<br /> 43O,OOO volumes.<br /> What do the people who use these libraries read?<br /> This little book gives no lists or details. But it<br /> states, what everyone might guess beforehand, that<br /> the fiction circulated far exceeds all other classes of<br /> books together, “the great majority of readers<br /> seeming to care for nothing else.” Not that the<br /> American librarian groans over the fact. “This,”<br /> he says, “simply shows how great is the demand<br /> for reading as recreation. To the masses of the<br /> people, hard worked and living humdrum lives,<br /> as well as to their pining for something to kill<br /> time, the novel comes as an open door into an<br /> ideal life, in the enjoyment of which, even in<br /> fancy, one may forget the hardships or the<br /> tedium of real life.” Something is said as to the<br /> guidance exercised by librarians in this respect.<br /> Enough has been said to show that the Ameri-<br /> cans are much in advance of us in the matter of<br /> libraries. Four thousand libraries with over Io,000<br /> volumes each, and a great many more with from<br /> one to ten thousand; more libraries continually<br /> being founded ; rich men continually giving great<br /> sums of money for the foundation and mainten-<br /> ance of libraries; this is a statement with which<br /> comparison is not calculated to inflate our own<br /> pride.<br /> One thing more. Everything good in litera-<br /> ture becomes instantly, as soon as published, the<br /> common property of all the English-speaking<br /> peoples. These figures illustrate and prove, what<br /> we have persistently maintained, that already a<br /> popular book, of whatever kind — historical,<br /> scientific, religious, imaginative—commands in<br /> Great Britain and Ireland, the Colonies, India,<br /> and the United States, taken all together, an<br /> audience from the libraries alone which has never<br /> yet been equalled in the history of literature.<br /> There are writers belonging to this country alone,<br /> writers in every branch of literature, who<br /> command on the first appearance of a new book<br /> the subscription of every important library over<br /> the vast area where our language prevails. And<br /> great as is already this audience, it is nothing<br /> compared with that which awaits the writer and<br /> teacher of fifty years hence. When the number<br /> of libraries will be multiplied by fifty, and<br /> the number of readers by ten, one hundred<br /> millions of English-speaking people will be two<br /> hundred millions: if there are now only ten<br /> millions of readers there will then be a hundred<br /> millions. W. B.<br /> *– A –iº<br /> r- - -<br /> LOWE&#039;S COMPLETION.<br /> Dim are the memories of those early days<br /> When Love was only in the bud as yet ;<br /> Swift glances—peeps of tangled woodland ways:—<br /> The hues she wore, the way her hair was set.<br /> Like broken lights upon some fairy stream,<br /> When Dian’s silver shafts are shivered there,<br /> Through misty veil seen faintly as in dream,<br /> So gleam those far off days, so dimly fair.<br /> As we forget its tributary rills,<br /> When seawards borne upon the river&#039;s breast ;<br /> The flashing breakers boom ; amid the hills<br /> The becks are hushed, or murmur at the best.<br /> So, launched on Life’s inexorable sea,<br /> Those echoes of the past have ceased to move<br /> Our wedded souls; their whispers drowned—Ah me !—<br /> In the imperial symphony of love<br /> F. B. DOVETON.<br /> *- a sº-º<br /> sº- - -<br /> LITERATURE OR PHYSICAL SCIENCE:<br /> OR the last twenty years, the increasing<br /> predominance of subjects other than<br /> literary in English education has been<br /> most marked. An active movement has been<br /> observable to deprive letters of the prominent<br /> place they had hitherto occupied; and confident<br /> predictions have been uttered that this revolution<br /> will be complete, that art and letters will be<br /> entirely replaced by the absorbing pursuit of the<br /> knowledge afforded in physical science.<br /> No doubt, the scientific method of investi-<br /> gation is a most valuable discipline, and it is<br /> desirable that everyone should have some expe-<br /> rience of it ; but it is folly to deny that Art and<br /> Poetry and Eloquence have the capability of<br /> refreshing and delighting us, and possess for<br /> mankind a fortifying, elevating, quickening, and<br /> suggestive power. However, for the time being<br /> the partisans of Science are popularly supposed<br /> to have the victory; and gloomy prognostications<br /> are to be heard with reference to the future of<br /> modern literature as well as antique. .