https://historysoa.com/files/original/5/252/1891-06-01-The-Author-2-1.pdf 8cdfbe557e78c0ea06320f2806e08b51 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1891-06-01 Volume 2 Issue 1 Pages Page range in volume 1–32 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18910601 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin ## p. 1 (#405) ############################################## Uhc Eutbot\ (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vol. II.—No. i.] JUNE i, 1891 [Pkice Sixpence. CONTENTS. PAGB • 5 The Author l Second Volume The American Copyright Act— I. Directions for securing Copyright j II. Rolicrt Underwood Johnson. By Edmund Gossc .. 7 III. The Passage ol thu Bill. By Kato Tannatt Woods 9 IV. Note. By C. G. I.cland 9 V. Note. By William Westall 10 VI. Mr. C. J. Longman's Article in the Economic Review 11 VII. Note. By H. Q. Kcene 11 VIII. Note. By B.H. H 11 The Petition to the House of Lords 11 The Second Reading of the Copyright Bill J I'AOK The Cost of a Stamp 3 Notes and News. By Walter Besant 13 In the Days of the Merry Monarch 18 Reviews and Reviewers 19 Library Secrets" Maurice Maeterlinck. By William Wilson 13 Literature in Ireland '4 "A Word from you. Sir" »6 Mr. George Moore and Herr Ibsen a*1 "At the Author's Head" On Some Cases '9 Correspondence 3° EYRE AND SPOTTISWOODE. ACTION OF LIGHT ON WATER COLOURS—Report to the Science and Art Department of the Committee of Council on Education. (With Diagrams and Plates.) By post, u. 1 irf. PLIOCENE DEPOSITS OF BRITAIN, THE. By Clbmbst Rbid, F.LS.. F.G.8. Five Plates (48 cuts), j». M. LONDON AND NEIGHBOURHOOD: Guide to the Geology of. Bv William Whitakeb, B.A. it. LONDON AND OF PART OF THE THAMES VALLEY, The Gedogy of. By W. Whitakeb. B.A., P.R.S., F.G.8.. Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo. cloth. 6». Vol. II. APPENDICES. 8vo.. cloth, 5*. ISLE OF WIGHT, Geology of. By H. W. Bristow, F.R.S., F.G.S. Second Edition. Revised and enlarged bv Clement Rbip. F.G.8., and Acbbet Stbahak, M.A., F.G.8. 8vo., cloth, 8». W. COPYRIGHT LAW REFORM: an Exposition of Lord Monkswell's Copyright Bill now before Parliament; with Extracts from the Report of the Commis>ion of 1878, and an Appendix containing the Berno Convention and the American Copyright Bill. By J. M. Lblt, Esq., Barrister-at-Law. i«. 6d. STATE TRIALS, Reports of; New Series. Published under the direction nt the State Trials Committee. Edited by Jonx MacDonell. M.A., of the Middle Temple. Barrister-at- Law. Vols. I. and II. ready. Vol. III. in the Press. Price 1 os. per volume. "It is for the most part interesting, not to say fascinating, study for anyone, that is to say, who cares about history at all."—Daily yews. FISHES By By G. C. HANDBOOK OF NEW ZEALAND R. A. A. Siiubrih. Demy 8vo.. cloth, m. ORANGE CULTURE IN NEW ZEALAND. Aldbbtoh. Demy 8vo., cloth, m. FOREST FLORA OF NEW ZEALAND. By T. Kikk, F.L.S., late Chief Conservator of State Forests, N.Z.. Ac. Numerous Plates. Fcp.,cloth. i>«. W. KEW BULLETIN, 1890. Issued by the Director of Kew Gardens. m. icxl. KEW BULLETIN, 1891. Monthly, id. Appendices, zd. each. Annual Subscription, including- postage, yt. t>d. WEATHER, STUDY AND FORECAST OF. Aids to. By Rev. W. Clemebt Let. M.A. is. ROYAL MILITARY EXHIBITION, 1890. Descriptive Catalogue of Musical Instruments recently exhibited at the Royal Military Exhibition. Compiled by Copt. C. R. Day, Oxfordshire Light Infantry, under the orders of Col. Siiaw- Wellieb, Commandant Royal Military School of Music. The instruments are fully desenbed; they are arranged systemati- cally under their respective families and classes, nnd n chrono- logical arrangement has, as much as possible, been adhered to. Each family of instrument has been prefaced by a carefully- written Introductory Essay. Musical pitch has not lieen left unnoticed, and a learned Essay from the pen of a well-known authority upon the subject appears in the Appendix. The b"ok will be illustrated by a series of Twelve Artistically executed Plates in Heliogravure, and with numerous Wood Engravings. The issuo will be limited to 1000 copies. [Ready about the middle o/Junr. Monthly Lists of Parliamentary Papers upon Application. Quarterly Lists Post Free, id. Miscellaneous L ist on Application. Every Assistance given to Correspondents; and Books not kept iu stock obtained without delay. Remittance should accompany Order. C.OVERXMEXT AXD GENERA!, publishers. EYRE anil SPOTTISWOODE, ller flajesty's Printers, East Harding Slrrrt, London, E.<\ ## p. 2 (#406) ############################################## ADVERTISEMENTS. Messrs. METHUEN'S NEW BOOKS. PBINCE a vols. GEORGE By S. BARING GOULD. IJKITH: A Story of Dartmoor. By S. Baring Gould, Author of" Mehalah," " Arminell," ftp. 3 vols. [Ready. By HANNAH LYNCH. OF TAB GLADES. Ky Hannah Lynch. [Ready. MEREDITH. A Study. Crown 8vo. 5*. [Ready. By W. CLARK RUSSELL. A MARRIAGE AT SEA. By W. Clark Russell, Author of " Tho Wreck of the Gro<vonor," ftc. 3 vols. [Remly. THE LIFE OF ADMIRAL LORD COLL1NGWOOD. By W. Clark Russell, Author of "The Wreck of the Grosvenor." With ['lustrations by F. Branowtn. 8vo. [Ready. By W. H. POLLOCK. BETWEEN THE LINES. By Waltkr Hurries Pollock. Post 8vo. is. [April. By R. PRYCE. THE QUIET MRS. FLEMING. By Richard Prtob. Crown 8vo. is. td. [Ready. By J. B. BURNE, M.A. PARSON AND PEASANT: Chapters of their Natural History. By J. B. Burnk, M.A., Rector of Wasing. Crown Svo. ss. [Ready. By E. LYNN LINTON. THE TRUE HISTORY OF JOSHUA DAVIDSON, Christian and Communist. By E. Ltsn Linto.v. Tenth and Cheaper Edition. Post 8vo. is. [Ready. Works by S. BARING GOULD, Author of" Mehalah," frc. OLD COUNTRY LIFE. By S. Baring Gould. With Sixty-seven Illustrations by W. Parkinson, P. D. Bedford, and F. Masev. Large Crown 8ro, cloth super extra, top edge gilt, 105. bd. Second Edition. "Old Country Life, as healthy wholesome reading, full of breezy life and movement, full of quaint stories vigorously told, will not lie excelled by any book to bo published throughout tho venr. Sound, hearty, and English to the core."— World. HISTORIC ODDITIES AND STRANGE EVENTS. By S. Hiring Gould. First Series. Demy 8vo. 10s. bd. Second Edition. "A collection of exciting and entertaining chapters. The whole volume is delightful reading."— Times. SECOND SERIES. HISTORIC ODDITIES AND STRANGE EVENTS. Second Series. By S. Baring Gould, Author of "Mehalah." Demy Svo. 10s. td. [Ready. "A fascinating book."—Leeds Mercnry. SONGS OF THE WEST: Traditional Ballads and Songs of the West of England, with their Traditional Melodies. Collected by S. Bering Gould, M.A., and H. Fleetwood Siikitakd, M.A. Arranged for Voire and Piano. In 4 Parts (containing 15 Songs each), is. each nett. Part I., Third Edition. Part II., Second Edition. PartIIL.ready. Part IV., rend]/. $s. "A rich and varied collection of humour, pathos, grace, and poetic faiicv."—Saturday Review. YORKSHIRE ODDITIES AND STRANGE EVENTS. By 8. Baking Gould. New and Cheaper Edition. Crown Svo. bs. [Now Ready. TWO HOOKS FOR BOYS. Cr. Svo. Ss. MASTER ROCKAFELLAR'S VOYAGE. By. W. Clark Russell, Author of "The Wreck of tho Grosvenor," &c. Illustrated by Gordon Browne. SYD HELTON; or, The Hoy who would not go to Sea. By G. Manvii.i.b Fknn, Author of "In the King's Name," ftc. Illustrated by Gordon Browne. TWO BOOKS FOU GIRLS. Cr. Svo. 3s. 6rf. DUMPS. By Mrs. Parr, Author of "Adam and Eve," 'D-irc>thv Fox," Ac. Illustrated liv W. Parkinson. A GIRL OF THE PEOPLE. By L. T. Meade, Author of" Scamp and I," ftc. Illustrated by R. Karnes. METHUEN'S NOVEL SERIES. Three Shillings and Sixpence. Messrs. METHUEN will issue from time to time a Series of copyright Novels, by well-known Authors, handsomely bound, at the above popular price. The first volumes (now ready) are: I. THE PLAN OF CAMPAIGN. By F. Mabel RODINSON. *. JACQITETTA. By S. Baring Gould. 3. MY LAND OF BEULAH. By Mrs. Lktth Adams. 4. ELI'S CHILDREN. By G. Manville Fenn. 5. ARMINELL: A Social Romance. By S. Baring Gould. 6. DERRICK VAUGHAN, NOVELIST. By Edna Ltall. With portrait of Author. 7. DISENCHANTMENT. By F. Mabel Robinson. 8. DISARMED. By M. Betham Edwards. 9. JACK'S FATHER. By W. E. Norris. Other Volumes will he announced in dne coarse. Edited by A. M. M. STEDMAN, M.A. Crown 8vo. 2s. 6d. A series of short biographies, free from party bias, of the most prominent leaders of religious life and thought in this and the last century. CARDINAL NEWMAN. R. H. Hutton. [Read;/. JOHN WESLEY. J. H. Overton. [Ready. UNIVERSITY EXTENSION SERIES. Crown Svo. 2s- 6d. Under the above title Messrs. Methuen have commenced the publication of a series of books on historical, literary, and economic subjects, suitable for extension students and home-reading circles. THE INDUSTRIAL HISTORY OF ENGLAND. By II DK B. GtBBINB, M.A., late Scholar of Wadham College, Oxon., Cobden Prizeman. With Maps and Plans. [Ready. A HISTORY OF ENGLISH POLITICAL ECONOMY. By L. L. Price. M.A., Fellow of Oriel College, Oxon., Eitension Lecturer in Political Economy. [Ready. VICTORIAN POETS. By A. Sharp. [Nearly Ready. PROBLEMS OF POVERTY: An Inquiry into the Industrial Conditions of the Poor. By J. A. Hobson, M.A., late Scholar of Lincoln College, Oxon., U. E. Lecturer in Economics. [Ready. THE FRENCH REVOLUTION. By J. E. Symks, M.A., Principal of University College, Nottingham. [Nearly Ready. SOCIAL QUESTIONS OF TO-DAY. A series of volumes upon the most important topics of social, economic, and industrial interest—written by the highest authorities on the various subjects. The first two volumes will l>e— TRADES UNIONISM—New and Old. By G. Howem., M.P. {Ready. POVERTY AND PAUPERISM. By Rev. L. R. Phelps, M.A.. Fellow of Oriel College, Oxon. Ml** METHUEN & Co., 18, Bury Street, W.C. ## p. 3 (#407) ############################################## ADVERTISEMENTS. The Society of Authors (Incorporated). PRESIDENT. The Right Hon. THE LORD TENNYSON, D.C.L. Sir Edwin ARNOLD, K.C.I.E. ALFRED Austin. A. W. À BECKETT. ROBERT BATEMAN. Sir HENRY BERGNE, K.C.M.G. WALTER BESANT. AUGUSTINE BIRRELL, M.P. R. D. BLACKMORE. Rev. Prof. BONNEY, F.R.S. LORD BRABOURNE. JAMES BRYCE, M.P. P. W. CLAYDEN. EDWARD Clodd. W. MARTIN CONWAY. Marion CRAWFORD. Oswald CRAWFURD, C.M.G. THE EARL OF DESART.. A. W. DUBOURG. Joun ERIC ERICHSEN, F.R.S. Prof. MICHAEL FOSTER, F.R.S. HERBERT GARDNER, M.P. RICHARD GARNETT, LL.D. EDMUND Gosse. COUNCIL. H. RIDER HAGGARD. Thomas HARDY. Prof. E. Ray LANKESTER, F.R.S. J. M. LELY. Rev. W. J. LOFTIE, F.S.A. F. Max MÜLLER, LL.D. GEORGE MEREDITH. HERMAN C. MERIVALE. Rev. C. H. MIDDLETON-WAKE, F.L.S. J. C. PARKINSON. THE EARL OF PEMBROKE AND MONTGOMERY. SIR FREDERICK POLLOCK, BART., LL.D. WALTER HERRIES POLLOCK. A. G. Ross. GEORGE AUGUSTUS SALA. W. BAPTISTE SCOONES. G. R. Sims. J. J. STEVENSON. Jas. SULLY. William Moy THOMAS. H. D, TRAILL, D.C.L. The Right Hon. THE BARON HENRY DE WORMS. EDMUND YATES. Hon. Counsel – E. M. UNDERDOWN, Q.C. COMMITTEE OF MANAGEMENT. Chairman--WALTER BESANT. EDMUND Gosse. 1 J. M. LELY. 1 H. RIDER HAGGARD. | Sir FREDERICK POLLOCK. A. G. Ross. A. W. Å BECKETT. W. Martin CONWAY. Solicitors. Messrs. FIELD, Roscoe, & Co., Lincoln's Inn Fields. Secretary-S. SQUIRE SPRIGGE. OFFICES. 4, PORTUGAL STREET, LINCOLN's Inx FIELDS, WC, ## p. 4 (#408) ############################################## A D VER TISEMEN TS. The " Swan" is a beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which it supplies to the writing point in a continuous How. It will hold enough ink for two days' constant work, or a week's ordinary writing, and can be refilled with as little trouble as to wind a watch. With the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for another without charge, or have his money returned if wanted. There are yarions points to select from, broad, medium, aud fine, every handwriting can be suited, and the price of the entire instrument, with filler complete, post free, is only 10s. 6d. i, 6ARO NEW YORK fcj^ The Gold Pens in the "Swan" are Mabie, Todd, & Co.'s famous make. They are 14-eanit tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with selected polished iridium. The " Encyclopaedia Britannica" says:—" Iridium is a nearly white metal of high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon it." They will not penetrate the paper, and writer's cramp is unknown among users of Gold Pens. One Will OUtwear 90 grOSS Of Steel peilS. They are a perfect revelation to those who know nothing about Gold Pens. I)u. Oliver Wendell Holmes has used one of Mabie, Todd, & Co.'s Gold Pens since 185;, and is using the same 0110 (his "old friend ") to-day. Sydney Grundy, Es<)., says (referring to the Fountain Pen) :—" It is a vast improvement 011 every Stylograph." Moberly Hell, Esq., Manager, The Times, says (referring to the Fountain Pen) :—" One pen lasted me for six years." S. I). Waddv, Ksq., Q.C., M.P., says (referring to the Fountain Pen) :—" I have used them constantly for some years, and, as far as I can remember, they have never failed me." Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best People, who have used them for years) to— MABIE, TODD, d BARD, 03, CHBAPSIDE, LONDON. ## p. 5 (#409) ############################################## TZhe Hutbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vol. II.-No. i.] JUNE i, 1891. [Price Sixpence. THE AUTHOR—Second Volume. "TTT ITH the Second Volume the Author makes a V V few changes, but not many. It will continue to advocate the material interests of litera- ture, not only in order to obtain justice to authors of ull kinds, but in the conviction that the highest and best interests of literature are closely connected with its material interests. A literature whose producers are needy beggars, dependent on the caprice of the man with money, servile because they are poor, un- able to assert their rights, unable to act together, unable to make the world understand that they have any rights, must itself tend to become poor and feeble. That it has shown vigour among ourselves even when authors have been sunk in the lowest depths, proves the strength of a plant which could llourish in a soil so ungrateful. In order to secure the complete independence of the author, it is necessary that the methods of publishing should l>e based upon principles of justice and fairness both to the publisher and the author. That is to say, the services of the former must be fully recognised and remunerated, but on a scale of proportion to be regulated and agreed upon by both sides. In order to arrive at this end, it is necessary that we understand (1) the cost of printing, paper, binding, advertising, &c. involved in the preparation of a MS. for publication; (2) the trade price; and (3) the meaning of royalties as applied to author and to publisher. It is next necessary to understand the arrange- ments commonly proposed in agreements submitted to authors by publishers; what the clauses mean to either side, and especially to the author. These things have been carefully ascertained by the Society, and the results are now published in "The Cost of Production" and "Methods of Publishing." For the first time, authors can learn for them- selves their own business. It will be the duty of the Author to keep this information steadily before the eyes of its readers. VOL. 11. The pages of the Author will also be open to questions of every kind connected with literature. The Editor invites correspondence on the profession of letters in every branch from those who read this paper or are Members of the Society. The following, among others, have promised literary assistance during the year:— Arthur a Beckett. Walter Besant. J. A. Blnikie. J. H. McCarthy. Edward Clodd. W. Morris Colles. Austin Dobson. Edmund Gosse. H. Rider Haggard. H. Hermann. Henry Arthur Jones. Budyard Kipling. Andrew Lang. C. G. Leland. J. M. Lelv. Rev. W. J. Lottie. Cosmo Monkhouse. B. M. Richardson, M.D. F. W. Robinson. Robert Ross. G. R. Sims. S. S. Sprigge. J. Ashby Sterrv. William Westell. "William Wilson." The Author will in future be printed and published by Messrs. Eyre and Spottiswoode, East Harding Street, on the 1st of every month, instead of the 10th. Communications should be addressed to the Editor, Authors' Society, 4, Portugal Street, Lincoln's Inn Fields. They should reach him not later than the 22nd. THE AMERICAN COPYRIGHT ACT. I. Directions for securing Copyrights Under the Revised Acts of Congress, including the Provisions for Foreign Copyright, by Act of March 3rd, 1891. Printed Title required. 1. A printed copy of the title of the book, map, chart, dramatic or musical composition, engraving, cut, print, photograph, or chromo, or a description a 3 ## p. 6 (#410) ############################################## 6 THE AUTHOR. of the painting, drawing, statue, .statuary, or model or design for a work of the fine arts for which copy- right is desired, must be delivered to the Librarian of Congress or depos-ted in the mail within the United States, prepaid, addressed— Librarian of Congress, Washington, D.C. This must l>e done on or before day of publication in this or any foreign country. "* What style of Print. The printed title required may be a copy of the title page of such publications as have title pages. In other cases, the title must be printed expressly for copyright entry, with name of claimant of copyright. The style of type is immaterial, and the print of a type-writer will be accepted. But a separate title is required for each entry, and each title must be printed on paper as large as commercial note. The title of a periodical must include the date and numl>er, and each number of a periodical requires a separate entry of copyright. Copyright Fees. 2. The legal fee for recording each copyright claim is 5o cents, and for a copy of this record (or certificate of copyright under seal of the office) an additional fee of oo cents is required, making $i in case certificate is wanted, which will be mailed as soon as reached in the records. In the case of publications produced by other citizens or residents of the United States, the fee for recording title is $l, and 5o cents additional for a copy of the record. Certificates covering more than one entry in one certificate are not issued. Two Copies required. 