https://historysoa.com/files/original/5/444/1892-11-01-The-Author-3-6.pdf 14b0d89be86129506ced10b948671d2b 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) 1892-11-01 Volume 3 Issue 6 Pages Page range in volume 185–224 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18921101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Hutbhor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. III.—No. 6.] NOVEMBER 1, 1892. [PRICE SIXPENCE. CONTENTS. Warnings aa s ere ee We ae ee w. page 187 { Feuilleton— How to Use the Society... ene oe ue see ee w. 188 1.—The Porter of Bagdad a os + page 203 The Authors’ Syndicate’... mee mee ce oe ee Se 188} 2,—Cacoethes Scribendi: An Apology... as tee soe 205 Notices... on ae ce seh Sc ee os aE ... 189 | The Moss Land. By Hume Nisbet. ... a a ae Jo 308 Literary Property— The Preservation of Autographs ... We ae ae si ae 206 1.—Magazines and Copyright oo aes sce se <-- 190 The Irritability of Authors we oe sis wee ae «.- 208 2.—The Bookseller on Fraud ... oe sas Ros ses 252 190 Correspondence— 3.—A Proposed Agreement ... i nen oe ee we 19l | 1.—Author and Editor... oe ee ae oe aS see 20 4.—Answering an Advertisement ... ae a a ae LOL 5 2.—Defamatory Criticism... oe ae Se ste eee 210 5.—An Editor’s Rights... Ree ae aoe aes ace eo» 192 3.—American Copyright en as oo ae ce S506 210 Fraudulent Authors ... ees e ae oe ae Lee er kao | 4,—Literary Criticism ... ma ae oe aes a se SAL The Ranks of Fiction eee ace ows tee =e eee 19h 5.—The Proposed Shelley Library ... ae eas oe see bl. Notesfrom Paris... se Hs = we wee ae wo» 196 | 6.—A Perplexed Pen ... ose wae aS a ves ee Oe John Greenleaf Whittier, By Clive Holland ... ae wer ean | 7.—Titles ... aoe wok Bae sis ae vey nae ees ae Our Late President ... Aan ee uae es tas ae «ve 199 8,—Editors’ Rights aes es wee = ion tue eo2ie Notes and News ce ies Wo mic ue an les w- 199 “At the Author’s Head” ... ae ves vee ies es ase 218 In Memoriam: a Hymn. By Rey. H. D. Rawnsley ... rue ... 203 | New Books and New Editions... ies aes A ee cee Lb PUBLICATIONS OF THE SOCIETY. 1. The Annual Report, That for January 1892 can be had on application to the Secretary. 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary Property. Issued to all Members. 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887. 4. Literature and the Pension List. By W. Morris Cours, Barrister-at-Law. (Henry Glaisher 95, Strand, W.C.) 3s. 5. The History of the Société des Gens de Lettres. By 8. Squire Spriaez, late Secretary to the Society. Is. 6. The Cost of Production. | In this work specimens are given of the most important forms of type, size of page, &c., with estimates showing what it costs to produce the more common kinds of books. Henry Glaisher, 95, Strand, WC, 25:6. 7. The Various Methods of Publication. By S. Squire Spricaz. In this work, compiled from the papers in the Society’s offices, the various forms of agreements proposed by Publishers to Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements. Henry Glaisher, 95, Strand, W.C. 3s. : o . Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia- ment. With Extracts from the Report of the Commission of 1878, and an Appendix containing the Berne Convention and the American Copyright Bill. By J. M. Lexy. Eyre and Spottiswoode. 1s, 6d, : 186 ADVERTISEMENTS. THE LINOTYPE GOMIPOSING MACHINE. SPECIALLY ADAPTED FOR BOOKWORK. “A MIGHTY BUT PEACEFUL REVOLUTION.” OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE. For full List of Experts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet. “Tt will do away with type, and composition, and distribution, as now practised, will be known no more.”— Manchester Courier. ** Saves 70 per cent. in cost of composing, and from three- fourths to nine-tenths in time.”—Shefield and Rotherham Independent. “Tt bids fair to revolutionise the present system, especially of newspaper production, for which it seems peculiarly well adapted. The instrument is one of the most beautiful and ingenious pieces of mechanism ever introduced in connection with the art of printing.” —Scotsman. “The absolute saving of distribution, which is reckoned as equivalent to one quarter of the cost of composition, is an important factor in the economy of this machine. With it comes emancipation from the frequent errors arising from faulty distribution. To pye matter is impossible. Unquestionably the most remarkable machine ever invented in the art of printing.” —The Printers’ Register. “Tt stands to reason that an invention that economises as well as expedites work, without aiming a blow at those who had previously done without it, must be a success.” —Echo. “The rapidity and accuracy of the process impressed Mr. Gladstone very powerfully, or, as he expressed it himself, it ‘staggered’ him.”—Daily Chronicle. “ One of the most remarkable machines ever invented.” — Engineer. “A steam-driven, type-composing and casting machine which really promises to bring about a revolution in the composing-rooms of newspaper and book printing offices,” Eng —Home and Colonial Mail. “This remarkable invention promises to revolutionise all our ideas as to type-setting by machinery. It dispenses with movable type, and substitutes matrices in which the letters are cast in solid lines.”—Leeds Mercury. “One of the most remarkable labour-saving Machines ever devised in an age remarkable for such inventions.” —Western Mail (Cardiff). “The work never stops, line after line is added with astonishing smoothness and regularity.” —Newcastle Daily Chronicle. “Has come into existence to create amazement, where surprise hitherto found a home. “ The Linotype, to be brief, is a machine which does away with the present expensive and slow method of type-setting. It performs all the work of a compositor automatically, with greater precision and with far more rapidity. The most important feature of the patent, however, lies in the enormous saving it effects in the cost of setting, while a no less startling fact is that the labour of ‘ distributing,’ or the putting of the type back into cases, is dispensed with.”— Admiralty and Horse Guards Gazette. “ Printing without types. A marvellous machine that makes fresh types for every line. The advance of industrial science is so rapid that this machine must, sooner or later, come into extensive use.”—Evening News and Post (London). THE ECONOMIC PRINTING & PUBLISHING CO. LIMITED, 39, BOUVERIE STREET, FLEET STREET, E.C., Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the best makers, The Huthor. (The Organ of the Incorporated Society of Authors, Monthly.) CONDUCTED BY WALTER BESANT. Vou. III. —No. 6.] NOVEMBER 1, 1802. [PRIcE SIXPENCE. For the Opinions expressed in papers that are signed or tnitialled the Authors alone are responsible. ERRATUM. We were made to talk nonsense in our last number. We wrote “ we do not make—we never have made”—such and such a statement. This appeared “we do not guake—we never have made—” &e. mee WARNINGS. > Sprcran Warninc. — Readers are most URGENTLY warned not to neglect stamping their agreements immediately after signature. Tf this precaution is neglected for two weeks, a fine of £10 must be paid before the agreement can be used as a legal document. In almost every case brought to the secretary the agreement, or the letter which serves for one, is without the stamp. The author may be assured that the other party to the agreement never neglects this simple pre- caution, The stamp duty varies from 6d. up to Ios. or more, according to the form of agreement. The Society, to save trouble, undertakes to get all the agreements of members stamped for them at no expense to themselves except the cost of the stamp. Reapers of the Author are earnestly desired to make the following warnings as widely known as possible. They are based on the experience of seven years’ work upon the dangers to which literary property is exposed :— (1.) Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures, VOL, III, (2.) Never enter into any correspondence with publishers, especially with those who advertise for MSS., who are not recom- mended by experienced friends or by this Society. (3.) Never, on any account whatever, bind yourself down for future work to any- one. (4.) Never accept any proposal of royalty until you have ascertained what the agreement, worked out on both a small and a large sale, will give to the author and what to the publisher. (5.) Never accept any pecuniary risk or respon- sibility whatever without advice. (6.) Never, when a MS. has been refused by respectable houses, pay others, whatever promises they may put forward, for the production of the work. (7.) Never sign away American rights. Keep them by special clause. Refuse to sign any agreement containing a clause which reserves them for the publisher. If the publisher insists, take away the MS. and offer it to another. (8.) NevER sign any paper, either agreement or receipt, which gives away copyright, without advice. (9.) Keep control over the advertisements, if they affect your returns, by clause in the agreement. Reserve a veto. If you are yourself ignorant of the subject, make the Society your adviser. (10.) Nuver forget that publishing is a busi- ness, like any other business, totally un- connected with philanthropy, charity, or pure love of literature. You have to do with business men, Be yourself a business man. Society’s Offices :— 4, PoRTUGAL STREET, Lincoun’s Inn Fiexps, Pp 2 188 HOW TO USE THE SOCIETY. 1. Every member has a right to advice upon his agreements, his choice of a publisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice sought is such as can be given best by a solicitor, the member has a right to an opinion from the Society’s solicitors. If the case is such that counsel’s opinion is desirable, the Committee will obtain for him counsel’s opinion. All this with- out any cost to the member. 2. Remember that questions connected with copyright and publishers’ agreements are not generally within the experience of ordinary solicitors. Therefore, do not scruple to use the Society first—our solicitors are continually engaged upon such questions for us. 3. Send to the office copies of past agreements and past accounts with the loan of the books repre- sented. This is in order to ascertain what has been the nature of your agreements and the results to author and publisher respectively so far. The secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. If the examination of your previous business transactions by the Secretary proves unfavour- able, you should take advice as toa change of publishers. 5. Before signing any agreement whatever, send the proposed form to the Society for examination. 6. The Society is acquainted with the methods, and—in the case of fraudulent houses—the tricks, of every publishing firm in the country. Remember that there are certain houses which live entirely by trickery. 7. The outward and visible signs of the fraudulent publisher are—(1) a virtuous and benevolent wish to have the unquestioned conduct of your business left entirely in his hands; (2) a virtuous, good man’s pain at being told that his accounts must be audited; (3) a virtuous indig- nation at being asked what his proposal gives him compared with what it gives the author; and (4) irrepressible irritation at any mention of the Society of Authors. 8. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the inde- pendence of the writer, THE AUTHOR. g. Send to the Editor of the Author notes of everything important to literature that you may hear or meet with. noes THE AUTHORS’ SYNDICATE. R. Colles desires to inform readers of the Author— 1. That the Authors’ Syndicate is now in a position to take charge in whole or in part of the business of members of the Society. With, when necessary, the assistance of the advisers of the Society, it will conclude agreements, collect royalties, examine and pass accounts, and, generally, relieve mem- bers of the trouble of managing business details. All accounts opened between the Syndicate and members are duly audited. 2. That the establishment expenses of the Authors’ Syndicate are defrayed entirely out of the commission charged on rights placed through its intervention. This varies, and must vary, according to the nature of the services rendered, but the charges are reduced to the lowest possible amount compatible with effi- ciency. Meanwhile members will please accept this intimation that they are not entitled to the services of the Syndicate gratis. 3. That he undertakes to work for none but members of the Society. 4. That his business is not to advise members of the Society, but to manage their affairs for them if they please to entrust them to him. 5. That when he has any work in hand he must have it entirely in his own hands; in other words, that authors must not ask him to place certain work, and then go about endeavouring to place it by themselves. 6. That when a MS. has been sent from pub- lisher to publisher, and from editor to editor, in vain, it is most likely impossible to place it. 7. That in the face of the present competition, authors will do well to moderate their expectations. There is an Honorary Advisory Committee, whose services will be called upon in any case of ; . THE AUTHOR. dispute or difficulty. It is perhaps necessary to state that the members of the Advisory Committee have no pecuniary interest whatever in the Syndicate. To this it may be added, that where advice is sought, the Secretary of the Society, and not the Syndicate, must be consulted. ee NOTICES. FYNHE Editor of the Author begs to remind members of the society that, although the paper is sent to them free of charge, the cost of producing it would be a very heavy charge on the resources of the society if a great many members did not forward to the secretary the modest 6s. 6d. subscription for the year. Perhaps this reminder may be of use.. With 800 members, besides the outside circulation of the paper, the Author ought to prove a source of revenue to the society. (a The Editor is always glad to receive short papers and communications on all subjects con- nected with literature from members and others. Nothing can do more good to the society than to make the Author complete, attractive, and interesting. Will those who are willing to aid in this work send their names and the special subjects on which they are willing to write ? —— All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any points connected with their work which it would be advisable in the general interest to publish. Members and others who wish their MSS. read are requested not to send them to the Office with- out previously communicating with the Secretary. The utmost practicable despatch is aimed at, and MSS. are read in the order in which they are received. It must also be distinctly understood that the Society does not, under any circum- stances, undertake the publication of MSS. ed The Authors’ Club is now opened in temporary premises, at 17, St. James’s Place, St. James’s Street. Address the Secretary for information, rules of admission, &c. 189 Will members take the trouble to ascertain whether they have paid their subscriptions for the year? If they will do this, and remit the amount or a banker’s order, it will greatly assist the Secretary, and save him the trouble of sending out a reminder. SS Those who are elected members during the last three months of the year are advised that their subscriptions cover the whole of the follow- ing year. eel Members are most earnestly entreated to attend to the warning numbered (3). It is a most foolish and a most disastrous thing to bind yourself to anyone for a term of years. Let them ask them- selves if they would give a solicitor the collection of their rents for five years to come, whatever his conduct, whether he was honest or dishonest ? Of course they would not. Why then hesitate for a moment when they are asked to sign themselves into literary bondage for three or five years ? Those who possess the “Cost of Production” are requested to note that the cost of binding has advanced 15 per cent. This means, for those who do not like the trouble of “doing sums,” the addition of three shillings in the pound on this head. In other words, if the cost of binding is set down in our book at eight pounds, to this must now be added twenty-four shillings more, so that it now stands at £9 4s. The figures in our book are as near the exact truth as can be procured: but a printer’s, or a binder’s, bill is so elastic a thing that nothing more exact can be arrived at. Some remarks have been made upon the amount charged in our book for advertising. Of course, we have not included any sums, which may be charged at any period, for inserting advertisements in the publisher’s own magazines, or in other magazines by exchange. As agreements too often go, there is nothing to prevent the publisher from sweeping the whole profits of a book into his own pocket, by inserting any number of advertisements in his own magazines, and by exchanging with others. Some there are who call this a form of fraud: it is not known what those who practise this method of swelling their own profits call it. Pe THE LITERARY PROPERTY. i MacGazines AND CoPYRIGHT. N the Globe of the 8th Oct. 1892, the following question was asked : “ Whether a magazine editor, after paying for a con- tribution, has the copyright of it for ever?” The Globe suggests that the question should be answered in the Author. It has been answered in the Author, some year or so ago. The answer is contained in the 18th section of 5 & 6 Vict. ec. 45, which runs as follows :— XVIII. And be it enacted, that when any publisher or other person shall, before, or at the time of the passing of this Act, have projected, conducted, or carried on, or shall hereafter project, conduct, or carry on, or be the proprietor of any encyclopedia, review, magazine, periodical work, or work published in a series of books or parts, or any book, whatsoever, and shall have employed, or shall employ, any persons to compose the same, or any volumes, parts, essays, articles, or portions thereof, for publication in or as part of the same, and such work, volumes, parts, essays, articles, or portions shall have been, or shall hereafter be composed under such employment, on the terms that the copyright therein shall belong to such proprietor, projector, publisher, or conductor, and paid for by such proprietor, projector, publisher, or conductor, the copyright in every such encyclo- peedia, review, magazine, periodical work, and work pub- lished in a series of books or parts, and in every volume, part, essay, article, and portion, so composed and paid for, shall be the property of such proprietor, projector, publisher or other conductor, who shall enjoy the same rights as if he were the actual author thereof, and shall have such term of copyright therein as is given to the authors of books by this Act; except only that in the case of essays, articles, or portions forming part of, and first published in reviews, magazines, or other periodical works of a like nature, after the term of twenty-eight years from the first publication thereof respectively, the right of publishing the same ina separate form shall revert to the author for the remainder of the term given by this Act. Provided always, that during the term of twenty-eight years the said proprietor, projector, publisher, or conductor, shall not publish any such essay, article, or portion separately or singly, without the consent previously obtained of the author thereof, or his assigns: Provided, also, that nothing herein contained shall alter or affect the right of any person who shall have been, or who shall be so employed as aforesaid to publish any such his composition in a separate form who by any contract, express or implied, may have reserved or may hereafter reserve to himself such right: but every author reserving, retaining, or having such right shall be entitled to the copyright in such composition when published in a separate form accord- to this Act, without prejudice to the right of such proprietor, projector, publisher, or conductor as aforesaid. In simple language outside legal phraseology this means that if the proprietor has paid for the the article, and unless the author by express or implied contract, reserves to himself the copy- right, then the copyright for a period of twenty- eight years resides with the proprietor, but he is unable to republish the article without the con- AUTHOR. sent of the author. After that period the e»py- right for the remainder of the time reverts back to the author. It is not infrequently the custom therefore, for the proprietor of a magazine to allow an author to republish his atticles, as he, the proprietor has already received all that he he intends to make out of them. It is no doubt useful to reproduce from time to time these questions of law, as the public generally seem very ignorant on the subject. <1 II. Tuer Bookseller on Fravp. The Bookseller of Oct. 1oth makes a few remarks upon our note of the last number on itself. We regret to say that it expresses no sorrow at having permitted the appearance of a letter which falsely charged the Author with inviting “literary garbage” from its contributors. It now says, We honestly do think that the Society is conducted in a spirit of hostility towards publishers, not perhaps with the deliberate intention of being hostile, but, nevertheless, hostile in effect. The Society declares that its hostility is only directed against “certain fraudulent publishers.” Does not the existence of the Society imply that fraudulent dealing is so common among publishers that nothing short of a wholesale combination of authors will suffice to check the evil? We are asked to suggest a better way of exposing the frauds whereby authors are victimised, than by explaining the methods of those frauds month by month in the pages of the Author. We think if the Author would from time to time expose the perpetrators of fraud it would be afar better method. We should like to know who are our black sheep. But if the Author adopted that method we have an idea that a somewhat less formidable word than “fraud’’ would generally have to be employed in describing the alleged malpractices of publishers, lest they too invoked the intervention of “that Division of the High Court of Justice which takes the libel cases.” The driving of hard bargains with authors, or debiting their accounts with excessive charges are, no doubt, matters of which there are occasional reasons to complain; but such practices are a long way short of fraudulent, although we fully admit they are not what is expected from members of an honourable calling. Two points are noticeable here—(1) That the Bookseller believes that the frauds pointed out by us in our “ Methods of Publication ’’ were not common. They were common. They were very common, They were deplorably common. It was, indeed, high time that we should venture to expose, and if possible prevent, them. They are no longer so common, but they would again flourish with their old fertility if this Society were to relax its efforts. (2) The next thing is that the Bookseller cannot admit that ‘“ debiting accounts with excessive charges’’—the italics are ours—is a fraud. ‘Such practices,’ he says, “are along way short of fraudulent.’ Are we THE to believe our eyes? Does the writer know the meaning of words? Why, what does a common pickpocket or shoplifter do—when he steals any- thing he can lay his hands on—worse than a publisher who pays £60 for printing a book, and sends in an account stating that he has paid £80? Not a fraud? Then is stealing not a fraud; and lying is truth ; and vice is virtue. If the Book- seller really means what it says—which one cannot and will not believe—here would be proof indeed, and proof enough, of the necessity of our Society. Et. A ProposepD AGREEMENT. “ DEAR SIR, “JT have made a calculation respecting your MS., and shall be willing to publish it on the following arrangement, in two volumes. “J will take the entire responsibility of its pro- duction and the working expenses upon myself, including advertisements, if you will arrange to be responsible for 250 copies at the trade price, 12s. 6d., or whatever number of copies is needed to bring the sale up to the quantity if it has not been reached six months after the date of publication; the published price being 21s. Thus, if we are unfortunate enough to sell only 150 copies, I should ask you to take 100 at the price named. If we reach the 250 you would not be troubled any further concerning payment. The plan is one that I have frequently worked upon, and is an equitable one, as the author is not responsible for the initial expenses of production, advertising, reviewing, &c., and all sales during the time specified go to the reduction of his liability, and if the work is fairly successful it is published without expense to the author. “Tf this proposal meet with your approval, kindly let me hear from you. “Yours faithfully, x” The preceding is a letter from a publisher to an author. It is not a letter written specially for one case, but is a formula. Others almost exactly the same have been before the Society. In one week the Secretary was asked to advise upon three such letters. The author is invited to guarantee 250 copies of the book at 12s. 6d. each. That is to say, the author guarantees a sale amounting to £156 5s., so that the publisher, on these figures, is certain of asnug little profit. This is not bad business. If the book proves worthless—it will be observed that nothing is said about the merits of the case—it is certain not to reach the sale of 250. But suppose the book turns out to be good, and to have a sale AUTHOR. 1gI of a thousand—two thousand—anything. What, then, becomes of the profits? -It does not appear from the letter that the author is to have any share atallin them. But perhaps there was to be a subsequent letter providing for the division of profits. As far as the letter goes, if the sale reaches or exceeds 250 copies, the author neither makes nor loses any money. If it falls short, he pays the difference. Beautiful, indeed! SS Ty. ANSWERING AN ADVERTISEMENT. “ About the middle of last week I saw an adver- tisement in a paper asking any lady or gentleman wishing to become a trained writer to apply to the advertiser, who had a vacancy. “‘T answered this. There camea letter in reply to this effect : There would be required a premium of £50; there would be no salary for the first month; then £1 a week for the following five months. At the end of this period, if mutually satisfied, the writer said ‘I will place you on my permanent staff at £100 a year.’ The letter was dated from the office of a certain magazine, and was signed ‘Editor.’ I then made an appointment. “JT was kept waiting a few minutes in a small dingy little office, where a youth was writing and a small boy lounged and whistled in an under tone. The editor appeared in a few minutes, and I went into his room. : He began by saying that at the end of six months he thought anyone ought to be of some use on a paper—to read through the other papers, to arrange notes, or to write a paragraph. He said he thought that if they were no use at the end of six months they never would be of any use. He said that I must not mind drudgery, or being kept over office hours sometimes. He said, also, that he had had over 300 answers, that he had thinned them out as best he could, that I came fifth upon his list, and that the first four had proved utter failures ! Here he looked at me to see if I felt very elate. He continued, that the reason these four had proved unfit was that they were all anxious to do the nice parts of journalism, and were unwilling todo any of the drudgery. He said that if at the end of the first month he found me hopeless he would give me up, and return the premium in full. But this has only been said; he did not write it in the letter. “Ags I was going he said, ‘Then when shall I hear from you?’ I said in two or three days. ‘T should like it settled as soon as possible,’ he replied ; ‘in fact, this week.’ ” Such is our correspondent’s story. There is nothing to show that there was anything but bona 192 THE fides in the advertisement. It may very fairly be argued that it is worth paying £50 for six months’ tuition in practical journalism, together with a salary of a pound a week for five months. The paper may have a permanent staff en- gaged, each at £100 ayear. At the same time, the case, as put by our correspondent, pre- sents certain doubtful points. When the premium is advanced what security is there for tuition and for salaried work ? Suppose that after six months, or after two months, the pupil is pronounced incompetent, will the premium be returned? If, which we do not for a moment doubt, the adver- tiser means to act righteously, he will set these little matters right at once. We should ask the following questions : (1) Reference to anyone who hag already paid the premium and received instruction. (2) Reference to anyone on the “ permanent staff” at £100 a year. (3) Reference to respectable solicitors or bankers as to the financial standing of the paper. (4) Reference to the proprietor. (5) An agreement for the return of part of the £50 if, after a month’s trial, either party is dis- satisfied with the result so far. On the assumption of the bona fides of the advertiser, who will observe that there is nothing beyond ordinary precautions in these require- ments, we refrain from publishing the name of the journal. So Ve An Eprror’s Rieut. In the last issue of this journal two questions were asked by “ A. B.” as follows :— 1. Whether an editor is privileged to repub- lish in America a work, the copyright in which is the property of the author. 2. Whether, under the circumstances given, the dual publication secures American copyright. 1. The transaction appears to have been limited to an offer of the MS., made by the author, and an acceptance of it by the editor, with no other expressed terms to define the contract, beyond an understanding that the copyright would remain in the author. As the editor’s right to authorise an American reproduction would depend only on contract (since the copyright was reserved by the author), and there was no express grant to him of that right, it must depend on what would reason- ably be implied from the circumstances, or upon a custom. Primd facie it would appear impro- bable that any author, expressly selling a magazine right with a reservation of copyright, could intend the magazine right to include republication in America. There does not seem ground for sup- AUTHOR. posing that the offer of MS. for publication in the particular magazine’ over which the editor to whom it was handed had control, was intended to be anything more than it was in fact, namely, an offer to publish it in his particular magazine. Any person who, upon such a contract, should take the responsibility of selling foreign rights of any kind must run considerable risk of being called upon to show upon what authority he go acted; or to show why he should not pay damages to the owner of the copyright for having done so. In the case in point, however, the author became a party to the sale by accepting the cheque in payment for the American rights, and moreover his approval of the sa!e so expressed would be a reasonable precedent upon which the editor might be justified in acting similarly in sub- sequent transactions, unless an express prohibi- tion accompanied the future offers of MS. 2. The answer to this question must be given reservedly, in the absence of a fuller knowledge of the circumstances. The probability is that American copyright was secured, but quite as important, if not more so, is the question, has copyright not been lost in the United Kingdom ? Does prior publication abroad disentitle an author to his copyright here? Mr. Scrutton answers in the affirmative (Law of Copyright, 2nd edit., p. 114). ‘It is difficult,” he says, “to see what answer could be made to a defendans sued for infringement of copyright and pleading ‘I have not copied the book you registered, but have gone to the same non-copyright source as yourselves, namely, the prior publication in America.’” And he contends that it was, in fact, settled by our courts in a great case that first publication must take place in the United Kingdom to secure to the author the benefits of copyright. The late Lord Justice Cotton, how- ever, the weight of whose authority no one can doubt, though not definitely deciding the point, leaned to the opinion that prior publication in a foreign country would not cause a loss of copy- right in a British subject ; and that to foreigners alone can this rule be said to have been applied by the decisions in British courts of law. But, at any rate, the prior publication abroad, to affect the position of the author or proprietor of copy- right, must have been by his authority. So that, as far as the case in point is concerned, the ques- tions arise: (1.) Did the author, by his accept- ance of payment for American rights of publica- tion thereby become a party to their sale? Answer: Probably yes. (2.) Does he lose his British copyright by the fact of such prior publi- cation abroad P Answer: Perhaps not in theory, but probably in practice. - For, accepting Lord Justice Cotton’s suggestion, and admitting that oe ee re THE copyright might rest on subsequent publication here, that copyright, though capable of prevent- ing infringements from the book actually regis- tered, would appear helpless as against a repro- duction proved to have been made entirely from the foreign publication. Such a position, though probably unimportant with reference to the magazine story in question, is not a desirable one for the proprietor of a copy- right to be in. Asa general rule, it may be laid down that sales of a copyright or any right of reproduction should never be attempted without the clearest authority from the person in whom the copyright is or ought to be vested. ec FRAUDULENT AUTHORS. ——— II. By a LATE SECRETARY. N the note, published in the September Author, upon the Bookseller’s reference to the exist- ence of fraudulent authors, upon which correspondence was invited from the late secre- taries of the society, allusion was made to almost all the forms of trickery practised by authors that came under my notice during my secretaryship. In giving one or two examples of each method, I have to say that in but one case was the dis- honesty practised by a member of our society, and in that case—quoted by the article—volun- tary resignation followed immediately upon the demand by my committee for an explanation. 