<br /> These apprehensions have been felt elsewhere<br /> in Europe. The late M. Renan asserted that<br /> “one hundred years hence the whole of the<br /> historical and critical studies in which his life<br /> had been passed, and his reputation made, will<br /> have fallen into neglect, and that natural science<br /> will exclusively occupy man’s attention.” No<br /> one, familiar with the history of European litera-<br /> ture, will for a moment accept this view. It is<br /> <br /> <br /> ## p. 106 (#120) ############################################<br /> <br /> 106<br /> THE AUTHOR.<br /> only by the pursuit of this study that we can<br /> rightly appreciate the history of the race. Litera-<br /> ture is the voice of the people. I believe that so<br /> long as man exists, from the very constitution of<br /> the human mind, there will always be moral and<br /> aesthetic cravings, which Science, however attrac-<br /> tive, can never gratify. I think, therefore, that<br /> the “splendour and rapid march of the physical<br /> sciences” have partially eclipsed, but will never<br /> extinguish, the interest in the older subject of<br /> literature.<br /> However, some of those whose opinions carry<br /> weight in the scholastic world have asserted that<br /> it cannot be taught, and that the experiment has<br /> failed. The signs of this failure are to be found in<br /> the modifications of certain examinational require-<br /> ments, in which literature has been degraded to<br /> a secondary place, or altogether eliminated, or<br /> recognised only in connection with Philology.<br /> “Literature has been regarded as mere material<br /> for the study of words. All that constitutes its<br /> intrinsic value has been ignored. Its master-<br /> pieces have been resolved into exercises in<br /> grammar, syntax, and etymology; its history<br /> into a barren catalogue of names and works and<br /> dates. No faculty but that of memory has been<br /> called into play in studying it.” That it should<br /> have failed therefore to commend itself as an<br /> instrument of education is no more than might<br /> have been expected.<br /> The aim and purpose of modern culture are<br /> distinctly utilitarian ; all studies have been<br /> appraised and valued, and “saleable knowledge”<br /> is the most sought. No wonder the proper<br /> study of literature can find no place in the<br /> system of modern education. Indeed, it is better<br /> out of it.<br /> Wise men are pointing out the necessity in<br /> these days for finding some effective agency for<br /> cherishing within us the ideal, and herein is the<br /> great value of literature to all those who seek<br /> the higher education, with a genuine desire for<br /> true culture. It supplies a want, which, how-<br /> ever much the exclusively scientific may ignore,<br /> will make itself felt in the human heart. It was<br /> well said by a great Oxford scholar that “the<br /> object of literature in education is to open the<br /> mind, to correct it, to refine it, to enable it to<br /> comprehend and digest its knowledge, to give it<br /> power over its own faculties, application, flexi-<br /> bility, method, critical exactness, sagacity, ad-<br /> dress, and expression.”<br /> support the truism that literature is a most<br /> valuable agent in self-culture. But we can avoid<br /> the mistake of those who confound its pursuit<br /> with education, or regard it as the sole and<br /> sufficient agent. Burke said, “What is the<br /> education of the world? Reading a parcel of<br /> We need not pause to<br /> books? No! Restraint and discipline, examples<br /> of virtue and of justice, these are what form the<br /> education of the world.” -<br /> Let us avoid all extravagance, however, and<br /> remember that it contains “the best that has<br /> been thought and said in the world,” and there-<br /> fore regard it as a priceless factor in self-<br /> cultivation.<br /> But enough, perhaps, has been said upon the<br /> disciplinary and educative character of the study<br /> of literature. It contains other sources of<br /> interest; it brings to our knowledge many whom<br /> it is a delight to know. While some excite our<br /> reverent admiration, and some afford endless<br /> entertainment, there are others who call forth<br /> deeper feelings by the loveableness of their<br /> character—the noble-minded, in whom pride and<br /> vanity, resentment and self-love have no place,<br /> who in pure simplicity and singleness of heart<br /> give their great knowledge and power unre-<br /> servedly to the world, solely that all may share<br /> their own happiness; men whose lives seem<br /> realised ideals of what is most excellent in moral<br /> beauty.<br /> *-- * ~ *<br /> e- - -º<br /> BOOK TALK.