3. Not later than the day of publication of each book or other article, in this country or abroad, two complete copies of the best edition issued must be delivered to perfect the copyright, or deposited in the mail within the United States, addressed— Librarian of Congress, "Washington, D.C. Free by Mail. The freight or postage must be prepaid, or the publications enclosed in parcels covered by printed penalty labels, furnished by the Librarian, in which case they will come free by mail (not express), without limit of weight, according to rulings of the Post Office Department. In the case of books, photographs, chromos, or lithographs, the two copies deposited must lie printed from type set or plates made in the United States, or from negatives or drawings on stone, or transfers therefrom, made within the United States. Penalty. Without the deposit of copies aliove required the copyright is void, and a penalty of $20 is incurred. No copy is required to Ik- deposited elsewhere. The law requires one copy of each new edition wherein any substantial changes are made to be deposited with the Librarian of Congress. Notice of Copyright to be given by Imprint.— Claimant's name to be printed. 4. No copyright is valid unless notice is given by inserting in every copy published, on the title page or the page following, if it be a book; or if a map, chart, musical composition, print, cut, engraving, photograph, painting, drawing, chromo, statue, statuary, or model or design intended to l>e perfected as a work of the fine arts, by inscribing upon some portion thereof, or on the substance on which the same is mounted, the following words, viz.: "Entered according to Act of Congress, in the year , by , in the office of the Librarian of Congress, at Washington," or, at the option of the person entering the copyright, the words: " Copyright, 18 , by ." The law imposes a penalty of $100 upon any person who has not obtained copyright who shall insert the notice "Entered according to Act of Congress," or "Copyright," &c, or words of the same import, in or upon any lx>ok or other article. Translations and Dramas. 5. The copyright law secures to authors or their assigns the exclusive right to translate or to drama- tize their own works. Rights reserved. Since the phrase all rights reserved refers exclu- sively to the right to dramatize or to translate, it has no bearing upon any publications except original works, and will not be entered upon the record in other cases. Duration of Copyright. 6. The original term of copyright runs for twenty-eight years. Within six months liefore the end of that time, the author or designer, or his widow or children, may secure a renewal for the further term of fourteen years, making forty-two years in all. Rcneicals. Applications for renewal must l>e accomjianied by explicit statement of ownership, in the case of ## p. 7 (#411) ############################################## THE AUTHOR. 7 the author, or of relationship, in the case of his heirs, and must state definitely the date and place of entry of the original copyright. Advertisement of renewal is to l>e made within two months of date of renewal certificate in some newspaper for four weeks. Time of Publication. 7. The time within which any work entered for copyright may l>e issued from the press is not omited by any law or regulation, but the courts have held that it should take place within a rea- sonable time. A copyright may be secured for a projected work as well as for a completed one. But the law provides for no caveat, or notice of interference—only for actual entry of title. Assignments. 8. A copyright is assignable in law by any instrument of writing, and such assignment is to be recorded in the office of the Librarian of Congress within 60 days from its date. The fee for this record and certificate is $1, and for a certified copy of any record of assignment $ 1. Copies or Duplicate Certificates. 9. A copy of the record (or duplicate certificate) of any copyright entry will be furnished, under seal of the office, at the rate of 5o cents each. Serials or separate Publications. 10. In the case of lx>oks published in more than one volume, or of periodicals published in numbers, or of engravings, photographs, or other articles pub- lished with variations, a copyright is to be entered for each volume or part of a book, or number of a periodical, or variety, as to style, title, or inscrip- tion, of any other article. But a book published serially in a periodical, under the same general title, requires only one entry. To complete the copyright on such a work, two copies of each serial part, as well as of the complete work (if published separately), should be deposited. Copyright for Works of Art. 11. To secure copyright for a painting, statue, or model or design intended to l>e perfected as a work of the fine arts, a definite description must accompany the application for copyright, and a photograph of the same as large as "cabinet size," mailed to the Librarian of Congress not later than the day of publication of the work or design. The fine arts, for copyright purposes, include only painting and sculpture, and articles of merely ornamental and decorative art are referred to the Patent Office, as subjects for Design Patents. No Labels or Names Copyright. 12. Copyrights cannot be granted upon trade marks, nor upon names of companies or articles, nor upon an idea or device, nor upon prints or labels intended to be used for any article of manu- facture. If protection for such names or labels is desired, application must be made to the Patent Office, where they are registered at a fee of §6 for labels and ?25 for trade marks. Foreign or International Copyright. 13. The provisions as to copyright entry in the United States by foreign authors, &c, by Act of Congress approved March 3rd, 1891 (to take effect July 1st, 1891), are the same as the foregoing. The right of citizens or subjects of a foreign nation to copyright within the United States is not to take effect unless such nation permits to United States citizens the benefit of copyright on the same basis as to its own citizens, or unless such nation is a party to an international agreement providing for reciprocity in copyright, to which the United States may become a party. The Librarian of Congress can enter copyright for foreigners only after a proclamation of the President of the United States, certifying the existence of either of the foregoing conditions. The right of Americans to secure copyright abroad is unchanged by the new law, pending new legislation in foreign countries, or international agreements as to copyright between their govern- ments and that of the United States. Full Name of Proprietor required. 14. Every applicant for a copyright should state distinctly the full name and residence of the claimant, and whether the right is claimed as author, designer, or proprietor. No affidavit or witness to the application is required. Office of tub Librarian of Congress, Washington, 1891. H. Robert Underwood Johnson. It is only natural and proper that English authors should wish to know more about the most ardent and active of those American friends to whom the passing of the Copyright Bill is due. It is no exaggeration, and it conveys no slight to other industrious promoters of the copvriglit movement, to say that, as Secretary of the American Authors' Copyright League and of the Joint Executive Committee or all the organizations ## p. 8 (#412) ############################################## 8 THE AUTHOR. supporting the Bill, Mr. 11. U. Johnson had more than anyone else to do with the final victory. In signing the Copyright Bill, President Harrison used a large quill taken from an American eagle, procured for that purpose by Mr. Johnson, to whom the pen was then returned with the Presi- dent's compliments. Not many authors possess pens that so well deserve to become heirlooms. Robert Underwood Johnson was born on Capitol Hill, Washington, D.C., January nth, i853. He was named after his great-grandfather, Robert Underwood, one of the early settlers of Washing- ton, and a mathematician of ability. His maternal grandfather was John Underwood of that city, afterward for many years a resident of Wayne County, Indiana, with which Mr. Johnson's paternal grandfather, Dr. Nathan Johnson, was also long identified, having been one of the original Aboli- tionists of Eastern Indiana. On his mother's side the Underwoods and Ingles are of a Calvinistic strain, while on his father's side the Johnsons and Hoges who come from Loudon County, Virginia, are of Quaker stock of a liberal type, and of marked literary tastes. Mr. Johnson's father, the late Honourable Nimrod H. Johnson, in addition to his prominence in Eastern Indiana as an able lawyer and a just and discriminating jurist, was known among his associates for his wide and exact knowledge of history, poetry, fiction, and general literature. To him Mr. Johnson owes his literary temperament and predilections. After an ordinary high school education at Centreville, Indiana, where his boy- hood was passed, Robert matriculated at Earlham College, an institution of the Society of Friends, Richmond, Indiana, in 1867. In 1871, at the age of 18, he was graduated from that institution as Bachelor of Science, to which the college in 1889 added the honorary degree of Ph.D. From college he went immediately into business as clerk in the Western agency of the Scribner educational books at Chicago. After nearly two years of this work (including the year of the great fire) he became connected, in 1873, with the editorial staff of the Century Magazine (then Scribner's Monthly), a connexion which still exists. On the death of the Editor-in-Chief, Dr. J. G. Holland, in 1881, Mr. R. W. Gilder became the Editor, and Mr. Johnson succeeded him as the Associate-Editor. This position he now occupies, with a large measure of responsibility, having also acted virtually as Managing Editor under Dr. Holland for a year in 1879-80, during Mr. Gilder's absence in Europe. In 18 83 Mr. Gilder intrusted to Mr. Johnson and Mr. C. C. Buel, the conduct of the well-known Century War Series, and they had charge of it both in the Magazine and in the enlarged and revised book publication of four volumes " Battles and Leaders of the Civil War," which was begun in 1887 and completed in 1889—Mr. Buel, however, having sole charge of the Magazine papers for a year during Mr. Johnson's absence in Europe in 1885-6. This trip was undertaken with the chief object of becoming acquainted with the best examples of European art and architecture, and included visits to the galleries of London, Paris, Holland, and Italy, and an inspection of the Greek monuments of Athens and Sicily. Mr. Johnson's literary work, in addition to his daily and exacting editorial duties, has been con- fined to editorial and critical articles and to verse. He h:is not yet collected his graceful poems into a volume, but has scattered them in the pages of the Century, Harper's Monthly, St. Nicholas, the Christian Union, the Tribune, and other periodicals. He is a member of the Authors' Club, the Century Club, and the Aldine Club of New York, and of the Civil Service Reform Association, and the Free Art League. Since 1883 he has been actively connected with the International Copyright movement, having been for several years Treasurer of the American Copy- right League, and a member of its executive committee of five. In 1889 he exchanged the treasurership for the more responsible work of Secretary of the League, becoming by this office also Secretary of the Joint Executive Committee (of Authors and Publishers) which was in charge of the campaign for the Copyright Bill. He was active in urging the northward extension of the East River Park, New York, and the creation of the Yosemite National Park, and has recently devoted much attention to the movement in favour of securing a better supervision of the Yosemite Valley, which he visited in June 1889, during a trip of two months to California in the interest of the Century. In a letter just received, Mr. Johnson says: "The problem now is to establish the foundation for the President's proclamation. I have written officially to Mr. Blaine to see that no time is lost, and taking the ground that the Bill must 1k> made operative towards citizens of any country which is a signatory of the Berne Conference, whether that country gives America copyright or not. That was Simonds' intention in drafting that clause of Section XIII., but I fear our Secretary of State will not take that view of reciprocity. On your part, an Order in Council would, of course, put the thing beyond penulventure, and be simpler and easier than the Monkswell Bill, especially as Parlia- ment is likely to be prorogued, and even if it continue there may be a long debate on the Bill. Of course, we cannot with a good grace ask for more than we offer. NoImxIv could complain if we ## p. 9 (#413) ############################################## THE AUTHOR. 9 got just what we offer, but our step is irretrievable now, and it is your move! As soon as I hear, if I do, what view our State .Department will take, I will let you know. Meanwhile, I should think the Order in Council the proper cue, if practicable, and in either case, prompt action would strengthen us here for a more liberal law in the future." In acknowledgment of his services in the Inter- national Copyright cause, the French Government has just conferred upon him the Cross of the Legion of Honour (Chevalier), and some of his associates in the Copyright cause have presented him with a handsome silver loving cup. E. G. III. The Passing of the Bill. In the midst of manifold business, I venture to send you a hurried and imperfect account of the passage of the Copyright Bill, and the "Ladies' Night of the Authors' Club " in New York. I find by the Author, which was here awaiting my arrival, that someone has kept you informed as to operations in Congress. While I was in Washington a friend in Congress said, "If you people want that Bill to pass, you will have to fight for it, as the printers, litho- graphers, &c, &c, an; lumbering it with all sorts of weights." Several of us went up; and I talked "Bill " most earnestly to members of Congress in the same house with us. Through the kindness of Senator Allen, of Washington (State), I had a seat in the Diplomatic Gallery, where I could see and hear all that was going on. A great many Senators spoke eloquently for the authors, but opposed the Bill, only on account of its clauses created by trade unions, &c. Several senators made fine pleas for us, notably, a young man from Colorado, and I have the pleasure of knowing that at least one vote was changed on my account. Imperfect as it is, it seems to me to be a step forward. We are recognised as authors, we have rights; and men who were ignorant before now know that publishers generally get richer and richer as authors get jworer and poorer. The Western Senators, (as a rule) broad-minded men from broad acres, favoured the Bill or some Bill tending towards justice. As one Senator said, "The printers, publishers, lithographers, &c. all have their unions; they are protected, but who protects the author?" We sat listening with beating hearts longing to correct some errors, and eager to put words of truth in the speakers' mouths. About one o'clock in the morning the roll was called on the vote, and at 1.3o Vol. II. we went home to bed thankful for little, hoping for more. I asked one of the Senators to forward you a copy of the Bill as revised and past. If you did not receive it, please let me know. From Washington I went to New York, to find that the Authors' Club, for the first time in their history, had issued invitations to the ladies, following your good example. I was induced to remain over for it, and was pleased to meet many of our noted and quoted men and women. Rider Haggard had left that day for England, to the regret of many who wished to see him. In conversation with Noah Brooks, Stedman the Poet, Kiehard Henry Stoddard, and others, I spoke of the English Society and its brave work for authors. Mr. Brooks, the President of the Club, did me the honour to say, "That, in his opinion, the three authors who were doing most to give clear, finished, and admirable pictures of New England life and philosophy were your correspondent, Sarah Ome Jeroett, and Mary E. Wilkins," encouraging tri- bute? from a man of Mr. Brook's standing and truthfulness. You speak of our little " Guild." Why not both men and women? Sure enough; but the men have "flocked by themselves," and we must do the best we can. As it is, I find some women averse to any move- ment. They say, "Good writers get all they want"; "There is no need," &c, &c. I cannot take this narrow view, and therefore hope to make our Guild a quiet power for good. You would laugh, I am sure, could you hear the comments on our Society in Loudon. One pub- lisher says, "It is a sort of spite company gotten up by growlers, who cannot sell their work." Another remarks: "I observe by the papers that you are a member of that London Club. I advise you to keep out of it. They are an aggressive lot of men who want the earth." Meantime, I go steadily on doing my work. Kate Tannatt Woods. "Maple Nest," Salem, Mass., April 8th, 1891. IV. The Bill enacts that not later than the day of publication anywhere, there must 1m- two copies of the work in question sent to the Librarian of Congress, and these copies must be printed in America. This is most, harrassing and unjust to foreign authors. It can only 1k> of profit to those who, having a great popular reputation, can secure V. ## p. 10 (#414) ############################################# 10 THE AUTHOR. beforehand a publisher in America. But all Iwoks which are ventures or risks, or not likely to sell extensively (as, for instance, a young author's first book) cannot be lienefited by the Bill. Should an author publish a book in England alone, and should it by chance turn out to be a success, there is nothing to prevent any American from taking it. There are a great many books which have a great success contrary to all expectations of both publisher and author, as I myself have experienced. There are also a great many l>ooks of immense value to the world which do not sell well. No one book ever had such influence on the American public as the " Political Economy of Henry Carey," yet it was 3o years before the first edition of 1,000 copies was sold; I having bought the very last one. I could enumerate many such works. According to this Bill, there can be no sending from England to America of small amounts of l»ooks—say 25o or 100—that is, if I understand the expression "prohibition of importation" in section 3, which seems to me to be very artfully contrived so as to