1. Plagiarism. It is undoubted that among a certain sort of thief the practice prevails of copying out old stories and re-selling them as new and original. There was a story published some year or twoago in a society journal—con- cerning which I will not particularise more than to say that its chief interest arose out of the heroine’s wooden leg—which was immediately recognised as an old friend. Some newspaper notoriety being given to the case, it was found that not only were these two appearances not the sole bows that this popular yarn had made to an English public, for it had appeared in certainly three other popular English journals, but that it was a German or Swiss story, aud had been published in French. Who first wrote it, and who first stole it, and whether the conveyance from language to language was made in the absence of or in the defiance of international convention, I do not know—and I do not think the matter was ever gone into—but I remember that the last author defended himself with, it seemed to me, great probability. He said that he had met a man in the train who had told him VOL, III. AUTHOR. 103 the story, and that, thinking it droll, he afterwards wrote it down. Be that as it may, and the wide popularity of the story makes it very credible, this was a case where a perfectly undoubted sale of old lamps as new had taken place on more tban one occasion in more than one country. Recently there was a case before the Society of Authors where no such valid excuse could be given for the reproduction of the story. The feuilleton in question was originally issued in the Christmas number of the Illustrated Sporting and Dramatic News, for 1888, and entitled “ A Good Thing.” It bore the author’s well-known name, about which it will be sufficient to say that it did not begin with A. In 1892 this story appeared under the title of “ Diamond cut Diamond” as one of a collection of turf tales by a “ Captain” Somebody. The story m its new form was re-paragraphed very badly, and altered sufficiently to betray the thief’s consciousness of guilt, but, as the following examples will show, not much ingenuity was employed in the alterations. _Homfray was substituted for Frey, the —th Hussars for the Noughty-ninth Lancers, the Louth Wold Hunt for the South Downshire Hunt, and Mr. Rooke for Mr. Hawke; wu few omissions were made, and the distance of the match was reduced from “three miles over the steeple-chase course”’ to two miles and a half, the other conditions remaining as in the original. The Society of Authors pointed out to the publisher of the collected tales that the story was stolen. He admitted the fact—which allowed of no denial— showed proof that he had been himself cheated, as he had paid for the story and held the fraudu- lent author’s receipt, recompensed the original author, and undertook to expunge “ Diamond cut Diamond” from all future issues. Here was a case in which a fraudulent author clearly swindled an honourable publisher. Still, I should like to make two notes upon this case—the only one of actual sale of stolen goods that ever came directly under my notice, although I feel that such cases are of common occurrence. First, the man who conveyed the story had no real title to the name of author, at least none that he could have justified on the merits of his editorial alterations. He had stolen a story, but it was not his position as an author that gave him the opportunity of doing it. In this case he took a story, but he would just as soon have taken a leg of mutton. Hither larceny would have required equal literary skill. Second, the publisher was paying a very small sum for the stories, and by buying in such a cheap market wilfully in- curred a risk of purchasing damaged goods. This is not said with any intent to detract from the Q 194 honourable nature of his conduct towards his fellow-sufferer, but ifa publisher lets it be known that he will print and pay for a lot of short stories, if he makes no enquiry into the character of the person who supplies him, and has no reason to know that the man possesses the ability to execute the work himself, and if he pays only alow price for the work, it is abundantly clear that somebody will cheat that publisher, and place him in a very uncomfortable position. There were some two dozen stories in the volume of “Turf Tales”? that contained “ Diamond cut Diamond,” and we should not be surprised to learn that more than one of them had been similarly conveyed, and not manufactured with a view to production under the pseudonym of the “ Captain ’”’ Somebody. 2. An author may involve the publisher in an action for libel, or for publication of offensive matter. The publisher can, and very generally does, guard himself against such mishap by a clause in his agreement. Against the publication of offensive matter, he has another safeguard— his reader. If the author's book contains blasphemous or obscene passages, and the reading at the publisher’s offices has been so carelessly conducted that the passages have escaped notice, I do not see why the publisher should not be fined for the carelessness, though the author should also pay for his unwholesome vagaries. But against certain forms of libel, the pub- lisher cannot be protected, save by special agreement, as the libel may be an innocent enough statement to his eyes, ignorant of its private meaning. A case came before the law- courts recently, and will be remembered by all interested in these matters, in which this occurred, and it was generally felt that the publishers were deserving of sympathy. There was a curious case before the Society of Authors some years ago, in which the question of libel and possible damages arose, but from the documents in our possession and from the author’s story, it did not seem that the publishers suffered much. The book dealt with the private life of a lady connected as wife and mother with two extremely prominent citizens, and was written from one point of view, not the point likely to be pleasant either to her husband or her son. An injunction was obtained against its publication, but the book was afterwards issued in a modified form. On this occasion, however, the publishers took thorough precautions against the recurrence of any difficulty arising out of the law of libel. They paid a barrister the extra- ordinary sum of one hundred pounds to obtain his opinion and assistance, and, not satisfied with THE AUTHOR. this, they reinforced their position by feeing another counsel to a considerable amount. The charge of a hundred pounds was a sore burden on the book, which was published upon a system whereby the author was only to receive a pro- portion of the profits, but as the barrister, whose words were considered to be worth go much gold, though his opinion required bol- stering up extraneously, afterwards left the Bar, and became a member of the firm that produced the book, it will be seen that the burden fell heavier upon the writer than upon the pub- lisher. There was once an attempt made by an author to create a sale for his works, which, if it had met with success, would have constituted a fraud, but upon the booksellers rather than upon the publisher, This author went round to various booksellers and ordered copies of his own book, saying he would call the next day for them. In this way he argued—and quite rightly—that his work would be much more quickly and largely distri- buted than it would be if it lay upon the pub- lisher’s shelves till such a time as a cold public inquired for it through the usual channels. But the booksellers found out the little plant, and sent the books back to the publisher, who may be trusted to have made things unpleasant for the man of genius. This exhausts my experience of fraudulent authors, and it will be seen that it is very small. The author who may chance to land a publisher in a prosecution for libel may be an extremely indiscreet person, but he can in no way be pro- perly described as fraudulent. The person who steals a story, and, altering one of the names in it from Rooke to Hawke, sells it as an original contribution, is as fraudulent as mortal man well can be; but he is hardly entitled to call himself an author. In the paper in the Society’s journal for September other ways are mentioned in which an author might damage a publisher pecuniarily, but none of these things—for example, the pro- duction of seamped work, or the sale of work for a higher price than it is worth—constitute fraud in any way. I should like to draw a little parallel. The fraudulent person who can justify any claim to the name of author is a very rare bird, and, with the deepest respect for all authors, I think this may be partly due to the fact that it is very difficult for authors to be otherwise than honourable. Their craft allows of no tortuous methods. An author cannot assert that he has delivered a novel of, say, — 180,000 words, and demand payment at his three- volume price, when, in truth, his work would barely fill one volume. He cannot because he would be certainly found out. But in times not very far THE distant certain publishers did most distinctly debit the author’s book, under the head-of adver- | be oe be ise a | tisement charges, with three or four times the liability really incurred, and in those times the fraud was not found out, and, had it been sus- pected, the wording of most of the agreements in the possession of the Society of Authors is such that redress could only have been obtained through the law. Again, an author cannot with- hold money from a publisher, or render to the publisher an undue share of profits, and support his position by an imaginary statement of accounts—which is fraud—because it happens that the publisher collects the money. Now, in times not very far distant, these things have been done by certain publishers, and the methods of publishing then in vogue made them easy to do. I hope that these comparisons will not be con- sidered offensive, for they are not meant to be so. The evil customs referred to have greatly died out, and when they were prevalent the Society of Authors possessed information enabling them to discriminate very exactly between just and unjust, between friend and foe. It will be seen, also, that the honesty of the publisher, being spontaneous, was then, and, in a lesser degree, is now, a finer article than that of the author, for the author’s honesty is forced upon him by circumstances. ee THE RANKS OF FICTION. T is exceedingly difficult to arrive at statistics of the persons engaged in any branch of literature. The number of living poets, as we all know, has been ascertained with app! oximate certainty—but liable to additions every day. We have here made an attempt at a rough estimate of living British novelists. This has been done by taking the catalogue of W. H. Smith and Son of the books offered by them for sale. It contains a collection of novels which is probably the fullest that can be found in any sale list. It covers, so far as can be seen, a period of about six years, and it contains all the popular names, together with every name that has, during that time, appeared upon the title page of any novel good enough to have created any demand. This limitation is useful, because it is understood that Smith and Son only take books that are asked for. What becomes, then, of those not in demand ? Ask of the unhappy authors who have paid for the publication of the works; ask how much those misguided persons have received back of the money they were persuaded to pay up. The list contains the names of about 1600 VOL, III. AUTHOR. 