<br /> AS the one-volume fiction anything to fear<br /> from the one-volume collections of short<br /> stories? It would be very interesting to<br /> know whether the circulation of “Tife&#039;s Little<br /> Ironies” has equalled that of the one-volume edition<br /> of any of Mr. Hardy&#039;s other novels. Perhaps such<br /> a collection of good short stories, already popular,<br /> is likely to become more popular than the long<br /> novel, whether in one or three volumes. In the<br /> words of a recent critic, “the tendency of the<br /> public taste is in the direction of brevity and wit<br /> rather than of long drawn-out narratives and<br /> elaborate word painting!” No rule, however,<br /> can be laid down as to length, that depends on<br /> the subject; on the author&#039;s style; on the inci-<br /> dents; on a thousand things. If a novel can be<br /> too long, it may also be too short. And, indeed,<br /> every one knows novels which one would like to<br /> go on for ever. The impatience of readers on the<br /> length of a novel belongs to London, or to the rush<br /> of life in great cities, which leaves little time for<br /> reading. In the country, or quiet colonies, there<br /> is no such impatience: the reader loves to linger<br /> among the creations of the novelist.<br /> Mr. Morley Roberts&#039; new book, “The Purifica-<br /> tion of Dolores Silva, and other Stories,” is one<br /> which must leave a good impression on the reader<br /> as far as the art of short story writing is con-<br /> cerned, but, at the same time, the impression is a<br /> <br /> <br /> ## p. 107 (#121) ############################################<br /> <br /> THE AUTHOR.<br /> IO7<br /> sad one. In the first story, “ Initiation,” a girl&#039;s<br /> first lover, or, let us say, would be lover, is treated<br /> with surely more than usual severity, even by<br /> the most startled innocence. In the second story<br /> the lover never knows till after her death that the<br /> heroine cared about him at all. In the third,<br /> called “When She May,” the luckless proverb is<br /> complete. She does get May—a May lasting a<br /> lifetime. “Panic ’’ is the next, and is the one<br /> story in the book which everyone will have read<br /> before, we forget where it appeared, but it was<br /> spoken of as a good story at once. We cannot be<br /> quite sure whether, after carefully showing that<br /> the chief character was a coward, the author did<br /> not mean to convey the idea that after all he had<br /> a certain amount of courage—as much as a great<br /> many men. However lily-livered, however great<br /> a “cur” a man may be, to cut one&#039;s throat with a<br /> a razor in front of a looking glass requires some<br /> nerve. The “Fair-trader’ is, perhaps, the most<br /> worthy of praise, but it provokes the question<br /> whether it is at all founded on fact. If European<br /> girls who disappear are really drafted into<br /> Mohammedan households, it is surely a question<br /> for public meetings and Parliament.<br /> When we take up Miss Ella Hepworth Dixon&#039;s<br /> story, “A Modern Woman,” it is natural just<br /> now to wonder beforehand whether or not we are<br /> going to have the fin-de-siècle young person over<br /> again. It is therefore particularly pleasing to<br /> find that a modern woman as described by a<br /> woman need not necessarily imply a pretty piece<br /> of up-to-date vulgarity. We have in Mary<br /> Erle, Miss Dixon&#039;s heroine, as sensible a girl as<br /> One would expect the daughter of an eminent<br /> scientist to be; her father&#039;s distinguished position<br /> gives her a footing in society, but at his sudden<br /> death she has to earn her own living. The story<br /> opens with some account of the professor&#039;s<br /> funeral, which might have been pruned a little,<br /> true as it is to the dismal facts of our methods<br /> of interment. From this point we have a history<br /> of the girl’s fruitless attempts to become an<br /> artist, and afterwards of her success as a society<br /> journalist and writer of stories. With the account<br /> of these struggles is interwoven that of her own<br /> and her friend’s love affairs, which the author<br /> refuses in either case to bring within the possibi-<br /> lity of a happy ending. We doubt whether<br /> Miss Dixon has been as successful with her men<br /> characters, but we confess to have been suffi-<br /> ciently interested to want to know what became<br /> of them in the real end—“Jimmie,” for instance,<br /> and the A.R.A.<br /> One method of trying to arrive at the best<br /> relation between producer and consumer is to<br /> compare our system with that of other nations,<br /> and the question is asked, when his (the<br /> novelist&#039;s) story has passed through the magazines<br /> or the syndicate of newspapers, must he fling it<br /> on to the world as one volume, and let people buy<br /> it or not as they think fit * That is what he has<br /> to do in France, that is what he has to do in<br /> Germany, that is what he has to do in the United<br /> States. Whether foreigners can be called greater<br /> readers than Englishmen because they may be<br /> greater buyers appears doubtful—we have had our<br /> system, they have had theirs. But if our three-<br /> volume system has given way, there are those<br /> who say that the foreign system of publication<br /> has become quite as risky.