prevent all such importation, and which certainly will be so carried out—making the position of the foreign author as regards America, on the whole, much worse than it now is. Thus I, personally, have just published a very expensive illustrated work. There is not the slightest pro- bability that any American firm would ever print it, but enough copies can now be sold to America to materially aid the cost. This Bill seems to me utterly adverse to all the best interests of literature. It is founded on the vulgar and ignorant opinion, too prevalent in America, that a book is valuable exactly in propor- tion to its sale. It will deter authors from making efforts or taking risks. It is conceived entirely in a mere tradesman-like spirit. It is really and solely devised to favour publishers as much, and authors as little, as possible. Public opinion in Europe, and the complaints of American authors liave forced the American publishers and public to grant something, and so they give just as little as they possibly can. This Bill will deeply injure the best interests of culture and literature in America. But this will Ih» a matter of no consequence to legislators, who cannot see any difference to the public between the sale of a black letter book and its equal value in black tea. As I said before, this Bill allows the American publishers to wait and see whether books by un- known authors (or idl not copyrighted on a certain day) will succeed, and if they do, he can always reprint them. This is so peculiarly mean and contemptible, and also cruel. It is discouraging to young authors whose first works are always risks. However artfully it may be worded, the intent of this Bill is to allow no books to be sold in the United States unless they shall be printed there. According to section 3 an American publisher by depositing a printed title of any forthcoming English work can effectively stop its sale or its republication in America if he be so minded. That is, he can apply for a copyright, and either make his own terms, having obtained it, or else prevent its appearing altogether. The Bill protects the author as regards printing and publishing, but not against copyrighting his title. And this same infamous injustice exists in England. Thus, I know a publisher in Loudon, who, having advertised a book by a certain title, the title was copyrighted by another man who legally notified the publisher that he must not use his own title. I should say in conclusion, from my very soul, that men who could conceive, carry out, or approve of any such Bill as this, would be capable of anything contemptible or disreputable. It is altogether in the spirit of the great popular theory that the minority or the weak have no rights whatever which the majority or the strong are l>ound to respect. Chaiiles Godfrey Leland. Florence. V. I am not concerned with the purely legal side of the question. I leave that to Sir Frederick Pollock and other lights of the law, by whom it has already teen discussed. I would merely point out that the English publisher of an American book can protect it by the simple expedient of calling it a "copy- right edition." This may imply either that the book was published simultaneously in England and the United States, or that, at the time of its publi- cation, the author was in British territory. Lord Westbury and other authorities have expressed the opinion that observance of the first of the conditions secures the American author in his copyright; all agree that observance of the second does. And who can lie sure that Lord Westbury was mistaken, or that the moment the book was published in London the author was not on the Canadian side of the Niagara or the St. Lawrence, or elsewhere in the Queen's dominions? The question could only be conclusively tested by the production of a rival edition; and where is the publisher who would commit so great a folly? Though he might de- stroy the copyright of the book, he could in no circumstances acquire it for himself, while failure in the action which would doubtless be brought against him would involve payment of his adver- sary's legal costs as well as his own, in addition to ## p. 11 (#415) ############################################# THE AUTHOR. the cost of producing the rival edition, to say nothing of th«! worry, and the |>ossibility of being cast in damages. But an ounce of practice is tetter than a pound of theory; and, as a matter of fact, I lx-lieve that no American book described on its title page as " copyright" has ever been pirated in this country. "William Westall. VI. Mb. C. J. Longman on the Bill. Mr. C. J. Longman has contributed to the April number of the Economic Review (Percival & Co.) a very cogent article on the American Copyright Bill, which will be read with considerable interest. Mr. Longman points out that those writers whose published works are before the world, but have hitherto, from whatever cause, failed to attract the attention of pirates, will derive no advantage from the Act, and it is no doubt true that the enter- prising American publisher will not feel stimulated to engage in undertakings of this character now that the law makes him pay the authors. It is, as Mr. Longman puts it, impossible to make people read or buy unreadable books by Act of Congress. Mr. Longman thinks that British authors will also find that they liave to compete with books of their own and other authors which have been published previous to the date on which the Act comes into force, which will of course remain on sale at the old price, as the Bill is not retrospective. But as to this, it may be remarked that in the opinion of at least some authorities, copyright editions of all these books will appear, and if so, it is possible that the American public will buy the copyright edition and not the cheap one. As to the effects of the Bill upon British trade, Mr. Longman thinks that American printers are clever enough to adapt their type and methods of spelling to our needs; that plates will be sent over here, and, in some cases, l>ooks sent over in sheets. The loss therefore in his view will fall upon printers and subsidiary trades, as type founders, ink manufacturers, while binders will not be greatly affected. As for the publishing trade, Mr. Longman thinks that it will not be much affected in so far as publishers are concerned with the publication of books. It of course follows that the l>est British houses will open branches in New York or Boston, and Mr. Longman, at any rate, thinks that American publishers have quite as much to fear as British linns. VII. Regarding this Bill solely from my own point of view—that of a writer of historical l>ooksand works of reference not likely to have a rapid or immediate sale—I see no advantage to accrue from the provi- sions. It is unlikely that such books should come to be printed in America, as the publishers would prefer to print in England. Wages, I presume, are less; correction of proofs must be easier and cheaper. Lastly, consideration is due to the eccentric spelling of American printers, which would, in some cases, be a disfigurement of some moment to l>ooks intended to have an educational scope. But these are matters to be profitably discussed in an open meeting of the Society. H. G. Kekne. VIII. The point of faithful reproduction ought to be strenuously urged. If America desires to have English literature, she must accept it in the language in which it is written. The option of acceptance or refusal being in her own hands, she may better express her appreciation of an author's capacity in accepting him as he writes than by doing this violence both to his feelings and reputa- tion that unauthorised and, in many cases, un- educated alterations inflict. I do not know whether others consider this as important a point as I do, but I speak from the experience of comparing some of our standard writers' works with their American editions ; and in such perusal one cannot help recognising the malignant influence a "good book spoilt" would have on a future generation, whose circumstances might put it out of their power to see the work in its original form. B. H. H. PETITION TO THE HOUSE OP LORDS. THE following Petition, signed by Lord Tenny- son, President of the Society, was presented to the House of Lords by Lord Herschell on Monday the 10th of May :— In the House of Lords, Session of 1891. Copyright. To the Right Honourable the Lords Spiritual and Temporal of the United Kingdom of Great Britain and Ireland in Parliament assembled. The Humble Petition of the President, Fellows, Associates, and Members of the Incorporated Society of Authors— Sheweth as follows :— I. That a Bill entitled "An Act to amend and consolidate the Law relating to Copyright" has B if ## p. 12 (#416) ############################################# 12 THE AUTHOR. been introduced into and read a first time by your Right Honourable House. 2. That your Petitioners were incorporated on the 20th June 1884 by a Board of Trade License, granted to the Association in pursuance of section 23 of the Companies Act, 1867, under the name of the "Incorporated Society of Authors" for the follow- ing, amongst other, objects: " To represent, further, aid, and assist the objects, and to protect the rights and interests in their works, of authors, and every kind of literary, dramatic, artistic, scientific, tech- nical, educational, and musical works and publica- tions, and the rights and interests in the same of the assigns and representatives of such authors." 3. That the present state of the Law of Copy- right is eminently unsatisfactory and injurious to the interests both of producers of, and dealers in, literary, dramatic, artistic, scientific, technical, educational, and musical works, and of the public in general. The existing law on the subject consists of no less than 18 Acts of Parliament, l>esides Common Law principles. Owing to the manner in which the Acts have been drawn, the law is, in many cases, hardly intelligible, and is full of arbitrary distinctions, for which it is impossible to find a reason. 4. That the provisions of the said Bill have lieen prepared with careful regard to the recommenda- tions of the Copyright Commission of 1878, and with the assistance not only of authors, artists, and musical composers, but of persons well qualified to represent the various business interests concerned in the production of literary, dramatic, artistic, scientific, technical, educational, and musical works. Your Petitioners, therefore, humbly pray that it may please Your Right Honourable House to pass the said Bill into Law. And your Petitioners will ever humbly pray, &c. (Signed) Tennyson, President. COPYRIGHT. The Second Reading of the Bill. OUR Copyright Bill was read a second time in the House of Lords on Monday the 10th of May. Lord Monkswell, to whom the Bill had been entrusted many months ago, but who has never from the first received any encouragement from the Qovernment, did his work bravely and well, and our Society is under a deep obligation to him. In a speech full of facts and illustrations, he directed attention to the amazing confusion of the present law in point of form, to its many admitted defects in point of substance, and to the remarkable unanimity (considering the complications of the subject) with which all interested in the subject have agreed in supporting the amendments of the law which our draftsman had thrown into legal shape. He quoted, of course, again and again from the Report of the Royal Commissioners, three of whom—the Duke of Rutland, Lord Herschell, anil Lord Knutsford—were Members of the House he was addressing, to show on what a strong foundation the Bill had been built up. He duly went through the much-needed amendments—the substitution of "life and 3o years" for the pre- sent awkward term of copyright, the levelling up of artists with authors, the extinction of fraudulent, dramatisation of novels, the enfranchisement of newspapers, and so on. He was strong enough to admit his weak points, such as his inability to find a complete modus vivendi with Canada, whether by a licensing system or otherwise. Finally he, or rather Lord Herschell in his name, called upon the Government either to help him in carrying our Bill through Parliament, or forthwith to come forward with a better Bill of their own. A11 irresistible attack! And what did the Government say to all this? Both Lord Balfour and the Lord Chancellor admitted to the full the case for the Bill, but for some inconceivable reason the Lord Chancellor (who was too prudent to take the responsibility of dividing the House) would consent only to a second reading on condition that the Bill should not be taken any further during the present Session. Difficulties were darkly hinted at, but with the exception of that in connexion with registration, not a single one was specifically mentioned. To 5o clauses, it was said by Lord Balfour, certain draftsmen had objected. Not one of them teas named. On not a single one of the main amend- ments, not even on the proposed new term of "life and 3o years," was a word spoken. The Lord Chancellor merely observed, that if the Bill wont into Committee there would be much con- troversy on many parts of it, and that all such controversy would be renewed when the Bill should come again before the House. Truly, we are entitled to ask, What controversy, and on what parts? Perfect, of course, the Bill is not, but if this is all that can l>e said against it by critics so highly qualified and painstaking as Lord Halsbury and Lord Balfour, it is at least as perfect as any Government measure of the present session. Of course, the matter cannot be allowed to rest. As Lord Herschell finely said in his pointed speech, which will long be remembered by all interested in the subject, the Legislature exists for the purpose of remedying imperfect and mischievous legislation, such as that o:i copyright is universally admitted to be. "As far as indications go, the programme ## p. 13 (#417) ############################################# THE AUTHOR. of Hit Majesty's Government," observed the noble and learned lord, "is approaching its end. Why should they not take up such a subject as copyright and deal with it? It is a matter of interest to authors and the public alike that the question should be settled, and the law amended. I lielieve a great many of the supposed difficulties will vanish if once a resolute and earnest endeavour be made to grapple with them. What the 5o points of objection to which the noble lord (Lord Balfour) referred an1 I do not know, but for my part I lielieve the real difficulties would be found to be not more than three or four. If once these are settled, there will be no difficulty about a consoli- dation of the law." THE COST OF A STAMP. I. "MT^HE article in the April numl>erof the Author I on the cost of a stamp did not make clear what I think is very desirable to have known: that is, what the law requires in the matter of the stamping of agreements. "I have just signed an agreement to which a sixpenny stamp was affixed. "Is this mode of stamping agreements sufficient? Is it legal? Would documents so stamped be held valid in a court of law? Or ought they to be submitted to and stamped by the authorities of Somerset House? "I am sure that many would like a competent opinion in the matter." A. B. II. Deab Sib, We have received your letter of yesterday and enclosures. We think there can be no doubt as to the meaning of sub-section I. of section i5 of the Revenue Act, 1889, to which attention is called in the article in the April edition of the Author. The sub-section runs: "any contract or agreement made in England or Ireland under seal or under hand only, or made in Scotland for the sale of any equitable estate or interest in any property, or for the pale of any estate or interest in any property .... (with certain exceptions, among which the sale of Copyright or any interest in Copyright is not mentioned) shall 1m> charged with the same ad valorem duty to l>e paid by the purchaser as if it were an actual conveyance on sale of the estate, interest, or property agreed or contracted to be sold." It follows therefore that since the passing of this Act the same ad valorem duty will lie charged on a contract for the sale of Copyright or any interest in it as on a conveyance of Copyright. If this view is right, the 6d. stamp is no longer sufficient, and whether a 6d. adhesive; stamp is used or the document actually stamped at Somerset House, wh( re a 6d. stamp might well be jmssed by inadvertence, the document will Ik? insufficiently stanq>ed, and the excess and £10 penalty and interest will be charged on it l>efore it can be received as evidence in any court of law. The Act, we think, applies not only to agreements to sell some interest in Copyright, but also to many licences to publish; but as the terms of licences vary so much it would be a matter for consideration on each document whether it came within 1 lit* Act. We return you Mr. A.B.'s letter and the Author. Yours truly, Field, Roscoe, & Co. ♦-<>.♦ NOTES AND NEWS. THE Right Honourable Baron Henry de Worms has joined the Council of the Society. Mr. Robert Bateman, in consequence of leaving town, has been unfortunately compelled to resign his post on the Committee. The number of new Members elected since December last—inclusive, because the elections in that month were for 1891—amounts to g5. This must be acknowledged to be very satisfactory. Our numbers, however, ought now to increase at a much more rapid rate. We look for a roll of Members, before the lapse of many years, number- ing thousands. Let it lie remembered that the Society is concerned with every form of literature, and works for Authors in every branch. Let me call attention very particularly to the directions for securing Copyright issued at Congress, ami printed on page 5 of this number of the Author. In March last there was a large rise in the wages of compositors, to be followed, if it has not already been followed, by a rise in the wages of machinists. This fact alters the figures given in the " Cost of Production." Those who can "do sums" may amuse themselves by adding io per cent, to the charges of "composing" and "print- ing." The other figures remain. If authors are ## p. 14 (#418) ############################################# »4 THE AUTHOR. told, as they have been told, that the prices are incorrect, that the work cannot he done for the money, and so forth, let them understand that this is said with intent. I tested the figures the other day with a well-known London firm, who had not previously seen them. "We will willingly do the work," said their manager, " under your prices." The American Government have sent copies of the new International Copyright Law to all their foreign Ministers, with instructions to bring it to the attention of the respective Governments to which they are accredited. The least that our Government can do is to take care that our own laws satisfy the; conditions on which the privileges of the Act can be granted to ourselves. These conditions are simply the securing to American authors of the same powers of obtaining Copyright as we ourselves enjoy. Practically, these powers are already secured for them, but perhaps the President may require the additional security of removing a certain doubt which now exists. This must be done without the least delay. The following extract from the Times of May the 20th seems very significant. Lord Monkswell's Bill contains no clauses such as that contemplated by the writer to the Solicitor and the Attorney General, but could be added without altering the structure of the Bill. Thk Law op Copyrioiit.