195 novels, which, spread over a period of six years, means nearly 270 novels a year, or five a week —namely, novels good enough for some one to ask for them. The customary statistics for every year, showing something like a thousand new novels, may be resolved into these 270 novels, which attract some attention, more or less; probably about 500 stories for children, prize books, religious story books, and so forth; and the rest a mass of rubbish, paid for by the authors, dead as soon as they appear. These 1600 novels are written by 792 authors who sign their names, and 130 who do not. Of the anonymous writers, however, one or two are well known, as “ Rita,” “ Ouida,” and others. We have therefore 922 writers of tolerably respectable novels in this country during the last six years. Proceeding to subdivision, we ascertain that, out of this great number about 240—the number is not, perhaps, quite accurate—have written more than one novel. This means a certain amount of success, for, supposing a novelist to have paid for his first adventure—a most reprehensible, but common practice—he would not pay a second time. For if the book failed, he would have enough of paying for production; and if it succeeded he would find no difficulty in getting a publisher for the second work. Roughly speaking, therefore, the number of artists in fiction who sell their pictures may be set down as 240. These may be divided into those who are really popular; those who command a certain amount of attention, enough to bring some of them into cheap editions ; and those who are able to make 4 little name or a small sum of money by each novel—a sum which varies from £25 to £150—and there an end of books and demand and everything. A further consideration of the names reveals the fact that there are about fifty names—English and American—which stand well in the front so far as popularity goes; and about seventy or eighty names follow of those whose popularity is assured to a certain extent, who yet stand far below the first fifty. How far popularity increases in direct proportion to literary worth is a matter that cannot be discussed in this place. Nor are we concerned about ranking the novelist in order of literary and artistic excellence or otherwise. The broad facts are these: (1) There are at this present momeut fifty writers at least, who, by their literary labours, and especially by their novels, are commanding great popularity, and an income which, even in the profession of the law would be called considerable. (2) That there is a body of seventy writers at least, who enjoy such an amount of popularityas make their books “go off” in large numbers ; and (3) there are at least a hundred and twenty more, oo Q 196 achieved such a measure of success that they are encouraged to persevere. It has also appeared, during the last six years, that there are nearly 700 writers who have succeeded in getting their works published—partly, no doubt, at their own expense—but have not been encouraged to pro- ceed. Supposing that there were 500 of these luckless ones in the six years preceding, and 400 in the six years before that, there must have been, somewhere in these realms, about 1600 writers, some of whom are now dead, who attempted the Art of Fiction with at least that small measure of success which is indicated by being on this list. If we add a thousand only —a number far below the reality—for those who utterly failed, for whom there was no demand, we have a total of 2600 persons who have failed, or have not succeeded much, in fiction in the last eighteen years to about eighty who have succeeded well, and, say, a hundred and twenty who have succeeded tolerably. These figures—which are only advanced as approximate—should be studied and pondered over by those who now send out their works to the great gallery of pictures which is always open all the year round, and wonder why nobody wants to look at their productions. eS NOTES FROM PARIS. Paris, October 24th. ()* my return from wandering vaguely about Holland, I find the following letter await- ing me at home :— “ My dear Sherard, “You will be sorry to hear that I am at the Perthshire Charenton, or one of them. I got into a broil in Crieff, and, refusing to recognise the law, was transferred to Perth and thence hither. Write to me, like a good fellow, and cheer me up. I am studying away here as well as I ean. They supply me with books, and I have started the study of chemistry with an excellent text-book but without apparatus. I confess that that looks at first. sight like a justification of my present position, but it is really quite possible fora man with reasoning faculties to grasp the principles of a science thus, and to see the experiments men- tally with the help of clear descriptions and a few diagrams. Of course I shall have to do it all over again with appa- ratus, but that will be quick work, as I shall know the atomic weights, chief formule, and the principles. You see I am obliged to work at something, and I have no relish for literature amid such surroundings. You will say it is the right place to learn some psychology. Well, that, of course, I can’t help learning, but I require something else.” My reason in reproducing this letter is simply to ask my readers what they think as to the sanity of the man who could write it. This letter is dated from the Murray Asylum in Perth, and is written by John H. Barlas, who is confined there under circumstances to which I referred Jast THE AUTHOR. month. Now, though I think that the enforced disc pline and the absolute rest that are imposed upon Barlas make his present position rather enviable than otherwise, I cannot help considering by the light of this letter that the time has come for the reconsideration of the position Barlas is a brilliant scholar and an admirable man of letters, and it is an abominable shame that he should be kept locked up a moment longer than necessary, if it is necessary. Candidly, does the above letter look like the work of an insane man? Great changes have taken place in Paris since I last wrote. Poor genial Renan has gone to hig last account, as has also Xavier Marmier. The latter, doubtless, hastened his end by imposing on himself a total change of diet, for, as I re- corded last month, for some time past the doyen of the Academicians had become an absolute vegetarian, and at the age of eighty-three it ig dangerous for men to play pranks with them. selves. Renan’s death, on the other hand, came as a painful surprise to all but his nearest friends, who, it appears, had been uneasy for some time past. 1 shall always esteem it a great piece of good fortune, that, only a very short time before his death, I had a long conversation with him on the future life in general, and on Hell in particular. He knows the truth now, but, whatever it may be, so kindly, so charitable, so large-hearted a man as Ernest Renan cannot but be well. He leaves a quantity of manuscripts, for the early publication of which arrangements are already being made. wa ee Renan was the soul of courtesy and of con- sideration. Precious as was his time, he was always ready to receive even the most importu- nate of strangers, and to talk to them as though he had nothing else in the day to do but to satisfy the curiosities of the public. I remember that, when I interviewed him on Hell, he was troubled with a very nasty cough, which evi- dently made speaking a task to him, and, more- over, from the papers on his writing-table, I could see that I had interrupted him in the midst of an urgent piece of work. Yet, though I re- peatedly made show of departing, he was good enough to retain me until he had said all that it seemed useful to him to say. He was a lovely old man, and to me, for one, the world is different without him. — Marmier’s legacy of forty pounds to the book- hawkers on the quays has been a good deal written about as an example of the deceased THE AUTHOR. gentleman’s generosity. As Marmier, by his own account, on one occasion purchased for a mere song, from just one of these bouquinistes, some volumes which were valued at many thousand francs, the legacy may be considered rather as an act of justice—a kind of posthumous conscience- money—than as anything else. Apropos of such bargains, it is still quite possible to pick up very good things at very low prices on the quays, but the opportunities require watching and patience. You may walk daily for a year from the Pont- Royal to the Pont St. Michel and examine every box of books on the way, without coming across anything worth purchasing. Again, when you least expect a find, you may come across one. E remember one afternoon after dining at the Café @ Orsay, turning over a pile of old books ata stall just opposite that café and coming upon a volume for which the dealer asked me one franc. I purchased it at that price, but a few minutes later repented of my bargain, because I felt it “real mean” to profit by the ignorance of a very shabby and hungry-looking retailer, returned and offered to take back my franc in exchange for the volume. My motive was, however, totally misunderstood, and the shabby and hungry-looking dealer abso- lutely refused to annul the bargain. “What is sold is sold,” he said, “that is all 1 know,” and scoffed at my pretensions. The book was a first edition of Stendhal’s “ L’Amour,” and very rare. I was offered 120 franes for it the same afternoon by a bookseller in the Rue de Castiglione. I have since occasionally had “ trouvailles” of the same sort, but on the whole it is hardly zemunerative to go hunting for bargains on the Paris quays. The bouquinistes are terribly sharp. — Zola’s chances of a seat in the Academy seem to be very good, but prognostication in the affairs of the Academy is always a foolish business, and I attach but very little importance to the various published statements as to the relative chances of the numerous candidates who are in the lists. But with the disappearance of Marmier and of Renan, who were amongst Zola’s bitterest literary antagonists in the Academy, the prospects of the chief of the Naturalist school of obtaining the coveted seat in the institute should be much better than they were formerly. — - Pierre Louys, one of the most charming of the young poets of France, communicates to me the news of a literary discovery of some interest, which he has just made at one of the public libraries here. At this library he came across a copy of Ronsard’s “ Hymnes,” which he says he 197 has every reason to believe is the identical copy which consoled poor Mary Stuart in her -aptivity. It may be remembered that when the luckless Queen of Scots was asked whether she wished for a Bible to read in prison, she replied that her volume of Ronsard sufficed her. The volume in question, which according to the catalogue of the library, was purchased in England, bears on the fly-leaf, in female penmanship, the inscription “Per far’ il mio cattivo tempo piu suave.’ There is also other contributory evidence as to the origin of this book. Ropert H. SHERARD. ea JOHN GREENLEAF WHITTIER. So HE death of John Greenleaf Whittier, “ the good, gray poet,” as he has been affection- ately called, has removed another link from the chain which connects all that is best in the old New England life with that of the present day. His end was peace, and his eyes closed upon the scenes dearest to him on earth, and his last breath was drawn in the loved quiet of his home at Hampton Falls, New Hampshire. Born on Dec. 17, 1807, he had long passed the span of three score years and ten; and yet, till quite recently, his peaceful life was full of gentle activity. his pen was not altogether idle, and his heart was full of the same sympathy for human suffering and noble thought which has served to make his poetry “heart music ” to so many who were, and are, diametrically opposite to him in tendencies and creed. His common ancestor— Thomas Whittier—fleeing from the persecutions of 1638, sailed, with other Nonconformists, in the Confidence, of London, and landed to settle in New England. Whittier lived and died a Quaker, retaining their simplicity of attire and their mode of address. Much that made the Pilgrim Fathers, his ancestors, what they were, made him what he was. What his early life was at the farmhouse at Haverhill we can gather from his tender and soberly graphic word pictures in ‘ Snow Bound.” His life work, “to sing the fetters off the slaves,” was begun when he sent his first verses to the office of the Newburyport Free Press, which was then edited by William Lloyd Garrison, the great Abolitionist. The visit which Garrison, struck by the power of the verses, soon paid to his unknown contributor, was the beginning of a friendship of many years, which was to have an almost immeasurable influence over the future of the farmer’s son. At first Whittier’s father had little sympathy with him, 198 Indeed his boyish poems have very little save biographical interest. In 1828 he left Haverhill for Boston, and once there he rapidly drifted into journalism. Strange to say, he was at first engaged on a Protectionist paper, the Boston Manufacturer. : The starting of the Liberator, in s a Boston attic near the sky,’ aroused in Whittier a desire for nobler and higher poetical flights, and led him to embrace the Abolitionist cause with fiery enthusiasm. He himself has told of his ‘soul’s awakening” thus: God said, Break thou these yokes ; undo These heavy burdens. I ordain A work to last thy whole life through, A ministry of strife and pain. In those early days, too, to be a prominent member of the Anti-Slavery party (which the poet speedily became) meant often the carrying of one’s life in one’s hand. Several times the Quaker poet and journalist escaped the fury of his opponents with difficulty. Indeed, so strong was this antagonism, that for years his articles and poems were refused by magazines and papers, which by their insertion would have courted a literary death. After the destruction and burning of the offices of the Pennsylvania Freeman, Whittier returned to his old home at Haverhill; eventually selling the farm, &c., in 1840, removing with his mother to Amesbury. His stirring war songs offended many of his less enthusiastic co-religionists, and earned him the nick-name of the “Martial Quaker.” For his later years was reserved the full know- ledge of what his inspired pen had wrought. Life’s aftermath was for him full of touching incidents and delicate tokens of the love and esteem in which he was held, not only by his own countrymen and contemporaries, but also by thousands in the land of his forefathers across the sea, Of his own writings he had said : And thou, my song, I send thee forth Where harsher songs of mine have flown; Go, find a place at home and hearth Where’er thy singer’s name is known; Revive for him the kindly thought Of friends; and they who love him not, Touched by some strain of thine, perchance may take The hand he proffers all, and thank him for my sake. And in the evening of his life assuredly this wish came true. That he was not a great poet in the truest and widest sense of the word must be allowed. His knowledge of life was too restricted; his sym- pathies were, in fact, wide only in one direction, they were not in the least cosmopolitan, and in creative ability his verse is admittedly lacking, THE AUTHOR. But he possessed, to a marked degree, a fiery, virile vigour of expression, a power to hold men, in his anti-slavery songs; and in his other poems often runs a vein of the truest tenderness, which touches the heart where more “ finished ” yerge and less old-fashioned metres would fail to awake a quivering, responsive chord. He has been called a “monotone poet,” perhaps rightly go, There is a grey, cool quietness about much of his verse which lends accuracy to this definition, the outcome of a life which was peaceful and retiring, broken in upon but little by the pulsa- tions and passion of the world, of which, indeed, he saw scarcely anything, except in the Boston days. it was in 1835 that Whittier published “ Mogg Megone”; ‘ Ballads” followed in 1838; “Lays of my Home” in 1843. Next year, another volume, and the same year the first English edition of his poems, with an introduction by Eliezer Wright. In 1849 Whittier collected his Abolitionist poems, which he called ‘“ Voices of Freedom”; previous to this issuing two prose works: ‘The Stranger in Lowell” (1845), and ‘“Supernaturalism in New England’ (1847), During the periods immediately preceding and following the Civil War, his works were issued in rapid succession. In 1853, “The Chapel of the Hermits, and other Poems,” and “A Sabbath Scene” appeared; to be followed in 1854 by “Literary Recreations and Miscellanies.” Amongst his later works may be mentioned “ Snow Bound” (1862), certainly one of his finest works; “In War Time, and other Poems” (1863); then “ National Lyrics,” ‘‘ Among the Hills, and other Poems” in 1868. ‘ Hazel Blossoms ” was pub- lished in 1874, and “ Mabel Martin” in the year following. In 1878 came “ The Vision of Echard, and other Poems,” the ‘“‘ Bay of Seven Islands, and other Poems” in 1883, and “ St. Gregory’s Guest, and Recent Poems” in 1885. An edition (revised by the poet himself) of Whittier’s poems was issued, in seven voluines, in 1888-9. The latest and best English edition, is that published by Messrs. Warne and Co. It was first issued in 1891, and contains a_ brief biography, notes, and an index. Curve HoLuanp. pees. THE AUTHOR. £00 OUR LATE PRESIDENT. PP\HERE is no need for any words of ours to swell the chorus of appreciation and veneration and sorrow which has risen up spontaneously from a whole nation. Such words would appear too late. Suffice it for us to acknowledge our deep debt of gratitude to the late Laureate for accepting the post of President to our infant Society. The service which he rendered to us and, we believe, through us, to literary men and women of every branch—by giving us his countenance and his protection at the outset when we were a small Society, doubtful whether we should survive the early storms of derision, and doubt, and disbelief against which we had to steer our little bark, was simply enormous. Let it be remembered, now that we are nearly a thousand strong ; let it be remembered when, in days not far distant, our membership will be five times as great, and our action will be unanimous, and we shall have learned at last that our inde- pendence can only be secured by association of a far closer kind than any yet attempted—that Lord Tennyson made this possible. Those of us who think that the material interests of literature must be placed on an equitable basis, and must be protected for the author —not by the author—and that to effect this reform is to render the greatest possible service to the independence and the self- respect of literature, which must needs be degraded by servility and dependence in her followers, will agree with us in thinking that the world at large owes its deepest gratitude to Tennyson for assisting to make the reform possible. We are under no illusions: we sball not effect this reform to-day, or to- morrow; but our education advances. Already a more dignified attitude is assumed by authors; -already the young men are seeing the necessity of association ; already even the older men, brought up in the old school, are recognising the convenience of the Society for advice and assistance. For all that has been done, we owe recognition of the Presidency of Tennyson which made it possible. For all that will be done we owe recognition of his Presidency when the foundations were laid. peat NOTES AND NEWS. HE list of those who were invited to join in the procession of Tennyson’s funeral has been published in the Times. It includes a great many names unknown to the world, but probably there were private reasons good and suffi- cient for including them. Tennyson’s own church was represented by six bishops and many clergy- men; other churches were represented by the Archbishop of Westminster, Dr. James Martineau, the Rev. Hugh Price Hughes, the Rev. Dy; Joseph Parker, the Rev. Dr. Guinness Rogers, and the Chief Rabbi, Dr. Adler. The universities and schools were represented by the Vice-Chan- cellors of Oxford and Cambridge, Principal Caird, Professor Salmon, the Masters of Trinity, Balliol, and Magdalen, and the Head Masters of Eton, Marlborough, and Harrow. About a dozen peers attended. Law was well represented by the Lord Chancellor, Lord Selborne, the Master of the Temple, Lord Justice Bowen, Sir R. Webster, Sir Frederick Pollock, and Judge Hughes. The Army and Navy had, among other representatives, Lord Wolseley, Admiral de Horsey, General Sir E. A. Hamley, General Maurice, and Colonel Crozier. For the arts there were invited, for poetry: Alfred Austin, Austin Dobson, Andrew Lang, George Meredith, Lewis Morris, William Morris, Roden Noel, Coventry Patmore, Swinburne, Aubrey de Vere, William Watson, and Theodore Watts. For fiction: Hamilton Aidé, J. M. Barrie, Walter Besant, William Black, Conan Doyle, Baring Gould, Thomas Hardy, Henry James, George Meredith, James Payn, W. Clark Russell, J. H. Shorthouse, and Julian Sturgis. For painting: Herkomer, Holman Hunt, Burne Jones, Leighton, Millais, Val Prinsep, and Briton Riviére. Henry Irving alone represented the art of acting. For music: Sir George Grove, Sir Arthur Sullivan, Dr. Charles Stanford. Science was admirably represented by Sir Robert Ball, George Darwin, Boyd Dawkins, Sir John Evans, Sir Joseph Fayrer, Michael Foster, Sir Archibald Geikie, Huxley, Lord Kelvin, Norman Lockyer, Sir Alfred Lyall, Pritchard, Sir Henry Thompson, and A. Russell Wallace. General literature, history, and scholarship were well represented by Lord Acton, Canon Ainger, James Bryce, Pro- fessor J. Butcher, Rev. A. F. Church, Sidney Colvin, Froude, Dr. Ginsburg, Auberon Herbert, Frederick Harrison, Shadworth Hodgson, R. H. Hutton, Walter Leaf, Professor Jebb; A. H. Lecky, Sir John Lubbock, Professor Masson, Sir William Muir, F. W. Myers, Dr. Martineau, Clement Markham, F. T. Palgrave, Professor Seeley, Leslie Stephen, Professor Skeat, THE Henry Sidgwick, Aldis Wright. With such a list before one, a list prepared as carefully, perhaps, as the shortness of time allowed, it would seem out of place to pick faults and to point to omissions. Oertain unfortunate omissions will, however, occur to everyone who reads the list. 200 Concerning the immediate future of poetry in our language it is most difficult to make any forecast. It is quite true that there are not among us, as far as we can see, more than a very few young poets of distinct promise under the age of forty. On the other hand there are, among the sixty or seventy younger poets, some who have begun with a command of metre, rhythm, music, and rhyme which will compare favourably with many of their elders. The modern poetry—that of the last twenty years—whatever else it may be, has been, and is, a great school of versification. Swinburne led the way, but others have followed. The instrument has been made to yield new harmonies: it has received quite new music for the new songs. The young poets have learned this music: they began therefore where their elders left off. So that in considering promise we must not be led astray by dexterity. For instance, here is a little book by a new poet—the book is by Mr. Richard Le Gallienne. When one turns over the pages one asks “ Is this promise of the highest? or is it an echo of modern verse?”