<br /> For instance, apropos of the novel in Paris, we<br /> have lately read: “A member of a great novel pub-<br /> lishing firm tells me that now it does not pay to<br /> bring out novels unless there is some great name<br /> on the title page.” Zola still makes money, but<br /> this business man believes the turn of the tide<br /> has in his case begun. Before advocating any<br /> foreign system, American, then, or continental,<br /> the author would require a much more exact<br /> knowledge than we at present possess of the<br /> agreements entered into between publisher and<br /> author in those countries. As it is, it has taken<br /> this Society many pages of recapitulation to<br /> get its members to understand that while there<br /> is no sentiment in business, every plausible man<br /> of business knows there is a great deal of<br /> business in sentiment.<br /> Perhaps the most striking, because the most<br /> ignorant, comment on the recent three-volume<br /> novel discussion, is the following:—“The simple<br /> fact is, that until the public can be educated<br /> to buy books instead of borrowing them, the<br /> attempt to produce original works of fiction<br /> in one volume must inevitably result in a<br /> ruinous failure.” Well, but how about the thou-<br /> sands—the hundreds of thousands—the millions<br /> of one-volume novels which are bought every<br /> year P. How about the returns of those who write<br /> them P The fact is, the public does buy books<br /> in vast numbers. Perhaps the numbers should be<br /> even greater, but it is absurd still to speak of the<br /> public as a borrowing instead of a buying body.<br /> As to the price asked, perhaps the critic could<br /> help by giving his opinion as to whether the book<br /> is worth buying at all, or at any other price.<br /> Rarely, if ever, in our leading reviews do we<br /> see the price of the book mentioned or discussed,<br /> but now it really seems a false shame on their<br /> part to persistently avoid the pecuniary question<br /> when perusing a book; but however that may be,<br /> apart from excellence in literary criticism, the<br /> duty of educating the public to become book<br /> buyers must lie chiefly in the hands of the critics.<br /> <br /> <br /> ## p. 108 (#122) ############################################<br /> <br /> IO8<br /> THE AUTHOR.<br /> May we not therefore leave the reading powers<br /> of the public alone for a minute, and revert to<br /> the idea of property? In every family there will<br /> be those who read and those who prefer other<br /> amusements; but the outlay of money upon books,<br /> the investment in books, the formation of a<br /> library, which in the ordinary course of events<br /> would pass to a man&#039;s children or be sold—why<br /> should this be generally left to chance? Why<br /> should a householder be so careless of the value<br /> of the books admitted into his home that on his<br /> demise they will only fetch I d. or 2d. a volume?<br /> Yet how often is that found to be the case ?<br /> A valuable book is certainly more within the<br /> reach of most men than are valuable pictures,<br /> but because some books can be obtained cheap,<br /> like some prints, that is no reason why some<br /> discrimination should not be used. Library<br /> is perhaps too big a term for most people&#039;s<br /> collection of books, but, on the other hand,<br /> modern literature must have fallen very low<br /> indeed if it excites no desire in the reader to<br /> possess and re-read what has appeared to be<br /> worth finishing when once taken up.<br /> Mr. Lockwood has published through the Rox-<br /> burghe Press his lecture on the Laws and the<br /> Ilawyers of Pickwick, with a sketch of Mr.<br /> Serjeant Buzfuz as a frontispiece. Every reader<br /> of Pickwick has his own idea of what Buzfuz<br /> was probably inclined to be like, and those who<br /> sometimes may find amusement in visiting the<br /> public galleries of the courts may have fixed on<br /> quite a different type of counsel as representative<br /> of that distinguished advocate. Surely Serjeant<br /> Buzfuz&#039;s handkerchief ought to appear. As the<br /> lecture consisted mostly of readings, the author<br /> tends an apology for reproducing it in book form ;<br /> but perhaps he did not intend it to be much<br /> more than a souvenir of what must have been<br /> an enjoyable evening to each of his audience.