—The Attorney-General has replied ns follows to a correspondent with reference to the law of copyright:— " The Attorney-General's Chambers, 2, Pump Court, Temple, E.C., May 15, 189?.—Dear Sir,— The subject to which your letter refers is of great interest. I have always been of opinion that protection should be secured to the results of intellectual labours, whether for the author or the mechanic. You are no doubt aware that the question is one surrounded with difficulty, but I can promise you that it shall not escape my attention in the event of any opportunity arising of furthering that object. —I am, yours faithfully, Richard Wkbsteb." Writing on the same subject, the Solicitor- General says :— "Royal Courts of Justice, May ij, 1891.—Dear Sir,—I have a strong opinion in favour of some steps being taken to protect Knglish labour against such unfair treatment as it is subjected to by the new American copyright law, but I do not feel at liberty to express more than a general opinion on the subject.—Very faithfully yours, Kdward Clarke." Mr. William Black has been good enough to associate myself, among others, with him in the formation of a new publishing firm. It will be established in New York, and its object will be to print and publish books bv English authors in conformity with the new Law of Copyright. This notable scheme has l*?en hatched in silence and secrecy. So silent and secret have been the preliminary steps, that neither Mr. William Black himself nor any one of his associates has even heard of the scheme, which is gravely announced in a New York paper. Now, if such a scheme were attempted it would be founded on the belief that it could do for English authors what American publishers will not do. Perhaps it is quite conceivable that a plan of this kind, launched at. a great expense of capital, could be worked—provided the manager could be found. It is also quite conceivable that a similar scheme could be launched and worked in this country—provided a manager could be found. But such a manager, possessed of abilities capable of conducting such auenterprise successfully, would, probably, very soon find out that he could do better for himself, and would therefore proceed to set up for himself. And unless success was assured from the l>eginiiing, the plan would certainly not enlist the confidence of authors. I think, therefore, that Mr. William Black, like myself, prefers existing arrangements, where agreements are fair to both sides, and fairly carried out. Unfortunately the list of publishers in the " London Directory," as readers of the Author very well know, contains a great many gentry whose agreements are never by any chance fair, and never by any chance fairly carried out. "The Society of Authors, I assure yon, my dear, does no good, no good at all. Only last, week, for instance, a dear young friend of mine, a girl of 17, who had just left school, sent them, for an opinion, a MS. novel which she had written for her own amusement in leisure moments. She spent a whole six weeks upon it, and it was her first attempt. Would you l)elieve it? The reader of the Society sent lmck the papers with the most cruel remarks you ever saw. He said that there was no possibility of considering the piece seriously; he found fault with the plot, and the characters, and the construction, and advised the writer to study the Art of Fiction seriously if she wished to succeed. Absurd! And after that lovely article in the Spectator, which proves that there is no study wanted at all, but that story-making comes by nature, "like the song to the skylark." It was in this case doubly absurd, and it will show how ridiculous the Society is, when I tell you that a most respectable publisher, on receiving the MS. actually offered to bring out and sell 5,ooo copies, and to give her half the profits if she would only advance £100 to begin with. It was the same publisher who once gave my husband £10—a ## p. 15 (#419) ############################################# THE AUTHOR. whole £10—for the profits on his book. Of course he was most unwilling to rob the poor dear man by taking it. Well, the dear child has jumped at the offer. She is delighted at her good fortune, and counts on making £1,000 at least, and means to devote herself henceforth entirely to literature. Whereas, my dear, if she had listened to that mischievous and meddlesome Society!" "The Society of Authors is a mischievous body, Sir. It does nothing but encourage a parcel of school girls to put their miserable trash into the hands of scoundrels who make them pay for having their books produced. The markets are flooded with trash entirely through the efforts of this Society. Say they do quite the contrary? I don't believe it. I have heard from a very good authority, t he leading partner in Barabbis, Ananias, & Co.— very active new firm—that this is all they even attempt to do." "We consider the Society of Authors a meddle- some body. They may have some good men among their numbers. I don't know. But they are distinctly meddlesome. They actually want authors to know the meaning of their agreements. Why, that's our business. We are the publishers; we act entirely in the author's interests ; why does he want to know the meaning of his agreement? And the actual Cost of Production? Can't he trust us? And the meaning of Royalties? Are they going to destroy all confidence between man and man? Trust my words, Sir, if that Society goes on, Literature is doomed." What a dreadful thing it is to have such a bad character—and to deserve it! Mr. George Gissing ought to be publicly thanked for introducing to the world a form of literary life which has long been known to all who have penetrated into the by-ways and slums of this many-sided calling. He presents to us several well defined and by no means uncommon types. There is the young man of literary aspirations who rashly attempts to make of letters his livelihood, encou- raged by the success of a single first novel. He has no education to speak of; he has no know- ledge of society; he has no personal ex]>erienees; he has no travel. In fact, he is absolutely devoid of any equipment except a true feeling for Art, and a burning desire to succeed. He cannot succeed. It is not jwssible for such a man to succeed. He fails dismally, and he dies. In real life such a man would not die. He would sink lower—lower—until he became the wretched drudge and hack of a penny novelette publisher, which is Malebolge itself. Next, there is the young man who looks about him, sees what will pay, and how men get on in the literary pro- fession. He enters upon his work with the intention of succeeding, and he does succeed. In real life such a man might succeed in the way indicated, but not quite so easily. He Incomes an Editor. Now, one of the chief requisites in a modern Editor is that he should know many men, and belong to certain social circles. This young man, with no social position, would certainly not be made an Editor quite so easily. On the other hand, his career illustrates the advantages to be derived from accepting the existing conditions, and trading upon them. But the truest, saddest figure in the book is that of the old litterateur, a critic of the former school, who hangs on to letters, getting more and more soured every day, having a paper accepted now and then, doing a stroke of work here and another there, living a life of absolute dependence upon publishers and Editors, whose work nobody wants, whose whole history has lieen one of humiliations, disgusts, and dis- appointments, who waits humbly on publishers and hopes for their "generosity." Truly, as his daughter says, his is a loathsome profession. It is the utter degradation of letters; it is Grub Street with us still. But he degrades his profession still more, for he meditates constantly upon the pride of being the Editor of a literary journal, and his only thought, in that capacity, is how he will tear and rend his brother writers. "I will show them," he says, "I will show them how to scarify." Yes, that is still the thought of certain authors. As it was in the days of Churchill, so it is now. Because a man follows the calling of letters, he must, by other followers of that profession, be slated, scarified, torn to pieces. Every other profession has its unwritten laws of decency and politeness. That of literature, none. I do not supj>ose that Mr. Gissing's book can become popular, but from my own knowledge I can testify to its truth. I know them all, personally,—two or three of each—Mr. Yule—Jasper—Edwin—and the fidelity of Mr. Gissing's portraits makes me shudder. Zola has been passed over in favour of "Loti." The choice of the French Academy is surprising and disappointing. For if we grant everything that has been said in favour of Pierre Loti, the fact remains that he is a head and shoulders below Zola. I have purposely abstained from reading Germinal and one or two of Zola's last. But.one A ## p. 16 (#420) ############################################# i6 THE AUTHOR. can never forget L'Assommoir, a work of sur- prising power and genius. Nor can we forget La Curie, not to speak of those short tales in which he has hardly an equal. When all is said and done about Zola, he will take, I am convinced, a very high place, far higher than the author of the charming Madame Chrysantheme is likely to achieve. The election is not one which can be defended by those who would like to see an Academy in this country. But then we want an Academy of our own, not slavishly copied from the French, and able to steer clear of the shoals and rocks which are always bringing that august vessel into danger and ridicule. An American gentleman is making application to various authors for the manuscript originals of their works. Unpublished MSS., indeed, authors have never shown any unwillingness to part with; but published MSS. !—there is the difference. Very few living writers now can predict with certainty the value of their MSS. in ten, twenty, thirty years'time. Surely it is best to take the chance, refuse to sell the things, and keep them for the lienefit of heirs. If an autograph work be worth anything now, its value will be multiplied by ten in as many years' time, supposing the book to live. Besides, there is the sentiment of the thing. One would like to give to one's heirs the very work in one's own handwriting, out of which some fame, as well as some fortune, has been achieved. Let us keep our MSS., brethren, and lock them up. Ouida has perpetrated a long two-column small print letter in the Times. She is very angry because people syndicate their novels. She is very angry that literary agents are allowed to exist. She is very angry that so many books are published. She is very angry that this Society exists. She is very angry that a certain very clever young writer is acknowledged to 1k> clever. She is very angry that authors find it desirable to look after their property. She is so very, very angry with every- thing, that one suspects the sham indignation of the satirist which compels him—poor man !—to make verses. The genesis of the literary agent is quite natural. Owing to the chaotic condition of publishing, while the publisher depends upon the author for material; and while the author depends upon the publisher for proceeds of his work; the publisher has no recognised principles on which to lmse his proffered agreement, and is therefore in the false position of being taken for a screw or a cheat, when, perhaps, he is only desirous of being fair ami just* The author, owing to the absence of recognized principles, has to go to the publisher and make a targain in ignorance and dependence. This dependence is loathsome and humiliating to him; he hates the conduct of his own business; he considers himself cheated and cajoled — as very often he is. All this would be avoided if authors knew what is meant by cost of pro- duction, trade price, royalties; in fact, what are actually meant by the clauses of the agree- ments they are called upon to sign. So long as secrecy on these points is maintained, there will remain the humiliation of the author in l>cirig dependent on what they call the "generosity" of the publisher. Now the literary agent who takes up the conduct of an author's affairs is, or should l>e, a business man as much as "the publisher. Therefore, when he arranges an agreement, it is one business man making a business agreement with another, both l>eing entirely acquainted with the nature of the transaction in all its details. Such a man is invaluable. To find a good literary agent, and to place all affairs in his hands is a great step towards independence. The next great step will 1m1 when we have at last discovered iv method of publication fair to all sides, recognised and adopted by all sides. Perhaps then the literary agent may no lonjrer l>e wanted. Even then there will be required someone to arrange with Editors for serial rights of novelists. Everybody knows that magazines vary in their payments for serials: those which have but a small circulation cannot pay much: those that circulate largely pay more for one writer than for another. It will always be the work of the literary agent to arrange these things for his clients. I recommend everybody who has any business arrangements of importance to transact them by means of an agent. But—and here the greatest care must be exercised —do not go to any agent unless he is thoroughly well recommended, if possible, by this Society. I do not see that we need use up much space in discussing the other points of this angry lady's letter. She calls this Society a " Caricature of Literature," without explaining how a Society can be a cari- cature. She says that its Members are " makers of books." So they are. So they are. So is Ouida her- self, if she conies to that—she has made 3o l>ooks, I am told. In the same way Mr. Watts is a maker of pictures. She feels that literature must not be a trade. So long as literature in its making is allowed to lie an Art, I care nothing what it is called in its selling. The publisher is a tradesman or a professional man, just as anybody pleases, pro- vided that the poet remains an artist. We will think of Art while we are engaged on Art, and we will think of nothing else. When our work—our ## p. 17 (#421) ############################################# THE AUTHOR. 17 artistic work—is in our hands, completed and ready for issue, we will think of the property that it represents, and we will defend that property, after the example of Dickens, Thaekeroy, George Eliot, Wilkic Collins, Anthony Trollope, Charles Reade, and others, now numbered with the illustrious dead. Evidences are daily poured into the office to prove my statement that in the modern fashion publishers seldom take any risks. I have lx-fore me, for instance, an agreement by which the author in a half profit system is made to take 100 copies at a certain price, viz., the full trade price, without the discount or reduction always given to the trade. This was only a little book. The cost of production was set down at £36, including advertising. The sides are said to have produced £16, and the author is charged £18, showing a loss of £2. This, as everybody will understand, is no loss at all, if for no other reason, because the publisher keeps all the rest of the edition. This is supposed to lx' a good house of the second rank. He sent his article to a certain journal. It had an attractive title; it was on a subject that he thought might also seem attractive; it was signed; he hoped that it would lie accepted, and that its appearance would help his name. The Editor kept the MS. three weeks and sent it Iwick: "Editor very sorry, pressure too great already." On looking at the paper he found it was dirty, and there were marks as of an inky thumb on the back of two pages. "This," he said, " looks as if it had been in the hands of the compositor." He then sent it to a second paper. It came back after three weeks with more marks as of an inky thumb, and with a similar letter: "Thanks. No room." Now, the compositor always has an inky thumb. If it were not for his inky thumb, he would not be a compositor. The writer therefore grew curious, and began to take in these two journals. In a fortnight he was pleased to find his article in each of the papers, unsigned, and under another title. There may be a conclusion to this story. The Automatic Book Company has been long talked alxmt, and is now apparently setting to work seriously. You put in a penny and you take out a l)Ook; when you have read the book you put it back again. This is simple, and I lndieve that everybody would Ik; glad to see it, succeed, but for one reason. The directors propose to till their boxes with none but books published by themselves! The result, therefore, if the Company gets its boxes introduced on railways will be the total destruction of the whole l)ook trade now carried on at the railway bookstalls. This is an enormous trade; it means the diminution of the side of popular liooks by perhaps 3o per cent. This is a lively prospect for authors and publishers alike. But one cannot believe that any railway company will grant such a monopoly. It means a great deal more than if such a monopoly were granted to one great publishing house. For