? I would rather think that it is promise of the highest framed and set in metres of the newest. Here, for instance—if one may quote— are lines which seem to me as good as could be written by any living poet. They are called “ Sunset in City.” Above the town a monstrous wheel is turning, With glowing spokes of red, Low in the west its fiery axle burning ; And lost amid the spaces overhead, A vague white moth, the moon, is fluttering. Above the town an azure sea is flowing *Mid long peninsula of shining sand ; From opal unto pearl the moon is growing, Dropped like a shell upon the changing strand. Within the town the streets grow strange and haunted, And, dark against the western lakes of green, The buildings change to temples, and unwonted Shadows and sounds creep in where sun has been. Within the town the lamps of sin are flaring,— Poor foolish men that know not what ye are! Tired traffic still upon his feet is faring,— Two lovers meet and kiss and watch a star. AUTHOR. I have often thought that the writing of English verse should be taught in our schools to all—girls as well as boys—who show any apti- tude at all for that work. In order to acquire the art, even moderately, think of the poetry that must be learned and studied. It is not onl the metre, the rhyme, the rhythm, the iilt of the verse, that must be learned and practised ; it ig the mode of expression; the way of narration; the choice of words; the acquisition of style; the perception of what is false, low, vulgar, or the reverse. In the time of Queen Elizabeth there were 240 poets in London alone; it is ag much as we can do to muster sixty or seventy poets of any mark among all the hundred millions of our people. One need not expect again such a splendid outburst of song; but there is no reason why the writing of verse should not be practised as much as the playing of an instru- ment. Should we try to manufacture poets ? That is impossible; but we might train every person with taste, a musical ear, and some power of expression into a writer of pleasant verse, disciplined and refined by the study of the best poetry in the world—our own. It would be invidious to mention names, but anyone with a moment’s thought can poimt to many of our sixty minor poets who are nothing at all but men or women who have acquired by study and piac- tice the art of writing pleasing verses. It has been a study of the greatest benefit to them- selves; it has not only filled their minds with noble thoughts, but it has taught them to attempt lofty thought for themselves. If they have not greatly succeeded they have at least raised them- selves out of their former level. Thomas Hardy in the cheap edition of “ Tess,” reviews his reviewers. This raises the question whether an author should ever answer a review. To begin with, in sending a book for review one invites an opinion, and must not grumble if the opinion is unfavourable. But then, when the opinion, good or bad, is pronounced without reading the book at all? or when the book has been imperfectly read ? or when the book is mis- represented ? or when, in the case of a novel ora poem, the opinion is given without the least understanding of art? or when it is simply a malignant opinion? or when it is the work of the professional bludgeon wielder? or when it is the opinion of a school girl or a novice hand put on to do the reviews? or when it is a line and a half in a batch of twenty books? In most of these cases, the best thing to do, I believe, is to say nothing, but to take very good care that no copies of future works shall go to that THE AUTHOR. review. But then there is nothing to prevent any review, or any reviewer, from “slating”’ the book without a presentation copy. Is there ? Is that so? Ifaman falsely say of a baker that he makes poisonous bread ; or of a chemist that his pills are pure flour and water; or of a physician that he is a quack; or of a solicitor that his advice is not to be trusted—these practitioners have their remedy in a court of law. And so, I believe, has the author upon whose work the reviewer uninvited makes an onslaught. He may bring an action as one who has suffered material injury by the uninvited reviewer. If such an action were ever brought we should hear very little more of the gratuitous and meddlesome uninvited slating and sneering, which is now passed over. In the case of “Tess,” Mr. Hardy perhaps felt that he had more to complain of than any recent writer. The book in certain papers was reviewed by critics absolutely ignorant of what is meant by Art in Fiction. To such as these a story is always pleasant or it is unpleasant—one or the other. That is their sole and simple canon of criticism. The new preface is a protest against such criticism. The whole protest is summed up in the words of Schiller, quoted by Mr. Hardy in that preface: ‘“ As soon as I observe that anyone, when judging of poetical representations, considers anything more important than the inner necessity and truth, I have done with him.” These lines should be printed at the head of every review which considers any branch of Art whatever. And when one who does not know these words and their meaning is admitted on any paper to be a judge of Art, it is time to forbid any further invitation to that paper for any opinions at all. The following letter has been most appro- priately addressed to a young lady, a novelist :— New York, Sept. 26, 1892. Dear Madame,—I wish to obtain your aid in making Science more of an international journal than has been possible in the past. The paper was established in 1883 as a means of weekly discussion among American scientific men. Now, in the tenth year of its existence, there are nearly 1000 Americans, and Europeans as well, who have become contributing subscribers, in accordance with the attached blank. We cannot offer any cash honorarium for contributions, but the paper shall be sent to those who will use it, and 100 copies of the issue containing his contribu- tion shall be sent any contributor, on request in advance. Kindly notice how small is the contribution asked, not enough to fill a third of a page once a year. The number of contributing subscribers in Europe is increasing so rapidly that the publication of a London sheet to Science is contemplated, to insure more prompt publica- tion of European contributions. This would necessitate an increase in the size of the paper and an increase in the price to 6:00 dols. (£1 58.) in all countries. We would begin the publication of the London sheet if we could secure 1000 VOL. III. 201 cash subscriptions in Europe. One-half of the enlarged Science would be printed and published in London, and the other half in New York.—Yours truly, N. D. C. Hopaus. N. D. C. Hopa@Es :— You may enter me as a subscriber to Science, for one year from ,and I agree, in return, to send contributions for publication in the paper to the amount of at least 500 words before the termination of the year, or, in default of such contributions, to pay you 4°50 dols., the foreign subscription price. NGUHO: ee ee Address [We do not ask for a remittance now, unless you wish to become a subscriber immediately. } N. D. C. Hopazs :— You may enter me as a subscriber to Science, and Tagree to remit £1 5s. (6:00 dols.) as soon as the paper is enlarged by the publication weekly of the London sheet. Name __ Address __ Let us see how this works out. At present if any one has any contribution to make to science in any branch at all, any scientific journal in this country is ready and anxious to publish it. More- over it is reasonable to suppose that any scientific paper which is not the organ of some special branch would be equally willing to pay for such a contribution provided it was really an addition, even the smallest, to real science. This American editor, however, invites contributors to send him papers of at least 500 words each, in return for which they are to have the paper free. This is not made very clear, but it seems to be implied. Who is to decide whether the papers are real con- tributions to Science or not? Clearly, the editor ; who else? Then how is any one to know whether the editor will prefer his sovereign or his contri- bution? The idea is a neat and happy one, but in the interests of our countrymen we advise them to try the British scientific papers first and last, because if these papers do not accept their articles, they may rest assured that they are not scientific, and so will keep this 4°50 dols., which is nearly one pound sterling, in their pockets. On the subject of the slow unfolding of the opening portions of a novel Mons. Octave Feuillet makes several interesting remarks in a preface (in the form of a letter) which he wrote to Mons. Henry de Péne’s novel, “ Trop Belle.” (Paris: Ollendorf. 1887. 12°.) Mons. Feuillet insists that it is necessary, “Faire préalablement, au lecteur, une connai- sance intime, profonde, avec les personnages aux- quels on a la prétention de Vinteresser. On ne gintéresse sérieusement, en effet, qu’aux gens qu’on connait. On lit tous les jours, dans les faits divers, mille accidents arrivés & des inconnus, et on continue R 202 tranquillement de déjeuner. Mais si l’accident est arrivé & une personne de votre connaisance, et surtout de votre intimité on s’emeut, on s’ecrie, on se passionne, on est saisi! De méme, pour que le lecteur prenne un vif intérét aux faits et gestes des personages que vous lui presentez, pour qu’il soit sincérement touché de leurs souffrances et de leurs joies, de leur vie et de leur mort, il faut qu’il soit intime avec eux. On ne doit pas done craindre d’etablir solidement les characteres, et de rewonter aux origines.—C’est ce que le profane vulgaire appelle des longueurs.