<br /> A new novel, entitled “The Birth of a Soul’’<br /> —a psychological study — by Mrs. Alfred<br /> Phillips, author of “Benedicta,” &amp;c., will be<br /> published in England and America early in<br /> October, in one volume.<br /> “A Spanish Singer,” by Annabel Gray (Stone-<br /> man), vol. 2 of the Annabel Gray library, is a<br /> well-constructed and dramatic story depicting<br /> the artistic experiences of a young débutante in<br /> opera, in Italy. Vocalists will find much to<br /> interest them in this realistic sketch of art<br /> abroad.<br /> In Mr. S. R. Crockett’s “Mad Sir Uchtred of<br /> the Hills,” the author has at least done one thing,<br /> and that a difficult one ; he has added another<br /> “ cat’’ to literature. The madman has a broken-<br /> legged wild cat which performs a grand feat in<br /> the destruction of a weasel. The introduction<br /> of this incident, and the manner of describing it,<br /> seems to us to be the best thing in this clever book.<br /> The late Professor Romanes wrote poetry and<br /> printed his verse, but refrained from publishing<br /> it. His poems, which are said to be chiefly<br /> religious in their tone, were given to his friends<br /> only. It would be possible, perhaps, to secure<br /> the publication of those which may appear<br /> worthy of the author&#039;s reputation as a man of<br /> science.<br /> Mr. Samuel H. Church thinks that Oliver<br /> Cromwell has never had justice done him by any<br /> of his English biographers. He has therefore<br /> addressed himself seriously to the subject, and<br /> the result has been issued by Putnam&#039;s, New<br /> York.<br /> A presentation copy of “Among the Boers and<br /> Basutas; or, a Study of our Life on the Frontier,”<br /> by Mrs. Barkly, has been graciously accepted by<br /> the Queen. The book is now in its second<br /> edition.<br /> The Rev. Prebendary Jones has issued (Smith,<br /> Elder, and Co.) a new and cheaper edition of his<br /> “Holiday Papers.”<br /> This is the very deadest time of all the year. The<br /> book advertisements are chiefly lists of the<br /> “Standard ” works and “Favourite ” novels.<br /> The “ announcements’ have hardly begun. The<br /> dear old phrase— ‘Messrs. Bungay and Co.<br /> promise us”—as if we were all waiting anxiously<br /> for that distinguished Firm to tell us what it<br /> has got in the bag—has not yet appeared; it will<br /> begin next week. It is a mistake, however, to<br /> suppose that it is the month of the least reading.<br /> If the publishers of the Saturday or the Spectator<br /> would divulge secrets it would probably be shown<br /> that the circulation goes up, not down, while the<br /> people are running about the country, killing long<br /> hours in the train, sitting in lonely seaside<br /> lodgings with a rainy day to get through.<br /> Holiday time is reading time with a large number<br /> of people who are too much occupied with busi-<br /> ness and society to read while they are at home.<br /> The magazines which are tossed over in June are<br /> read through in August.<br /> Of literary articles there are not many in the<br /> August magazines. One observes in the Contem-<br /> porary a paper by the late Amelia B. Edwards on<br /> the “Art of the Novelist; ” a paper by Hall<br /> Caine in the National Review on “The Novelist<br /> in Shakespeare; ” and No. 1 of a series of papers<br /> on “The Historical Novel” by Mr. George<br /> Saintsbury in Macmillan. All on fiction.<br /> The friends of the late Rev. Henry Allon, D.D.,<br /> will note with pleasure that the story of part, at<br /> <br /> <br /> ## p. 109 (#123) ############################################<br /> <br /> THE AUTHOR.<br /> IO9<br /> least, of his life, that of his Ministry, has been<br /> written and published. The biographer is the<br /> Rev. W. Hardy Harwood ; the publishers are<br /> Cassell and Company. It would seem, however,<br /> that his literary life, which would interest many,<br /> apart altogether from his career as an indepen-<br /> dent minister, is not included. Yet he was for<br /> many years the editor of the British Quarterly<br /> Ičeview, a magazine which was the home of many<br /> admirable papers—literary, social, and historical,<br /> as well as controversial. Dr. Allon was a per-<br /> sonal friend of the late Dean Stanley, and<br /> acquainted with most of the men of leading in<br /> that part of the literary world which is engaged<br /> on subjects treated in quarterly reviews. He was<br /> a many sided man ; his views on literature were<br /> broad, and while he was its editor the British<br /> Quarterly Review was a power of considerable<br /> weight and authority.