every great publishing house has all its old books to offer. The new Company will have to create its literature, which cannot be done in a year. Fancy reducing the choice of readers from the thousand volumes in all branches of literature that till the stall at a London terminus to half-a-dozen books in so many boxes in the railway carriage! The Reproduction of a Fourteenth Century Poem: an Account of a French Family: a volume of Essays: a Manual on Boating: a Catalogue of Ancient Deeds: a History of Children's Books: a Book on Angling: a Book on the Telescope: a Dictionary of Authors: a new Novel by George Meredith. Now, of all these books, which is the most important? Which is most striking? Which represents the greatest event in the literary history of the week? There can be no doubt of the reply. It is the novel. There can be no doubt, further, of the respect with which—if only for his previous achievements—the book singled out of this list should be received by those, who review as well as those who read. The position of George Meredith is that of the heir apparent to the crown of English Letters. There is no one who can venture to dispute with him that rank. Now, a certain literary paper has selected the bundle of books above named with half-a-dozen other novels for review in the issue of May the 23rd. Of course it gives the first place to George Meredith. Not at all. The first place is given to the Fourteenth Century Poem. Then it gives, at least, a separate notice, a place of honour, to George Meredith. Not at all. It re- views him a.s one of the batch. As for the review itself that is not the question, though the reviewer shows himself utterly out of sympathy with his author from the outset. Fancy, at this time of day, a reviewer of George Meredith writing "In his former l>ooks Mr. Meredith did often succeed in writing clever passages and smart epigrams "! The point is, that in such a paper such a writer should be classed and reviewed with Mr. Ready-to-Halt and Mr. Feeble Mind, and little Miss Buttercup, fresh from school! This comes of the Iwtch prin- ciple. On ]>age 19 another beautiful example will be found of the blessings of the batch method. It will be seen from the communications pub- lished elsewhere in this number, that complaints ## p. 18 (#422) ############################################# i8 THE AUTHOR. are rife about the reviewing of novels—perhaps, also, about the reviewing of books in other branches of literature, though these have not yet been con- sidered. Among all the complaints that have reached me—many of them only repetitions—I have found none against the daily papers. On looking more closely into the question, it becomes apparent that the best friends of literature, as if they had not enough already on their backs, are quite certainly the daily papers. To have a review in the Times has generally been received as a mark of special honour. It is much to be hoped that this old practice may be continued. Hitherto, it has always l>een considered beneath the dignity of the paper to " slate " a lx>ok or a writer. And it showed the dignity of the paper, that it never took up a book except to do it honour. The Daily News, the Morning Post, the Standard, all keep literature steadily to the front, and all in a spirit of appre- ciation, willing to recognise good work, and fully- aware that bad books die of their own accord. The Telegraph has its book column every week and sometimes oftener. The Daily Chronicle has its literary supplement and its weekly feuilleton. The evening papers seldom appear without a review of some new books. Of provincial jwpers, the Scotsman has long been a stalwart friend of litera- ture by criticism that is for the most part kindly and always sensible. The Bradford Observer contains excellent papers on current literature, and there are many other country papers of great help to letters. In fact, the daily papers, in their readiness to note the book of the clay, their general kindliness and appreciation, are of very much greater im- portance to us than the weeklies. Walter Besant. My name and country were—Why care to know? High was my hirth—What, if it had been low? Glory 1 won, and died—What, if no glory? I now lie here—Who tells to whom my story? Srns. Oinfta jMi—T» o-f ■nvTi; vdrpis hi /*',<—«'{ tt hi rmno; Y.\(i*m V fifM yiwvi—d ya.p dxpavporarov; ZijVa? eVWf&jf "Xiirax f$!o»—(2 yap aSofai?; Kiiy.ai h',h6a$t wr—ti; tiVi Tavra Xeym; PAULUS SlLENTIARIlTS. ■ ♦ ■»■+ Those who are interested in literature for the Blind will please take note that a new magazine called Playtime will be issued by the British and Foreign Blind Association. The magazine is in- tended for blind children. It will be edited by Miss Florence Nevill, and will appear every two months. The address of the Association is 33, Cambridge Square, Hyde Park. IN THE DAYS OF THE MERRY MONARCH. ""Jk IfY Master having now had some expe- Y/l rience in this way of printing, was resolved to play above board, and get some Copy or Copies to print, that he might own; which in short time he did, and glad was he to see his name in print, supposing himself now to be somebody. "My Master having now printed two or three things, did look upon himself as somebody; and though he had not such good success in his last undertakings as before, yet he made a shift to get what they cost him for paper and print, and had many of them still by him to sell when he would, or exchange; but he having but two or three sorts of books, could not do much good upon that: he seeing this, and observing what books sold lx'st, it being at the beginning of the late Wars, found that factious Sermons, and such like things would do the business; he thereupon bestirs himself, and gets acquainted with most of the factious Priests about Town, by often hearing them and frequent- ing their Companies, and having learned to write short-hand, took notes of their Sermons, which he collected together, and now and then he would get them to revise one of them, and print it; by this means spending much time and mony amongst them, he grew very intimate, and was Ix-come the general publisher of most of their Sermons and Controversies. This was that which brought him great gain, in a short time he could vie with the best, what he sold not for mony, he exchanged for books: and now he could command any book in all the Company without money, upon account, as is the Cnstome. His Shop ln-ing well furnished, he gets a Ware-house, where he bestowed his books in quires; and being thus furnished, he was first spoken to by some Country lwoksellers, and then writ to by them and other, for severall l>ooks, so that any thing that he printed he coidd sell off well enough; for having good hap to print some very good selling books, they helped away the other that were not so good, and still were thrust into the parcel among the rest: and now having some good Authors, he would not accept of every one; and as he formerly had sought for, and courted Authors to write lx>oks for him, now they (knowing his way of preferring and selling of l>ooks) followed, and courted him to print their l>ooks. If a stranger came with a Copy to him, though never so good, he would tell them he had books enough already; but however, if they would give him so much money, he would do it, and they should have two, or three, or six books for themselves and friends: many a one did he thus j>erswade out of their ## p. 19 (#423) ############################################# THE AUTHOR. 19 mony, licing desirous to be in print. If he had a desire to have any tiling writ in History, Poetry, or any other Science or Faculty, he had his several Authors, who for a glass of Wine, and now and then a meals Meat and half a Crown, were his humble servants; having no other hire but that, and six or twelve of their books, which they pre- sented to friends or persons of Quality; nay, and when they have had success, if they wanted any more books, they must pay for them: further I have known some of our Trade, that when a poor Author hath written a book, and being acquainted with some Person or persons of Quality whereto he Dedicates and presents it, the Book-seller will go snips and have half shares of what is so given him. There is no Trade that I ever heard of, that gets so much by their Commodity for whatever they print, if it sels, they get eight pence in the shilling: and for those that deal with Country-Chapmen, they put off the bad well enough at one time or another; and if they are very bad, then a new title is printed as if it were a new book; and what with this and changing, they march off in time. He would also frequent the Schools, and by drink- ing with the School-masters, and discoursing of l>ooks ftnd learned men, he would get their cus- tome to serve them with School-books. There was one famous Country-Parson whom he much desired to be acquainted with, and to him he rid, telling him he was troubled in mind, and desired him to satisfie him in a case of Conscience, the which he did; and then for his satisfaction, and to oblige him, he prayed and courted him to see him when he came to London, the which he did, and all this was to get the printing of his books. My Master having had a book written for him by a Poet, the Author (not having the wit to make his liargain, and know what he should have before- hand) when he had finished it, desired payment for his pains: Nay, said my master, you ought rather to pay me for printing it, and making you famous in print. Well then, said the Author, if you will not give me money, I hope you will give me some twoks. How, said my master, give you liooks, what will you have me forswear my Trade, and 1>e a lx>ok-givcr? I am a book-seller, and to you I will sell them assoon as to another, if you will give me money, paper and print costs money, and this was all the Author could have for his pains. My Master is now one of the Grandees of the Company, and that liesides the ordinary way gets hiin something. Not long since, he and others went a searching, and finding an impression of unlicensed l>ooks, seized them, but instead of suppressing and turning them to wast paper, they divided the greatest part of them amongst them- selves, and immediately my Master sent some of them away to all his Chapmen, and the rest we sell in the Shop. It so fell out lately; that a book lieing to lie Printed, my Master repaired to the Author to get the Copy, but another of the same Trade had been then; before, to whom it was in part promised; but however (out of respect to my Master) the other lieing sent for, it was agreed that they should have the printing of it between them; whereupon one printer was iniployed by them both to do the work. My Master soon after sent for the Printer, and tells him, You must do ine a kind- ness: Yes Sir, said the printer. It is this, said my Master, I am to give away to the Authour some Books, wherefore I would have you to print 200 for me above the number, and do not tell my Partner, and I will pay you: Yes, said the Printer, and so he did, and was paid for them accordingly. But the Printer seeing the knavery of his imployers (for the other had been with him; and engaged him to print the same number of 200 over, pre- tending some private use he had for them) he likewise printed 400 over for his own use, and publiquely sold them; and neither of them could or would complain of him to the other, because they knew themselves guilty of the same crime." REVIEWS AND REVIEWERS. I. "TTTHAT a blessed thing it is that Nature, Y V when she invented, manufactured, and patented authors, contrived to make critics out of the chips that were left! Painful as the task is, they never fail to warn the author, in the most impressive manner of the probabilities of failure in what he has undertaken. Sad as the necessity is to their delicate sensibilities, they never hesitate to advertise him of the decline of his powers, and to press upon him the propriety of retiring before he sinks into imbecility." O. W. Holmes. 11. In the year 1889 a novel was produced by an unknown writer. On March 3oth of that year the liook was reviewed — or noticed — in a certain paper, as one of a batch. Evidently the reviewer had read it with pleasure, for after telling the story —which never ought to be done in reviewing a novel—he added these words, " If this is 's first novel, she has done extremely well. . . .; Her characters have the stamp of good breeding, ## p. 20 (#424) ############################################# 20 THE AUTHOR. her situations are probable, her conversations are natural and lively, and she has a good style." This was very satisfactory for the author, and perhaps caused some readers to ask for the book. This year the lady's publishers brought out a new edition, and on April 18th last another review —or notice—of the work appeared in the same paper. It was reviewed as a new book, an accident which might happen to any reviewer. The review again took the form of telling the story—which as was said above never ought to l>e allowed in reviewing a novel—but this time without any word of comment whatever; and so telling it as, in the opinion of the author and some others, to condemn the book. One may be wrong, but in reading the review there seemed, distinctly audible, a kind of a sniffing. Referring again to an article in the Saturday Review which was noticed in last number of the Author, one reads these lines, " The really curious thing is that the author of this paper should fail to perceive that even the briefest judgment of a competent critic is based upon, and necessarily implies, the study and knowledge of the art which he denies to reviewers." No one had denied "the study and knowledge of the art " to such reviewers. But never mind that. The point is, which of these two opinions is by the competent critic, and which by the other. Because one sniffs and the other praises. Perhaps there is a third way out of it. Critics of equal competency may have reviewed the" book on both occasions, and the second man did not really mean to sniff at the book. He only had a cold. III. "M W is a story of incident, located in Scotland, and somewhat loosely written in three languages—for there is a large admixture of Gaelic, and enough French to show that the author is not too pedantic in his employment of a foreign tongue. The Gaelic is not scrappy, like the. French, but occurs in long conversations, and in many successive pages. It is, moreover, suffi- ciently uncompromising to puzzle a reader." This is taken from a leading Review. Will it l»e. believed that the " Gaelic" is ordinary Lowland Scotch, the language of Walter Scott and Robert Burns? That good old familiar language is so strange to a reviewer in this Journal that he thinks it is Gaelic! As to the French, the author writes that it. is simply confined to half-a-dozen ordinary expressions, such as savoir faire, tout ensemble, Ac. But Gaelic !—Shade of Sir Walter !—Gaelic! IV. May ist. "May I add my mite to the subject, under discussion, i.e., Reviewers and Novels? Last year a novel was published, the joint work of another writer and myself. The reviews were, save for one or two smaller papers, remarkably good, but this is apart from the question. What I would emphasize is this :—At the request of the publishers, there was added a short preface. This preface is sup- posed to have been written by one of the characters in the book, a High Church clergyman, and this is readily understood by anyone who has read either the first or the last chapter, let alone the rest. However, if the preface only is read, the mistake is easily made of supposing him to be instead a 'real live' vicar, and into this innocently laid trap no less than four reviewers, three of them on well- known London papers, fell headlong. Now I know the poor, sad-eyed reviewer is a much-to-be-pilied individual, and I quite acknowledge the book in question was but a little one and only light reading, but editors live to boast of the correctness of their paper, and surely therefore ' The preface of'— only three words—should have been added to the sage remark, 'This book is amusing, or dull, or clever, or utterly impossible, or far-fetched, &c., <fec.' I should not have written this egotistical epistle, however, only 1 am just a little behind the scenes of the. journalistic stage, and I believe and dare avow that this one proven case is only one of many, and also that the preface system of reviewing is not confined to the smaller fry of the sea of literature. And yet not only the public but the authors them- selves are dependent on such reviews for learning the true value of their work—for what author can judge his own writings impartially ?—and they are also exacted to accept such lazy critic's praise or blame as the judgment of Solomon. It is well, surely, to review a few books properly than many carelessly. It is time, surely, there was a school of novelists, if only that young writers might have an opportunity of obtaining fair, truthful, thoughtful, and really helpful criticism, instead of a few hurried words written by guesswork from a short preface. Wishing all success, therefore, to the new school, for which, spite of adverse opinion, I prophecy a future." A. E. S. V. "'An Obscure Novelist's' questions open up fresh ground for research. Are there half-a-dozen papers which can be said to review in the real ## p. 21 (#425) ############################################# THE AUTHOR. 