<br /> Mr. Grant Allen’s new book “The Tidal<br /> Thames” (Cassell and Co.), is a sumptuous work,<br /> illustrated by—and illustrating—twenty original<br /> drawings by W. L. Wyllie, A.R.A. It is not,<br /> perhaps, a cheap edition—35 15s. 6d. cannot be<br /> called cheap—but the drawings are exquisite;<br /> everything that is fine, however, is in a sense<br /> cheap, whatever price be put upon it; because<br /> there is no measuring of artistic worth by money,<br /> and the only question is whether one can afford<br /> to pay the price asked for the work desired.<br /> Mr. Standish O&#039;Grady&#039;s heroic Irish romance,<br /> “The Coming of Cuculain,” will be published<br /> early in October by Methuen and Co., illustrated<br /> by Mr. D. Murray Smith. The story is now run-<br /> ning serially through the Warder (Dublin) and<br /> the Northern Whig (Belfast). The hero of Mr.<br /> O&#039;Grady’s tale is the famous Cuchullin of High-<br /> land tradition, the Cuthullun of MacPherson’s<br /> eplc.<br /> *~ * ~ *<br /> g- - --e.<br /> CORRESPONDENCE,<br /> I.—THE LAUREATESHIP.<br /> &amp; HAVE read with great interest the article<br /> | on the Laureateship and its long abeyance<br /> in the Author for this month. It would be<br /> impossible to put the view of the case which we,<br /> who are in favour of maintaining this ancient and<br /> unique office, entertain in terser or more forcible<br /> language. To my mind the delay is one which<br /> can in no way be excused. There is one point<br /> which I should like to emphasise which the<br /> writer of the article has passed over, and it is<br /> this. It is notorious that poetry in England does<br /> not in general pay. Long after Mr. Tennyson<br /> had published his most characteristic and<br /> popular poems his income consisted mainly of the<br /> pension from the Consolidated Fund, which he<br /> retained to his death. But, on his appointment<br /> as Laureate, his income is said to have risen<br /> enormously. Without going into figures, it<br /> is certain that his position as Laureate very<br /> largely affected his popularity and increased his<br /> income.<br /> What the gains of a new Laureate would be on<br /> appointment it is impossible to tell. If he should<br /> unfortunately be a writer with no public,<br /> probably they would be but small. If he<br /> already had a considerable circulation, it is<br /> certain that the appointment would mean a<br /> very largely increased income.<br /> It is of this substantial advantage that the<br /> perhaps natural hesitation of extreme age has<br /> deprived the literary profession for nearly two<br /> years. It is well that the literary public should<br /> know that it is not the pittance of £80 or so,<br /> which is the nominal salary, that is at stake, but<br /> a much larger sum, to say nothing of the great<br /> discouragement which the blank silence of the<br /> authorities has inflicted upon the chief glory of<br /> our literature for a period without precedent in<br /> the history of the vacant office.<br /> II.-M. MALLARME&#039;s SCHEME.<br /> I hope that the Society will take up and at least<br /> ventilate the proposal made by M. Mallarmé in<br /> the Figaro that the literature of the past should<br /> become the property of the nation, or at least of<br /> living writers. How much would have been<br /> realised by the works of Sir Walter Scott had<br /> there been a royalty of 1d. in the shilling laid<br /> upon every volume issued since the copyright<br /> came to an end ? And why, M. Mallarmé asks,<br /> should this great property be handed over, not to<br /> the nation, but to a small class of tradesmen P<br /> Pray let us know more about it. A MEMBER.<br /> III. ON THE WARNINGS AND ADVICE.<br /> (Our correspondent&#039;s letter on this subject will<br /> be found with comments on p. 99).<br /> IV.—ON THE CO-OPERATION OF MEMBERS.<br /> Now that the dead season gives one time to<br /> look round and think, I should like to ask you,<br /> Mr. Editor, if the time has not come to take the<br /> members’ opinions upon many subjects concerning<br /> which the Author has spoken from time to time.<br /> I would suggest that a list of subjects of<br /> importance to the craft be drawn up, taken one<br /> after the other, and referred to the whole body of<br /> members. I think that your hands would be<br /> strengthened, the members would feel that they<br /> <br /> <br /> ## p. 110 (#124) ############################################<br /> <br /> I IO<br /> THE AUTHOR.<br /> were having a voice, and that many ways of joint<br /> action might be arrived at. A Journal,IST.<br /> W.—THE SocIETY&#039;s READERs.<br /> I submitted a MS. to be read. I received an<br /> opinion which was careful and courteous, and not<br /> complimentary. It pointed out certain definite<br /> objections to the work as reasons why it would<br /> not be accepted. I have now removed those<br /> objections, yet it is not accepted.<br /> A BEGINNER.<br /> [It is to be hoped that the Society&#039;s reader did<br /> not commit himself to the statement that altera-<br /> tion would mean improvement, or that the<br /> removal of certain objections would mean<br /> acceptance by publishers. Everyone knows the<br /> common criticism on a new author. “Well, he<br /> knows, at least, how to write.” Any publisher&#039;s<br /> reader also knows the MS. of which he says,<br /> “Well, at least he has not yet learned to write.”<br /> The Society&#039;s reader can only suggest why the<br /> latter judgment was pronounced, and here the<br /> “way to write” can be discovered.]<br /> &gt;e cº<br /> WHAT THE PAPERS SAY.<br /> I.—THE LATE MR. WYATT PAP worTH.<br /> R. WYATT PAPWORTH, F.R.I.B.A.,<br /> M curator of Sir John Soane’s Museum,<br /> died at the museum on Sunday, Aug. 19.<br /> Mr. Papworth was distinguished for his literary<br /> work in connection with architecture, especially<br /> in his contributions to the Transactions of the<br /> Royal Institute of British Architects, among<br /> which those “On the Superintendents of English<br /> Buildings in the Middle Ages, with especial<br /> reference to William of Wykeham,” and “Collec-<br /> tions for an Historical Account of Masons, their<br /> Customs, Institutions, &amp;c.,” are of historical<br /> importance. He was also a constant contributor<br /> to Notes and Queries. To his labours the<br /> architectural profession is indebted for the pro-<br /> duction of “The Dictionary of Architecture”<br /> (Architectural Publication Society), recently com-<br /> pleted in eight volumes folio, begun in 1852<br /> on the lines of the notes and collections of<br /> himself and his late brother, Mr. J. W. Pap-<br /> worth, and, until its completion in 1892, carried<br /> out under his sole editorship. Mr. Papworth, as<br /> a member of the Court and Master and Past<br /> Master of the Clothworkers&#039; Company, took a<br /> leading part in the promotion of technical<br /> education and in the City and Guilds Institute.—<br /> Times, Aug. 21.<br /> II.--THE AIM AT PopULARITY.<br /> The man who aims at being popular and<br /> admired is not nearly so likely to be popular and<br /> admired as the man who thinks little or nothing<br /> about it, but aims simply at his own individual<br /> ideal. Here, again, the failure of the direct aim<br /> appears to be due to its real and perceived<br /> inferiority to those aims which usually secure it.<br /> The man who directly aims at getting admira-<br /> tion and esteem will hardly deserve them, for he<br /> cannot deserve them without cherishing plenty of<br /> aims which would be very likely to risk or forfeit<br /> other persons’ admiration and esteem. The man<br /> who lives for the good opinions of others, cannot be<br /> deserving of those good opinions, for he cannot<br /> contribute much to teach others, by the indepen-<br /> dence of his own life. In this case also, then, the<br /> ill-success of the direct pursuit of admiration is<br /> simply due to the fact that that pursuit is a lower<br /> aim than any consistent with the attainment of<br /> the admiration pursued. But if happiness be the<br /> true standard and end of life, why should it fall<br /> into the hands only of those who do not directly<br /> seek it P Surely, if it is not safe to pursue it<br /> directly, it can only be because it is not the<br /> proper end and aim of life—because while it may<br /> be the natural reward of the pursuit of better<br /> ends, it is not itself the chief end. Nothing could<br /> well be more improbable than that the one<br /> standard and best fruit of human action should<br /> be carefully wrapped up in the folds of inferior<br /> ends, so that you may come upon it by accident,<br /> if you are to taste it properly at all.<br /> R. H. HuTTON.<br /> a-i----~~~&quot;<br /> •-Fs-e-es-e-<br /> NEW. BOOKS AND NEW EDITIONS,<br /> Theology.<br /> BROWNE, CANON. The Christian Church in these Islands<br /> before the Coming of Augustine. Three lectures<br /> delivered at St. Paul&#039;s in January, 1894. Society for<br /> Promoting Christian Knowledge.<br /> DAVIDS, PROFEssoR RHYs. Buddhism.<br /> S.P.C.K. 2s. 6d.<br /> EVE, NOAH, ABRAHAM : a study in Genesis. By a Layman.<br /> Cassell. Is.<br /> GRAY, REV. HERBERT B. Men of Like Passions, being<br /> Characters of some Bible Heroes, and other sermons,<br /> preached to boys at Bradfield College. Longmans. 58.<br /> KING, RIGHT REv. E. Practical Reflections on Every Werse<br /> of the Prophet Isaiah. Longmans. 4s. 6d.<br /> MALDONATUS, JOHN. A Commentary on the Holy<br /> Gospels : St. Matthew&#039;s Gospel. Part III. Translated<br /> and edited from the original Latin by George J. Davie.<br /> John Hodges. Is... net.<br /> History and Biography. -<br /> CHURCH, CANON. Chapters in the Early History of the<br /> Church of Wells, I 136-1333. Limited edition. Elliot<br /> Stock, and Barnicott and Pearce, Taunton. 