21 sense of the word at all? In the vast majority of eases it seems the correct thing to turn on the latest-acquired printer's devil, or some half-educated hack, whose slipshod English, poverty of ideas, and stark inability to grasp even the most elementary points of the work lieneath his dissecting pen, are things'to shudder at. Hence, I take it, the unanimity wherewith our 'reviewers' invariably set themselves to expose the whole plot, or at any rate enough of it to spoil the reader's interest; that of the male reader at any rate, who does not make a point of looking at the end of a book first. Such a hashed-up resume as can be gleaned from a casual glance into the beginning and end of the book answers every purpose, since it serves to conceal their own complete lack of the critical faculty, and makes 'copy.' The author is credited with characters and scenes he never invented; if there is scope for it, only too frequently, with a geographical ignorance that would disgrace a second form boy, the allotted paragraph is filled up somehow, and our merry 'critic' (?) splashes out of his wallow and shakes himself blithely preparatory to plunging into a fresh one. Another thing. When is fiction going to lie relieved of those most idiotic and utterly unmeaning terms 'hero' and 'heroine '? In the first place, speaking with all due deference, I believe there is no satisfactory definition extant as to what con- stitutes a 'hero' and his feminine counterpart. Certainly, with considerable opportunities of observing human nature, both civilised and savage, in many lands, I have never fallen across any man or woman who came within measurable distance of the popular conception of this nondescript animal. But he is a very marrow-bone to our friend the 'horse-reviewer' who jumps around him, falls upon him, and cracks him, and from his spoils extracts succulent 'copy.' He objects that your 'hero' is not a hero at all. Well, you never intended that he should lie, taking the term to mean an impersonation of perfectibility. And your 'heroine' is faulty and given to failure at the crucial moment. So she is. But you intended her to 1k>. The reviewer, however, cannot, to save his dear life, grasp the fact that the principal male and female characters of the lx>ok need not necessarily lie aspirants to heroic virtues, whatever these may lie, and that if they did happen to realise his idea of heroics they would lie as insipid and wholly uninteresting as perfect people must necessarily prove. 'Our hero'!! In the name of the Prophet, away with this fool of a word!" Another Novelist. VI. "As one of the apparently hated class of reviewers, may I lie allowed to state that I have the honour to review for a weekly journal, which does consider reviewing of some importance, and also, that I take special pains to do my work in a responsible manner? My editor does not wish the liooks to be scamped. He gives me space for extracts, and also I am allowed a free hand. I am not obliged to praise; books by a popular author if I do not consider them worthy of praise, or because the publishers of the books sent in advertise; in the journal for which I write. And I may add, that I have by the letters from authors (absolutely unknown to me personally) who have taken the trouble to write to me through my editor, to thank me for sympa- thetic notices. I always do my best to get a glimpse into an author's mind—if he has one—through his work, and then to give as intelligent a reason as my powers of expression will admit for praise or blame. I should like to quote some of the letters from authors, but it would lie an unjustifiable outbreak of vanity on my part." A Member. VIL "A letter in the Author for February on ' Kinds of Criticism' recalls an experience that is instruc- tive, therefore I sent it to you to use or not, as you please. Some years ago I was in treaty with the editor of a leading paper to become a reviewer on his staff. I had sent some specimens of work, of which he had approved, and was nsked to call at his office by appointment for my instructions. He received me courteously; praised my work; then gave me a three-volume novel he wished me to review at length. As he handed it to me, he said significantly: 'Do you know Mrs.'' (speaking of the writer) ' I hate that woman.' I knew at once what he meant. I was to lie Balaam to this journalistic Balak. Bless his friends and curse his enemies! Unfortunately I possess a conscience. I read the book carefully, and said what I thought, regardless of Balak's hint. The review was favourable on the whole, so much so, that from it the publishers extracted a quotation for advertisement. With this result to myself, however, that I was never again employed by the editor in question, who forgot, moreover, to pay me for the review. He is no longer editing a paper in this world, therefore I may venture to give this experience without provoking him to say of me to some more facile reviewer as he hands my liooks for review: 'I hate that woman '!" B. ## p. 22 (#426) ############################################# THE AUTHOR. LIBRARY SECRETS. BELONGING to literary metaphysics is that idea of the personality of a house or room. Nathaniel Hawthorne treated this bizarre notion successfully in his wonderful romance of the "House with the Seven Gables," and Edgar Poe even more so in the " Fall of the House of Usher," and while other writers have made inanimate objects breathe, these are the only two English writers who have given to houses what Mr. Pater would call "soul." It is true now that some of our art guilds profess to give this quality of strangeness to furniture directly it leaves the workshop; and nineteenth century decorators claim to leave much of it in our modern rooms along with the paint and ]>aj>er frieze. Mr. James Payn tells of a young shopman who described a sideboard "as not Chippendale, but with a Chippendale feeling," and this expresses the more modern phase of what originally was a very pleasing conceit. Human mind has been compared to a kingdom, and with equal felicity a room may be comjmred to a person. If rooms could talk, how much they would have to tell us! What useful witnesses they would be in the Divorce Court—on a Royal Commission — or when politicians are differing about the words used at an interview. "Walls have ears" is only a metaphor at present, but doubtless some future Edison will discover a machine no less dangerous than the phonograph by which we may recover all the conversations— all the secrets a room has been the involuntary witness of. Philologists have never paid sufficient attention to the word "Room." No other synonym of equal force has been discovered. Apartment— what could ever happen in an apartment? Chamber—that, too, is impossible without some epithet as green, or blue, or red. But Room stands alone; for poets it is particularly useful, as it is one of the few rhymes to gloom. Of all rooms in a house the library should have most to tell us. Unlike its owner it would have read all the books on the shelves, those the casual visitor sees and those he does not see—the books behind the shelves. We are often told that a man's character can bo discovered by his library. I do not think this is always the case. If the books are very beautifully bound in Venetian and Levant, and have the work of Grolier and Derome on their backs, or the delicate tooling of Mr. Zaehnsdorf or Mr. Cobden Sanderson, we may be assured that the owner is either a bibliophile (one who likes books and reads them) or a bibliomaniac (one who likes books but does not read them); if the library had a tongue it would tell us which. If one sees a library full of standard authors, as Shakespeare, Johnson, Pope, Macaulay, all bound in red morocco with gilt edges, one feels sure they an? never read. It is almost fatal to have a standard author well bound; even a large paper copy (edition de luxe) is a little suspicious. But I may be judging others by myself, for I never can read a standard author (in red morocco and gilt edges). I always suspect the owner has bought it because it was the right thing to do. Another sure sign of unread books is a library of first editions. They have been purchased not because the first edition of some author had better type, or passages omitted in subsequent editions, or plates of which the impressions were inferior—but simply because they were first editions. Art critics talk about "art for art's sake," and bibliomaniacs might have a similar cant phrase of "first editions for first editions' sake." I myself have a library skeleton in the shape of a first edition which I bought some years ago, hoping that its value would increase. From time to time I take it the round of the booksellers—but in vain. Nay, the very wretch who sold it to me (he called it a bargain, I remember, and it certainly was for him) now tells me he would not give two shillings for it. I will not reveal the name of the book, for I still live in hope, and I show it to my friends as the greatest treasure in my collection, for I place it back on the shelf on my return from the goblin market of the book-selling trade. Booksellers are only prodigal of digits when selling books. But if my library has its secrets, those of my friends have theirs as well. A literary acquaintance of mine who has made some mark in the world, and writes delicate essays (pastels, he calls them), often talks in public and private about classical literature. When I speak of the achievements of one of our modern English poets, he tells me that Theocritus or Pindar have done the same thing much ln'tter. On his shelves are all the Leipzig series of the Greek poets, and Apollonius Bhodius lies open on the table, but behind the shelves, invisible to vulgar gaze, are Mr. Bonn's translations. I have forgotten all my classics, but I reineml>er in Horace there is a line altout rare sitting behind a horseman; so it is with the library of my friend, "Behind his classics sits blue Bohn." I hold my pence, however, for hare I not the first edition on my conscience? Zola, I am told, has a large circle of admirers in England, yet how many of them are acquainted with him in the original? Mr. Vizetelly's versions of realistic fiction have found a place in many a private library, where they corrupt our educated youth just as much as the bank clerk and ## p. 23 (#427) ############################################# THE AUTHOR. 23 hairdresser. English people lire always attacking translations, because to them they are indebted for any acquaintance with foreign literature. Here again I may be judging others by myself. As I am for being candid, let me hasten to admit that I have as large and goodly a collection of Bohns and Vizetellies as any man living. Bohn has been to me what Mary Stuart was to Mr. Swinburne, "Red star of boyhood's fiery thought." Bohns have solaced, have instructed, have enter- tained me as I feel sure they have many others. What a splendid language our English is, to be sure! There is really no necessity to learn any other. I feel I am a fine example to be held up by those who are for abolishing Greek from the schools and Italian from the Civil Service? examinations. Many a translation of Dante have I reviewed; "Te duce, Longfellow," and have not Messrs. Heinemann and Walter Scott placed Scandinavian literature in my reach? Petronius, Herodotus, Pausanias are no longer closed books for me. Mr. Bohn and his fellow workers, like the angel in Revelation, have broken the seals of a dead language. When I talk of such masterpieces familiar to me only in an English form, that I have pricks of conscience I do not deny. I am consoled, nevertheless, when I think that writers greater than I have secrets no less dark and base. What man of letters reveals his books of reference? True, one novelist, eminent for Scotch local colour, has confided to me that he lias never been north of the Tweed. Nor should I be surprised to learn some day that Mr. Haggard only edited "She," in spite of his assertion to the contrary, that the MSS. are per- fectly genuine, but with the insidious art of the storyteller he palmed them off as his own. In his library perhaps are concealed the letters of Mr. Allan Quatermain. Has Mr. Besant ever teen further east than the Mansion House? Does Mr. Hardy live in Wessex? These are questions likely to raise some future literary controversy. They are now library secrets. Long may they remain so. There are other kinds of books besides works of reference and translations that a man who possesses them would hesitate to show to any but an intimate friend; but I trust no married men own such things. Their price has placed them beyond my modest means, and that original virtue in all of us would have pre- vented my acquiring them had I the chance. I refer to those suspicious little works published in Belgium with delicate etchings on hand-made paper; English volumes (privately printed, 25o copies only) which have on the title-page the legend that they were printed at Benares by the blameless Ethiopian. And those offered at fancy prices, which all tear the title of "Seqient Worship," clothed in the modest language of a scientific brochure. I trust that a very small per-centage of private libraries keep such books as these. Our pure and noble literature has fortunately supplied few examples wherewith to swell such a depraved catalogue. R. R. ~*~^4 MAURICE MAETERLINCK. fl^HAT amalgam of races now called Belgian I has produced a dramatist of great and original power. He writes in French, but his style raises a suspicion even in a foreigner, that it is not his native tongue. Apart from the language, the treatment of his three plays, "La Princesse Maleine," "L'lntruse," and "Les Aveugles," is sufficient proof that he is not a Frenchman. Whatever their merits or their faults, neither are French. They contain, even more than the work of his countrymen Van Beers, Huysmann, and Knopff, an element wholly foreign to French art. No doubt none of this work would liave been produced without French influence, but it all bears a mark of strong native individuality. The three plays which Maeterlinck has already written give him a claim to the highest place among contem- porary dramatists. So much attention has teen devoted to detecting new schools of the drama elsewhere, that it is a surprise to find such a school arising in Belgium. The Flemish races are, however, proving that they possess a reserve of force, revived, but in no sense re-constructed, by foreign example. A special peculiarity in Maeterlinck's work is the important part which he assigns to accessory effects. He animates dead matter, he humanizes his animals by some mysterious power of metem- psychosis, and his atmospheric phenomena are real Powers of the Air. He achieves even more than this, for the visions of his youths, and the dreams of his old men incorporate themselves in sounds and shapes that am be j>erceived by healthier or soberer senses. Out of this very peculiarity arises a rare and immense dramatic merit. With him accessories never usurp a more important place. No one of them is necessary to the construction of the story, but all assist materially to develop it. They explain the situations and emphasize the characterization, but they never distract the atten- tion due to either. In this way Maeterlinck's is art of the highest order, perfectly simple and direct in construction, adorned but never burdened with a wealth of ornament. The special sphere of Maeterlinck's genius is dark- ness, the darkness of hopeless destinies and sightless eyes. So far, he is fatalist, and only so far, for ## p. 24 (#428) ############################################# 24 THE AUTHOR. his work is wholly free from any trace of didactic fatalism; if he founds a new school it will not be for purposes of instruction. It is noticeable that though darkness and the fears that accompany it till his dramas, he never has recourse to super- natural agencies. The terror which he inspires, he draws, as it were, from the brains of his own characters, and expresses in the forces of nature. For pure concentrated fear I do not know anything more powerful than the death of La Princesse Maleine. You may read the play in a brightly lit room full of people, and tremble over it, when you have read "Melmoth" even, alone and at night. The murder scene recalls and surpasses the most dramatic scene in " Uncle Silas." It is, however, improbable that Maeterlinck knows the too little appreciated novelist Le Fanu. The comparison between them need not be pressed further, for Maeterlinck is superior in almost every point. To attempt any detailed examination of the three plays would be impossible in a short space. It will be sufficient to consider how wonderful is the little scene "L'Intruse." It does not take more time to read than a quarter of an hour, it contains no episode, it is founded on no plot that can be properly so allied, and yet it is absorbingly interesting, full of delicate characterization, and careful, skilful touches. It is not only the creations of the writer's brain that interest you, but the creations of his creatures' brains. This subtle compound influence upon the reader has never been achieved in the same degree of intensity and sustained so long. The blood that Lady Macbeth sees upon her hands does not leave a deeper stain. The whole of " L'Intruse" is full of this influence, the least incident in it becomes prophetic. The old Grandfathers fancies seem even to precreate inci- dents in harmony with his own melancholy, incidents which would not so much be noticed at the time, as remembered afterwards as having accompanied an evening full of very sad memories. There was the wind that came out from the cypress wood, and the trembling in the trees, and the scaring of the swans and the fishes, and the house dog that sat silent in his kennel, and the gardener who stood in the shadow and whetted his scythe, and the door that no one could shut, and the door that opened of itself, and the carpenter to come in the morning, and the dim burning of the half-spent lamp, and the physician waiting until midnight, and at mid- night the hurrying footsteps and the cry of the dumb child, and emphasizing these trivial incidents, re-creating them as omens, the blind fear of the old man. All so perfectly natural and all super- naturalized by his sick fancies. Nor are the two similar characters of the brothers without special merit for delicate distinctive touches. Both are kind-hearted, matter-of-fact men. It is so natural for them to regret the time when the Grandfather was as "reasonable" as they were, and "never said anything extraordinary." The Father is an excellent domestic man who keeps everything in order in the house during his wife's illness. He knows all the freaks of the furniture, and expects the servant to know them too. He sees the lamp filled himself, and professes all the faith of a true housewife in it that " it will burn better presently." We are not surprised that his ultimate conclusion concerning the blind should be "II est certain qu'ils sont a plaindre." The Uncle is rather clever and inclined to be strict, but the gift he most prides himself on is common sense. He cannot endure mystery, he detects it lurking even in the voice. When the Grandfather asks, " What is that at the door?" he says, "You must not ask that in such an extraordinary voice." He has an explanation, good or bad, ready for everything. If there is a sound of mowing it is the gardener, though gardeners do not mow at night. If feet are heard on the stairs he recognises his sister's footstep at once, although she is not there. His standard of appeal is the doctor. He even has a certain sympathy for his sister's monastic order, because "the rule applies to all alike." His worst epithet is " useless," and his sagest counsel "to 1 e reasonable." In his eyes truth and logic are synonyms. No wonder that when the blind Grandfather says, <; I can see clearly there is some- thing "that he answers a little sharply, "Then you can see better than we can." And here we come to another characteristic of Maeterlinck, a hint of secret inevident forces, triumphing out of obscurity. Here, the irrational sight of the blind; the insight of the idiot and the animal, in " La Princesse Maleine "; and the last ray of hope falling on the new-born child, in "Les Aveugles"; these are examples of what I mean. In "Les Aveugles " indeed the climax of the drama is the appeal of the utter powerlessness of the blind, the deaf, the mad, and the dead to a powerlessness seemingly more complete still. In this scene the darkness of Maeterlinck is at its deepest. Short as it is, so much might be said about it, that it is too long to notice here. w. w. ■ ■ LITERATURE IN IRELAND. n^HE miracle performed at the request of I Hezekiah may be daily observed by the traveller from Holyhead to Kingstown. As the shadow of old went back on the dial of the Hebrew King, so apparently Time retreats as the visitor from ## p. 25 (#429) ############################################# THE AUTHOR. 