158.<br /> New edition.<br /> <br /> <br /> ## p. 111 (#125) ############################################<br /> <br /> THE AUTHOR.<br /> I I I<br /> RLVIN, REv. C. R. S. The History of Walmer and Walmer<br /> Castle. Canterbury : Cross and Jackman.<br /> FoRREST, G. W. The Administration of the Marquis of<br /> Lansdowne, Viceroy of India, 1888-94. Calcutta :<br /> Office of the Superintendent of Government Printing.<br /> FREEMAN, PROFESSOR. The History of Sicily from the<br /> Earliest Times. Wol. IV. From the Tyranny of Diony-<br /> sios to the Death of Agathokles. Edited from post-<br /> humous MSS., with supplements and notes, by Arthur<br /> J. Evans. Oxford, at the Clarendon Press. Henry<br /> Frowde. 2 Is.<br /> GAsquièT, DR. FRANCIs A. Henry VIII. and the English<br /> Monasteries. Sixth Edition. Part I. Hodges. Is.<br /> HARRIs, THOMAs. Three Periods of English Architecture.<br /> B. T. Batsford. 7s. 6d.<br /> HowARD, MAJOR-GENERAL O. O.<br /> Funk and Wagnalls. 6s.<br /> HUME, MAJOR-GENERAL JoHN R. Reminiscences of the<br /> Crimean Campaign, with the 55th Regiment. The<br /> Author, 27, Pilgrim-street, Ludgate-hill. Cheap edition.<br /> 3s.6d.<br /> RAYSERLING, DR. M. Christopher Columbus. Translated<br /> from the author’s MS. with his sanction and revision, by<br /> Charles Gross. Longmans. 5s.<br /> LLOYD-VERNEY, COL., and HUNT, LIEUT.-COL. J. M.<br /> Records of the Infantry Militia, Battalions of the<br /> County of Southampton from A.D. 1757 to 1894. And<br /> Records of the Artillery Militia Regiments of the<br /> County of Southampton from A.D. 1853 to 1894. With<br /> Isabella of Castile.<br /> portraits and illustrations Longmans. 3O8.<br /> MoRRIs, WILLIAM, and MAGNUsson, EIRíKR. The<br /> Heimskringla. Vol. II. By Snorri Sturluson. Trans-<br /> lated from the Icelandic. Being Vol. IV. of the Saga<br /> Library. Quaritch. 31. I Is. 6d.<br /> SHUCKBURGH, EVELYN S. A. History of Rome to the<br /> Battle of Actium. Macmillan. 8s. 6d.<br /> THIERs, Lou Is ADOLPHE. History of the Consulate and<br /> the Empire of France under Napoleon. Translated by<br /> D. Forbes Campbell and John Stebbing. With thirty-<br /> six steel plates. Chatto and Windus. Twelve vols.<br /> 12s. each.<br /> WALTON, CoL. CLIFFORD, C.B. History of the British<br /> Standing Army A.D. 1660 to 1700. Harrison and<br /> Sons.<br /> General Literature.<br /> ABBOTTs, W., M.D. Stammering, Stuttering, and other<br /> Speech Affections: Their Causes and Cure. The<br /> Savoy Press. Is. -<br /> BADDELEY, M. J. R. Guide to the Peak District. Dulau<br /> and Co., Soho-square. 3s.<br /> BAKER, JAMEs. The New Guide to Bristol and Clifton.<br /> Edited. J. Baker and Son.<br /> BRASSEY, LORD. Papers and addresses on Work and<br /> Wages. With an introduction by G. Howell, M.P.<br /> Longmans. 58.<br /> BRITISH MUSEUM : Supplement to the CATALOGUE of the<br /> ARABIC MSS., by Charles Rien ; CATALOGUE of<br /> ARABIC Books, by A. G. Ellis, Vol. I. A to L; CATA-<br /> LoGUE of HEBREW Books acquired during the years<br /> 1868 to 1892, by S. van Straalen. Longmans,<br /> Quaritch, Asher, Kegan Paul, and Henry Frowde.<br /> CALVERT, ALBERT F. The Aborigines of Western<br /> Australia. Simpkin, Marshall, Hamilton, Kent, and<br /> Co.<br /> CASE AGAINST DIGGLEISM. Published for the Progressive<br /> School Board Election Council by Alexander and<br /> Shepheard. Is.<br /> CHANUTE, O. Progress in Flying Machines.<br /> American Engineer and Railroad Journal.<br /> New York :<br /> CICERO, M. T. Correspondence. Edited, with a revision<br /> of the text, a commentary, and introductory essays, by<br /> Professor Tyrrell and L. C. Purser. Wol. IV. Long-<br /> mans, Green. I5s.<br /> CYNICUs, HIs HUMOUR AND SATIRE.<br /> Company. Is.<br /> DAVIs, A. H. Dover College Register, 1871-1894. Edited<br /> by. Dover : the Editor. 2s. 6d.<br /> DEMBO, DR. J. A. The Jewish Method of Slaughter, com-<br /> pared with other Methods. Translated from the<br /> German. Kegan Paul. Boards, 2s. 6d. net.<br /> DOLAN, DR. THOMAS, M. Our State Hospitals. Leicester :<br /> John Richardson and Co. 2s. 6d.<br /> DUBOIs, F#1,Ix. The Anarchist Peril. Translated, edited,<br /> and enlarged with a supplementary chapter by Ralph<br /> Derechef. T. Fisher Unwin. 5s.<br /> EDGAR, John. Voluntary Schools and Board Schools Con-<br /> trasted. R. W. Simpson.<br /> ELLISTON, THOMAS. Organs and Tuning. Weekes and<br /> Co., Hanover-street, W. 3s. 6d. net.<br /> FUR AND FEATHER SERIES : THE GROUSE ; Natural<br /> History by the Rev. H. A. Macpherson, Shooting by<br /> A. J. Stuart-Wortley, Cookery by George Saintsbury;<br /> with illustrations by A. J. Stuart-Wortley and A.<br /> Thorburn. Longman&#039;s. 58.<br /> FURSE, COLONEL GEORGE. 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