25 England approaches the shores of the Emerald Isle, anil if he is a lover of order, he must in consequenee put back bis watch five-and-twenty minutes. Our relationship to tbe sun is not unlike our condition in other matters. The visitor to Ireland must be prepared to find the inhabitants a little behind the times. It may be that Hibernia has the same complaint to make of Britannia that Diogenes made of Alexander, when he requested that monarch, who stood at the aperture of the philosopher's tub with an offer of gifts, to stand out of his sunshine. To fully realize how small the progress made by Ireland during the centuries which have elapsed since her conquest has been, one has only to turn to Spenser's "View of the Present State of Ireland," the greater part of which description is as true to-day as it was in 1599. Ireland has never enjoyed the "Piping times of peace" in which art flourishes. Like Moloch, she has always been in favour of "Open war." She has cherished so many delusive hopes, nursed so many futile rebellions, and been so much occupied in endeavouring to shake off what her demagogues designate the "yoke" of England, that she has had no time to devote to "the arts of peace." As a natural consequenee, such of her children as loved the paths of wisdom, left behind them the "drums and trampliugs" of petty political struggles, and found in "a land of settled government" the quiet which they sought. Thus it comes that Goldsmith's name is associated more closely with Fleet Street than with Lissoy; Burke and Berkeley and Swift are English rather than Irishmen of Letters; and the names of George Darley and Edward Fitzgerald are almost unknown in their native land; while Moore, "our western bulbul, half Cupid and half tom-tit," is still considered our "sweetest lyrist" although he has been succeeded in his post of Irish Laureate by at least one poet, the latchet of whose shoes he would be unworthy to unloose. Living Irish writers, it would seem, have, like their predecessors, adopted Punch's recipe, and endeavoured to make home happy by leaving it. Many years have elapsed since Mr. Lecky was resident in Ireland. Lesser lights have also departed from amongst us. Lady Wilde, who as Speranza fired many hearts with enthusiasm, lives in a land against which the most impassioned of her lyrics were directed. The author of "Dorian Gray," like another prodigal son has taken his journey into a far country. Rosa Mulholland has also taken flight, and Dr. Tod- hunter sings of Greece in the midst of London. Justin McCarthy, father and son, perhaps live more in London than among their constituents. But some writers still remain with us. Professor Dowden, for whom the Yankees made a bid when they failed to obtain Shakespeare's house, has, we believe, taken out a perpetuity in the Protestant burial ground, a fact which may be fairly con- sidered a sign of his inclination to abide; permanently with us. Dr. Mahaffy's rambles in Greece have evidently not proved sufficiently attractive to tempt him to pitch his tent on the plains of Marathon. Professor Salmon labours alternately at theology and mathematics in the Provost's house, Trinity College. J. B. Bury, "the marvellous boy," has recently electrified scholars by his edition of "The Nemean Odes of Pindar." The author of "The Wearing of the Green" writes three volume novels within sound of the sea at Blackrock; and Katherine Tynan, whose "Louise de la Valliere" and " Shamrocks" are creditable volumes of verse, lives in quiet old Clondalkin. Sir Robert Ball, whose " Story of the Heavens" might lead readers to the rash conclusion that he dwells among the stars, resides at Dunsink; and Edwin Hamilton, the Dublin Aristophanes, lives in one of the houses which overlook— "That vast enclosure, called for brevity ' The Green.'" We can also count among the representatives of literature resident in Ireland the following writers :—J. K. Ingram, best known as the author of the song "Who fears to speak of '98 ?"; R. Percival Graves, the friend of Wordsworth, and biographer of Sir W. Rowan Hamilton; A. P. Graves, author of "The Blarney Ballads" and other volumes of verse; T. Caufield Irwin, the poet; Robert Yelverton Tyrrell, whose translations include a marvellous rendering into Greek of Tennyson's "Lotus Eaters "; G. T. Stokes, whose "Irish Ecclesiastical History " is a standard work; G. F. Armstrong, author of many volumes of verse, of which the most popular is "Tales of Wick- low " ; Mrs. Hartley, better known as May Laff'an; the Hon. Miss Emily Lawless, author of "Hogan, M.P. "; Professor Bastable; Mrs. Cashel Hoey, whose novels have won her an enviable reputation; and W. J. Fitzpatrick, author of "The Sham Squire." We have also Douglas Hyde, whose hatred of " The proud Invader " forbids his signing his name in English; the author of "Molly Bawn" and many other popular novels, who declines to grace the title pages of her books with her name; J. T. Gilbert, the historian of Dublin, and Aubrey de Vere, the veteran poet and his brother, Sir Stephen de Vere, one of the few successful translators of Horace; Sir Charles Gavan Duffy, who was early "forced to roam," and has continued to do so from habit; George Sigerson, author of "Poets of Munster." Hannah Lynch, whose tales have attracted much attention; P. W. Joyce, author of " Irish Names of Places "; T. W. Lyster, translator of Dunster's "Life of Goethe," and J. H. Bernard, translator with ## p. 26 (#430) ############################################# 26 THE AUTHOR. Dr. Mahaffy of Kant's "Critique of Pure Reason." Mary Fitzpatrick, the novelist, and C. G. O'Brien, author of much pleasing verse. This list of names might include many others of less note, but it has already become too like the catalogue of the ships in the Iliad to tempt any reader to ask for more. It is not to be assumed that because these writers reside in Ireland that therefore their books are published in Dublin or Belfast. With the sole exception of T. Caufield Irwin, all the above- mentioned have publishers in London. The books published in Dublin are either Roman Catholic Books of Devotion or school books. Dublin cannot, like Edinburgh, boast of a Nimmo or a David Douglas, or of such a firm as A. & C. Black. Her chief publishers occasionally publish a "Jus- tice of the Peace" or a "Law of Land Tenure." No work of art ever issues from the University Press. Popular discontent and the turmoil which springs from discontent have banished Art from Ireland. Will Ireland ever be contented? She will, when the old days return, days in which, as Landor says,— "Tara rose so high That her turrets split the sky, And about her courts were seeu Liveried Angels robed in green, Wearing, by Saiut Patrick's bounty, Emcraldn big as half a county." Ramsay Coixes. "A WORD FROM YOU, SIB." EVERY man known to be actively engaged as as a litterateur counts upon receiving half- a-dozen letters every week from people, generally young people, and in most cases young ladies who are ardently desirous of getting their works published. Sometimes they send manu- scripts for perusal, assuming as a perfectly natural thing that a busy man can afford to give a day to everybody who asks; sometimes they ask advice: most often they say that they have sent the work to this person and to that, to the editor of this or that magazine, and that it always comes kick rejected. The reason, they an; persuaded, is not in any defects or faults of the work itself (as will 1h( easily understood when the manuscript has la-en carefully read), but in the difficulty of getting a manuscript read by any publisher or editor what- ever. This being so, all that is wanted is a little personal interest from one who can influence publishers and editors. "A word from you, sir, whose influence is so great, would at once remove all difficulty from my path and ensure the accept- ance of my work." Or, as sometimes happens, the work has been actually issued and has fallen flat. Then the single word of influence is asked to induce editors to give the book a favour- able notice. Nay, if they happen to know or to find out—their ingenuity in finding out these little details is enormous—that a man is a personal friend of any editor, they will even ask him to use his influence with that editor, so that against his honour and his conscience, he shall direct a critic against his honour and his conscience, to write a favourable review of a worthless book. Not only this, but they believe tliat the thing is actually done, and done every day. It is a curious sign of the times that such a Ixdief is prevalent; but there is no doubt about it. A large section of the world has no belief in the honour of any class of mankind at all. They believe that trickery rules everything, from the little suburl>an shop to the editorial chair. It is impossible to answer such people, but those who honestly believe in the inaccessibility of editors and publishers unless persuaded by " a single word from you," may at least be asked to consider that Itooks are not published by caprice, or in order to gratify anyone, or out of kindness, but wholly and solely for mercantile reasons. Fortunately good work of all kinds has its mercantile value. There- fore the only thing to advise is that they should produce good work. The tears and entreaties which accompany many of these letters are most grievous to hear. A girl who is struggling to keep herself, to help others dependent upon her, to whom even the most miserable dole of the most cruel of sweating publishers would la; gratefully received, can only be told the same thing. Poverty will not make a writer. It is not enough to yearn ardently after a little money; if the gift has lx>en denied another way must he found. The "single word from you," even if it could l>e spoken, would not move editor or publisher in the slightest degree, except to wonder how one could l>e such a fool as to utter that single word. The number of those who l)esiege the gates of literature increases daily, and will continue to increase, both here and in America. Indeed, where there are hundreds of pens at their futile work in Great Britain there are thousands in the United States. All we can do is to hope that their disappointment may come speedily and while there is still time for them to turn to other things. ■*-+•+ MB. GEORGE MOORE AND HERR IBSEN. No doubt there is much in dramatic criticism to incline a man of any taste or discrimination to adopt views opposed to the critic's, and no doubt the irrelevancies of professed Anti-ibsenites have produced some able defences of the "master." Perhaps Mr. George Moore's appearance in the Ibsenite camp may be partly explained in this way. ## p. 27 (#431) ############################################# THE AUTHOR. 27 It is, however, disappointing to find a really just and delicate critic drawn from liis judicial attitude. He would be the last to maintain that adverse criticism by Mr. Clement Scott necessarily proves the excellence of a play. He may remember also that the school in whose company he finds himself for the moment, is not wholly unrepresented in bogus prophecy. It is to be hoped, however, that he will yet examine Herr Ibsen's prose dramas for us solely on their dramatic merits, by clearing the ground of moral questions and Ibsenitc controversy. No English critic is more fit to do so. Mr. George Moore will surely allow that Art is essentially absolute and dogmatic in principle, having no knowledge of contradiction. Argument or didacticism therefore, by acknowledging resist- ance to it, violate its elementary laws. That is to say, all works of art which purpose to illustrate theories or drive home arguments are so far bad art, or rather not works of art at all. This fault is what the Ibsenitc school appear to claim as a merit in Herr Ibsen. It appears to assert that Herr Ibsen's prose dramas enunciate a certain philosophy of which it approves. With the quality of this philosophy dramatic criticism has no concern at all, indeed, in so far as a critic praises or blames it he shows himself careless of the canons of Art. He has to decide whether the author is guilty of the merit of didacticism. It would be imi>ertinent to remind Mr. George Moore, but it is necessary to remind many professed Ibsenites, that anti-Christian philosophy is not exempt from the rule against didacticism in Art. What Art abhors is teaching not the lesson, all lessons alike are beyond its sphere. I am not, however, prepared to accept the Ibsenite claim that Ibsen is an intentional moralist, and I imagine that Mr. George Moore does not consider him so either. If he did he would scarcely praise "Hedda Gabler" so highly. The morality enunciated by the Ibsenites as a system, and deduced from Herr Ibsen's plavs, is as obvious, and therefore as inartistic, as the morals drawn by Mr. Barlow for the benefit of Sandford and Merton. The Ibsenite system may present to the vulgar an appearance of profundity, but it is none the less subject to the artistic charge of didacticism on that account. Having regard, however, to the acknowledged power of Herr Ibsen's work, I cannot imagine he would have fallen into so glaring an artistic fault. Is it possible to account for the opinion of his followers regarding him, in this way? I l>elieve that inquisitiveness is the most powerful quality of his mind, and has led him to the perpetual setting of riddles to which he would abhor to receive any answer. Certainty— even probability—represents to his mind a vacuum. Nothing can lx- more foreign to such a mind than an intention to teach, indeed the obviousness of such a charge should have protected from it a dramatist of such subtle effects. To harp on a few strings may at last become wearisome, but it is a fault against taste rather than against the canons of Art. The more serious charge of deliberate didacticism may fairly be shifted upon the commen- taries of his followers. It cannot, however, be concealed that there are other considerable faults in Herr Ibsen's prose dramas. Perhaps the most glaring is the unreality of his protagonists. They are not human; they are not even capable of evoking human sympathy. All they touch in humanity is the inquisitive cells of the brain. They also afford illustrations of theories which can now command approval. It is true that all dramatis persona are but types to Ixi personalized by the actor. Curiously enough, Herr Ibsen leaves less to the actor in this respect than perhaps any other dramatist. But, apart from this necessity of the drama, Herr Ibsen's heroes and heroines are intrinsically unnatural, unreal, and in- consistent. There are exceptions, perhaps Dr. Stohmar is the most like life—but Nora, Hedda Gabler, and Rebckka West are notable examples. Hedda Gabler especially contains no drop of " the milk of human kindness" in her composition. She has no more contact with humanity than the vegetable to which Mr. George Moore implicitly compares her. He admires her as the product of Nature, which never swerves from its own ends. She was, as he says, "born to kill herself." With all deference to his judgment be it said: She is therefore not a subject for dramatic art; a nettle would be as suitable. Some plants indeed, the pansy for instance, are said actually to possess this suicidal property. They poison their own soil and die. The objection to Hedda Gabler is not that she is monstrous; Medea, Lady Macbeth, La Cousine Bette, Melmoth, Frankenstein's Monster, Caliban, are all monstrous, but each has some trait in touch with man; Hedda Gabler has none. She is not even an animal; Brer Rabbit and the pantomime lieasts "are men of like passions to our- selves" compared with her. She is a vegetable fit to sow in one's enemy's garden. Surely an essence of dramatic art is contrast and effort, primarily between the characters, secondarily within them. By praising a mere natural force as a dramatis persona, Mr. George Moore seems to ignore the latter. The triumph of a suicidal tendency is a splendid subject for dramatic art, but there can be no triumph where there is no opposition, and no opposition in "a product of Nature" "born to kill itself," for suicide then Ceases to l>e a tendency and becomes a law. "Man cannot yield even unto death utterly save only by the weakness of the feeble Will." By eliminating ## p. 28 (#432) ############################################# 28 THE AUTHOR. the Will altogether, Nature is robbed of its triumphs, ami dramatic art rendered almost impossible. J. D. "AT THE AUTHOR'S HEAD." Mr. Meredith's "One of our Conquerors" is hardly a new book by this time. It is naturally one of the great literary events of the year, and it will be the. end of the year before we have found out all its surpassing merits, its wit, and character- isation hidden under that curious club-like style which Mr. Meredith wields like a rapier. Intoler- able in another writer, it seems the only possible expression for one of our greatest living novelists. We could never think of his writing in any other. The critics have already had their say. Let us hope he may be saved from disciples who even now are conspiring. The appearance of Herodotus under the auspices of Sir John Lubbock recalls what many have forgotton, the amusing lists in the Pall Mall Gazette of the Best hundred books, chosen by eminent writers. Herodotus was a very safe one to commence with, as he appeared in nearly all of them. I wonder if the working men, for whom the selection was made, will read each best book as it comes out. Sir John's list was the first and the best in a way. Other authors forgot the object in view, and simply wrote down the books they pre- ferred, with little thought, I fear, of the working man. The Pall Mall Extra is before me, and among books I rind recommended for these " factors" in the British Constitution are the Poems of Hafiz and Sadi—admirable poets let me add, but hardly suitable for the British or even the Persian working man, if there is such a thing. "Eric Brighteyes" will, I think, rank with "Cleopatra " and "She" as among Mr. Haggard's finest works. Perhaps it will not 1m» so popular among boys, who naturally prefer " Mr. Quatermain" and his adventures in Africa. But more critical or older readers will appreciate not only the splendid romance of " Eric," but the really beautiful writing in some of its passages, and which I do not think can be entirely attributed to Icelandic originals (parallel passages of course excepted). Of course the Author has been plagiarizing as usual; though I am the first to denounce him, I shall not be the last. It is the title this time. There are two other Erics I can remember, "Eric; or the Golden Thread" and "Eric; or Little by Little "; flat plagiarism on the title page' In the next century we shall have "Little Eric Brighteyes; or the Golden Thread." Mr. Oscar Wilde's "Intentions" (Osgood and Mellvaine) is not only one of the most amusing and delightful volumes that have come out recently, but is a valuable contribution to English criticism. The general "intention" which Mr. Wilde is anxious to enunciate is that criticism is a creative art, and not a destructive art. Mr. Wilde will, no doubt, learn with regret that he has converted his readers. The estimate of Browning is far the most tempered and critical that has appeared since the poet's death. Certain very young men on the press are naturally annoyed to find that Mr. Saintsbury knew all about Flaubert, and the realists and the naturalists long before they were born, so they have not found his Essays on the French novelists exhilarating. Even the "adorable" Verlaine is not so new as they would have us think. Although the French Academy has not yet recognised the poet of the Decadence, a benefit has l>een given for him at the Vaudeville in Paris. It was an interesting and very miscellaneous perform- ance, attended by an interesting and miscellaneous audience. There is a very marvellous portrait of Verlaine by Eugene Carriere in the Champs de Mars this year. It should be brought to England and exhibited (adults only admitted). At the Academy M. Loti certainly had greater claim than Henri de Bornier, who is to l>e condoled with, however. His play of Mahomet was prohibits! by the Government not long ago, and his election to the Academy might have compensated him for his disappointment. The French Republic is very delicate about the susceptibilities of Mahomedans and Atheists. M. Francois Coppee's Le Pater met with a like fate because it showed Christianity in too favourable a light. Thermidor is the last of the offending plays. Many, I hear, are anxious for the suppression of the Ainmergau Passion Play, as it is calculated to wound the Jewish community in Europe. Of recent verse, "Lapsus Calami," by J. K. S., has already gained a deserved reputation for its author, who comes from a Cambridge college already distinguished for its minor poets—minor only from the quantity, not the quality of their work. "Pearl," an English poem of the Fourteenth Century, edited by Israel Gollancz, is a beautiful ## p. 29 (#433) ############################################# THE AUTHOR. 29 poem, which was worth resuscitating, and not merely a philological conundrum. The name of Mr. Crollanez is a passport for scholarship. "Pearl" is embellished with a delightful frontispiece by Mr. Holman Hunt. Mr. James Baker's "John Westacott" and also his " By the Western Sea " liave both just appeared in a cheap popular edition, and are again receiving exceptional notice from the Press. The author has just returned from a tour in Austria, where he has been completing his studies for the " Great For- gotten Englishman," upon whose life he lately published some articles in the Leisure Hour. The Quarterly Review has been cratostratizing again. Sir John Maundeville is now the victim of its inateh-box. With the aid of Colonel Yule and Mr. Warner it has reduced his claims to existence, to dust and ashes. One of the great trio of credible travellers has been banished into the shades of myth. We do not know how soon Herodotus and Marco Polo nmy follow his flight liefore the impartial light of modern history held aloft by Mr. Froude and Professor Freeman, and the trusty guidance of modern travel, supplied at first-elass prices by Mr. Stanley. Fortunately for Marco Polo, we l>elieve he has a friend at court. As for the Quarterly and Mr. Warner, we can only wish them the success which has crowned the efforts of their Ephesian antitype. Perhaps even they may be contented with a reputation no longer nor more brilliant than the fame of the whilom father of English prose. Dr. Momerie's lecture on the " Corruption of the Church," was given at Prince's Hall on the evening of May 25th. It was the most interesting theolo- gical event of the year. The Hall was well tilled in anticipation of the lecturer's skill in dealing with questions which have to do with advanced thought, already proved by the brilliant sermons delivered by him at the Foundling upon "Church and Creed" and "Inspiration." The lecture of the 20th was introductory, but it will be followed, should the public show interest in the subject, by others to illustrate the mischievous effects of Ecclesiasticism upon Art, Science, Literature, and Social Institu- tions. Dr. Momerie is ready in the future to give these lectures free to working men if they wish to hear him. Apropos to the alwve, it may interest some of our readers to hear that the June number of Messrs. Eglington & Co.'s popular "Men and Women of the Day" contains a portrait of Dr. Momerie by Barnaul, and a short biographical sketch. ON SOME CASES. EVERY case, on being sent in to the Society and read, is either dealt with at once by the Secretary, or, in case of any doubtful point arising out of the facts, the case is sent to the Society's solicitors for advice. The expense of obtaining such advice is, of course, the greatest charge upon the Society's income, but no part of it is expended to greater advantage or with better results. At a late meeting of the Committee, the following resume of recent work was laid before the Committee—it must be observed that the Com- mittee are not usually informed of the names concerned—never, if the author desires secrecy. In that case the Chairman and Secretary only know, or perhaps the Secretary alone. I. 1. A.B., a young author, commissioned another, CD., to revise his work, find a publisher, and see it through the press in consideration of certain payments. A.B. refused to carry out the contract. CD. submitted the case to the Society. It was decided that the contract had not been fairly carried out, and that A.B. should not be called upon to pay. 2. A.B. agreed with CD. (editor of a magazine) to write certain papers on certain terms. The proprietor, though pledged by his editor, refused to pay more than about two-thirds the price agreed. Result: Full payment. 3. A.B. was to receive a certain payment by a certain date. She lived at a considerable distance from London, and had to conduct her business entirely by correspondence. She parted with her MS. on condition of receiving a certain sum at a certain date. When the time came she could get neither money nor any reply to her letters. She referred the case to the Society. Result: Payment in full. 4. A.B. sent MS. to an editor who accepted it, and promised payment on publication. He left it with him for a year, when the editor returned it, stating that the magazine was coming to an end. Had he any right to compensation? Reply : None whatever. He should have taken his MS. out of the hands of the editor long before. ## p. 30 (#434) ############################################# 3° THE AUTHOR. 5. A.B. (author) v. CD. (publisher). The hook had been published for some time, but no accounts could be obtained. A writ was issued. The l»oks were audited, and the accounts cleared up. 6. A.B. (author) v. CD. (publisher). Author was induced to pay in advance for the production of his book a sum of money repre- sented as half the actual cost. It was in reality about £i5 more than the whole sum actually expended. The Secretary demanded the return of the £i5 and all the copies. This was refused. A writ was issued. Result: Return of £i5 and all the copies. 7. A.B. v. CD. (editor). A disputed claim. A.B. demanded £40. CD. denied the indebtedness. Result: CD. paid £20 in settlement. 8. A publisher, on receiving a MS. sent it to be printed, and issued it without even consulting the author or submitting any agreement with him. Result: An agreement very much better for the author than would have been made but for the fact that the author was able to procure an injunction and bring an action. 9. A.B. (author) v. CD. No accounts to be obtained by letter. Society's solicitor intervened. Result: Accounts rendered. 10. Question submitted— In the case of a royalty system, has the publisher the right to give away books to his private friends (not for press puq>oses) without paying the royalty? Reply: Certainly not. All copies except those sent to press and those presented to author or any- one else by agreement must be regarded as sold. Here is the publisher's little account rendered to himself in the most favourable event, viz., the sale of all copies :— The sale of 2,000 copies at is. lod. produces £2 83 6s. Sd. Cost of production Less author's share Author's royalty Publisher's profit Author's return :— By royalties - Less share of expense Profit £ s. d. 160 0 0 55 0 0 io5 0 0 62 10 0 n5 16 8 £2 83 6 8 £ «. d. ■ 62 10 8 - 55 0 0 • £7 10 8 So that the author by this beautiful arrangement stands to win, under the most favourable circum- stances, the enormous sum of £7 1 os. Sd., while the publisher stands to win £115 16*. Sd. Now woidd the author have signed the agree- ment had he been able to do this little sum? Another case. The publisher says: "I will give you a 10 per cent, royalty unless I sell the book for less than half price, and then I will give you 5 per cent." How does this work out? The book was of a kind sometimes sold for just over half price, and often sold for just under half price. The difference to the publisher might mean a few pence on each volume. To the author it made a difference of I*. In other words, by lowering the price a few pence so as to bring it under the half price, the publisher actually gained money." This the author did not know or he would not have signed the agreement. II. A certain worthy publisher -wrote as follows: "To print and produce 2,000 copies of your work will cost £140. If we add £20 for advertising, that makes £160. Give me £55 towards this initial expenditure and I will give you 12^ per cent, on the nominal price, 5s., for all copies sold." There was another clause about a decreased (!) royalty for copies over and above the 2,000, but let us be content with this. The author accepted the proposal. Needless to say that he did not work out the little sum in multiplication and addition which this proposal presented. Let us do so. The trade price of a 5.?, book is about 2*, lod. III. From the Law Reports. « On April 24th, in the Queen's Bench Divi- sion, before Mr. Justice Smith and Mr. Justice Grantham, judgment was delivered in the case of Maul and another v. Greenings. Mr. Justice Smith said it was a test action to ascertain the true construction of section 6 of the Inter- national Copyright Act of 1886. The county court judge of Brighton found for the defendant, and the -question to lie decided was whether a foreign composer of a piece of music, protected according to the law of the composer's country, but not protected iti the United Kingdom, could claim the protection afforded to foreign composers. * ## p. 31 (#435) ############################################# THE AUTHOR. 3' by the International Copyright Act as against a bandmaster who had purchased the piece and performed it in public with his liand prior to December 1887, when the Act came into force. He came to the conclusion that although neither the publisher of the piece in the country nor the defendant had any "rights" under the section they had "interests," and, therefore, the learned county court judge was right in entering judgment for the defendant. The appeal must l)e dismissed with costs.—Mr. Justice Grantham concurred.— Appeal dismissed. ■ CORRESPONDENCE. I. IN the March numl)er of the Author, women writers are accused by "No Pay, No Pen " of cheapening the literary market. I wish to point out that it is often difficult to know what it the market price of one's wares. I write a good deal of verse. From one magazine I receive 5*. a poem, from another firm 10*., from another magazine 15*., from yet another £1 is. I believe these all to l>e regular prices, which those particular editors and publishers would not alter to any con- tributor. But after receiving such different rates of pay, when a new employer asks me for my charge, is it not a little difficult to fix this? And perhaps from fear of losing the employment, one may fix the price too low rather than too high. I wish more uniform rates were paid. I like much the idea, in the April numlxr, of the register for translators, verifiers, &c. But could not fellow authors help each other some- times without paving for services? I should l>e glad (living in the country) of someone to look up points in the British Museum occasionally. In return I could do translations. Indeed, I would l>e quite willing (within due bounds) to help a fellow author without return of pay or help. And I think such services would promote a fraternal feeling in our Society. Why, in the proposed register, should not an asterisk be placed against certain names, which should signify, Willing to help a fellow mcml>er gratuitously? ROSSIGNOL. II. In the Author of March I made some remarks re Advertising. I wish to state that I had no intention of making any charge against the firm alluded to, and if what 1 said contained anything that might be supposed to do that, I hereby express my regret. My point was, that where advertisements appear is of great importance to authors. I had and have no animus in the matter. I am informed by the publishers that the amount charged to the book for advertising in the ]>aper supjwsed to lx> referred to was 5*. 3d., therefore I admit that my remarks, so far as that journal is concerned, are pointless, and I hereby withdraw them. Pachyderm. BOOKS FOR SALE. Oxberry's Flowers of Literature, 4 vols. Reflections upon the Politeness of Manners, &c. (1710). New Year's Gift. Alice Watts, 1829. Illus- trated by Cruikshank, &c. Acting Charades. Brothers Mayhew. Illustrated by Haine and Cruikshank. The Dangers of the Deep. Published by Orlando Hodgson. Australian Tales and Sketches. Beaumont and Fletcher. First complete edition. Address—H. G. W. ♦■»■♦ MACHINE-CUT BOOKS. IT is greatly to be wished that the practice, now very little observed, but slightly on the increase, of issuing machine-cut l>ooks will before long Income general. We have inquired carefully into this matter. The cost of machine cutting is infinitesimaUy small. Where we have lieen able to get the cost estimated, a shilling for every hundred copies is the highest amount we have heard named. The average time expended by amateurs on cutting by hand we believe to be 20 minutes per octavo volume of 1000 pages. If any of our readers (always excepting Mr. W. H. Smith's very expert boys) can accomplish the task of cutting more quickly, we shall be glad to hear from them. Moreover, very few amateurs can cut with pro]>er neatness, and efficient paper-cutters are often (as on a railway journey) not to be had by the reader. But stay! Perhaps the present foolish system is kept up for the benefit of those who do not like to have their lx>oks cut quickly for them by other people, but rather cut by themselves only with extreme slowness in order to lengthen out the process of reading. If we hare any such amongst our readers, we should like to hear from them. To reviewers the machine cutting would be an unmixed boon, for a reviewer never, or at least hardly ever, reviews a book which he has not first cut. ## p. 32 (#436) ############################################# 32 ADVERTISEMENTS. ELECTROTYPES OF ENGRAVINGS FOR SALE A THE attention of Authors, Publishers, and others is directed to the large and varied Collection of Engravings in the possession of Cassell and Com- pany, Limited, from which they offer Electros for Sale. The Collection embraces every class of subject-- History, Topography, Natural History, Scientific, Figure Subjects, &c., &c. produced by the best Artists and Engravers. Call and examine this Collection, or apply for specimens, giving íull particulars of the subjects and sizes required to- CASSELL & COMPANY, LIMITED, LA BELLE SAUVAGE, LUDGATE HILL, E.C. All applications relating to Advertisements in this Journal should be addressed to the Printers and Publishers, EYRE & SPOTTISWOODE, East Harding Street, Fetter Lane, London, E.C. LONDON: Printed by EYRE and SrottiSWOODE, Printers to the Queen's most Excellent Majesty. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 02 Issue 01 (June 1891) Subject The topic of the resource The Author, Vol. 02 Issue 01 (June 1891) Source A related resource from which the described resource is derived <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&view=1up&seq=20" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927</a> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1891-06-01-The-Author-2-1 publications The Author