—Bref, pour en venir & interesser fortement le lecteur, il faut quelquefois avoir le courage de commencer par Vernuyer un peu.” The paper below, called the “ Porter of Bagdad,” is sent to me by a Canadian, who protests against certain allegations as to the literary silence of Canada. ‘The little sketch originally appeared in a Canadian college magazine some eight years ago. Of English book plates there are more collectors than the world wots of. One might certainly collect things much less interesting. Some time ago Mr. Franks, who has a collection of 80,000, was so good as to include my own book plate —which was designed, I believe, by Mr. Thomas Crane, among four specially selected for commendation in a paper read before the Midland Institute on the subject. I then had letters sent to me by sheaves and waggon loads— at least there is a memory as of waggons—all asking for copies of that book plate, and this it was which taught me what a large number of persons collect book plates. Among them is Mr. Egerton Castle, who has made a very pretty collection, at those intervals when his more serious pursuits with foil and rapier have left him time. And he has indited a fine volume all about them, with a hundred examples and more. It is a handbook on the subject, and the edition will consist of no more than a thousand copies. But perhaps there are not more than a thousand collectors of book plates after all. The publishers are George Bell and Sons. The report of the London Booksellers’ Society, recently read at their annual dinner, brought out two rather unexpected points. This is the first. Most of us have been accustomed to consider that the upspringing everywhere of free libraries would be of the greatest benefit to our friends the booksellers. This, it appears, is very far from being the case. <A practice has arisen of tendering the supply of books to the cheapest offer, so that the bookseller who has to supply the library fre- THE AUTHOR. quently does so at a price which hardly pays for the paper and string to wrap the parcels. Consider. ing that many of the managers of the free libraries are themselves business men, it is won. derful that they do not protest against such a a system. The price of books is practically fixed || at 25 per cent. off the advertised or “face” | © price. To require a further reduction seems to © ignore the first principles of work and pay, that ve the latter should be adequate to the former, og The booksellers hope that the publishers will | 7) stand by them in this matter. If they do not, os it will be disheartening to the trade, but one ~? hopes that they will. Action should, however, yf be taken in every town where a free library ye exists, to keep the supply of books in the town, and in the hands of the local bookseller, at the proper recognised price. In our municipal pa institutions, at least, let us endeavour after justice. oo Many of our members may be willing todo what | in them lies in order to get this very real AS grievance remedied. This is the second point. We have always | been accustomed to think that the discount of ¥ 25, per cent. off the published price was a foolish | # and an unnecessary thing, productive of an unreal hi price, and conferring no benefit upon buyer or | * seller. I now learn that in the eyes of the trade = & this is a fait accompli, and must be recognised, a and will continue. Well, one is sorry. : The London booksellers have started examina- a tions for their assistants. They award certificates ¥ and prizes. The questions asked in the last e examination, apart from the technicalities of trade, = were on well-known authors and their publishers ¥ and their editions—a very difficult subject,consider- = ing that authors change their publishers so often. a Who of us could offhand give a list of the different 5 publishers, at different times, of Andrew Lang, 4 Thomas Hardy, or William Black? Another very — i : useful question was the best books on certain : chosen subjects. Nothing but good can come of keeping the book trade out of illiterate hands. Perhaps some way might be devised of bringing our own society into closer touch with the Booksellers’ Society. One of the speakers at the dinner dwelt with great force on a return to the old system when publishers were booksellers. In those days, thatis, all through the last century, and far down in this, publishers were general booksellers as well. One result was that the publishers of the last century play a very much more conspicuous part in lite- rary history than they do now. At the present THe AUTHOR. 203 day the publisher sees the author—or the author’s agent—in a_ secluded office. Formerly, his shop was the resort of all the men of letters. Consider the figure of Robert Dodsley, who started the great Dictionary and the Annual Register—who projected Johnson’s “ Poets” —all these things were done in his shop among the authors who frequented it to talk with him and with each other. The country clergyman wrote to the Bible and Crown—Rivington’s—with their sermons and for their books. Tom Davies— known to readers of Boswell—was described by Johnson as learned enough for a clergyman. He was famous for the tea-parties at which he enter- tained authors. Jacob Tonson was the founder of the Kitcat Club, and satin the company of all the wits of the day. Edward Cave was editor as well as founder of the Gentlemen’s Magazine. Perhaps it is impossible to restore the old condi- tions. But it is as well, from time to time, to think of them, A correspondent writes to say that he wished to engage the services of a literary agent for the placing of an article in a magazine, and was informed that a fee of three guineas must be paid before anything was done. “Imagine,” says my correspondent, “paying a three-guinea fee for atwo-guineaarticle!” Itis rather absurd, though much more absurd things are constantly done in the mad rage to get into print. The agent, however, is perfectly within his right in demanding any fee he chooses before doing any work. A solicitor does much the same, that is, he does nu work, not the least service, without sending in a bill. The questions raised are these: (1.) Is the fee reasonable? (2.) Is the service rendered of sufficient importance to the author? (3.) Is the agent able to do what the author cannotdo? The first two questions may be left to be decided for each case as it arises. The third, however, we may consider here. And, briefly, it is not likely that an agent can persuade an editor of a magazine to accept the work of an untried and unknown author on his own recommendation. The editor would not be worthy of his post if he did not decide upon any MS. on his own judgment. No agent, in fact, can advance an unknown author with the editors of magazines. He may, perhaps—it has been done—assist an unknown author with pub- lishers, but hardly with editors. The beginner must follow the road that has been travelled by all who have succeeded or have failed. He must submit his MS. to the editor. There is nothing else for him todo. Many grievous disappointments would be avoided if young authors would only remember this most obvious fact. Water Brsanrt. IN MEMORIAM. Hymn For THE LAUREATE’S FUNERAL. (Hymns Anct. & Mod. 24—“ Abends,” or to any L. M. Tane.) ‘Every perfect gift is from above, and cometh down from the Father of Lights.—James i., 17. Father in Heaven! Whose bounty gives All music on this earth to be A means whereby man’s spirit lives, We give Thy singer back to Thee. The fountain’s fall, the thunder’s roll, The winds that whisper thro’ the land : These are but echoes of Thy soul To tune the harp in mortal’s hand. And this Thy servant heard the chime ; He smote a chord of wisdom deep ; So serving Thee, he served his time, And, singing, entered into sleep. We tread the solemn Abbey nave To add our treasure to the store Of jewels in the silent grave ; But, in the hush, we feel him more. For all his thought, and all his song, In this dim world, was pure and right : God give him grace and power among The Angel-singers of the light! AMEN. H. D. Rawnstey. FEUILLETON. iL Tue Porter or BaapaD. E was always sure to be seen at the same H place day after day, near the eastern entrance of the great Bazaar, waiting for custom or marching quickly away with his bundle on his head. There was always the same look on bis face; and it was im no wise more significant than that of a flag im the pavement or a stone in the wall. His garments too, were common and never changed to the slightest rag. He was so constant and serviceable, that every- one in the Bazaar used him, though thinking no more of him than of the stones they trod on in the street. Not one of those who employed him daily could have said with certainty that he was young or old, tall or little of stature, dark in the face or ruddy. And so he was busy the whole day long, bearing the goods of the shopkeepers to and fro in the city. Sometimes the merchants browbeat him, and the slave who took his burden from him at the door cursed him roughly for very hardness. Sometimes he did his errand amiss, THE 204 and must retrace his way through many long and weary streets before his error could be righted. Often when his load was heavy, and the sun hot, he was jostled in the narrow streets by the trains of camels, laden, too, like himself, with great packs of silks and strange woods and spices brought from India to please the Commander of the Faithful. He was a good Mussulman, often in the mosque, and praying at every call of the muezzin. At sunset his work was always over, and, after he had bathed and prayed, he was soon lost to sight in the crowds streaming over the bridges of the Tigris to the poor quarter in the south of the city. There he lived alone in a large house of many tenants. He had neither slave, nor wife, nor child, nor any friend in the whole quarter. Indeed few knew he lived there, so silent was his life. His room was always dark when he reached it, and outwardly was like other rooms, but as soon as the porter crossed the threshold all was changed. The room was dark, but it was soon light. For by his divan stood a hateful Djinn enchanted and motionless. It stood there just as the great Chinese magician had fixed it by his power. It was dwarfish and hump-backed, with an evil face: its body bent, its hands clasped behind, and its long thin legs, brown and shriv- elled like a crane’s, had grown together in one. As soon as the porter touched the Djinn’s single eye the whole room was one flood of mellow light, like the Caliph’s spice-garden when the thousand silver lamps are lighted at once. Then you could see how large the room was and how near it lay to the good Haroun’s palace. The roof was so high and the walls so wide, that one would think it wasan audience-chamber. For there was room for busy slaves, setting out a banquet in a wide portico that looked upon a garden of palms. They ever poured red wine from crystal goblets so thin it was a marvel their delicate sides held in the precious liquor. There were trains and troops of dancing.girls, brown-skinned and white, with little tinkling bells at ankle and wrist, and seated choirs of women singers with sweet voices, that sang continually. Foreign princesses, in beauty like the full-blown lotus flower, knelt before the Porter’s divan of silk tissue. But the great room seemed to have no walls, for the Porter could see from the divan he lay on far away where the great black and yellow cats played in their lair beneath the forest leaves, and further—where the ocean gleamed blue beyond the utmost land. As in a theatre, the heroes of old in glancing mail passed before him, and in shining robes great priests that taught the people. As ata play, he saw the daring deeds that spring up amidst the clash of meeting armies, and heard the words of AUTHOR. mighty captains and the shoutings of the men of war. Hesaw a thousand perils men pass through from love or from strength alone. The many lovers of song and story who were faithful unto death passed before him; he saw them in their delights and in their despairs, and heard their softest whispered word. The Porter was a part of it all: he taught with the priest, warred with the hero, worshipped with the lover. And all this flowed to and fro before him endlessly ; one brightness and beauty melting into another; each in turn changing, passing, and replaced. The girls danced, the women sang, and the Porter with the bright-eyed Djinn at his side saw it all from his divan. And up and down through and among it all floated and hovered a single roseleaf from the gardens of Gul, soft, white, and creamy, steeping the air with an enchanted perfume of its own. It seemed blown by the longing music or moved to will and impulse of the sweet sounds among the slender waving arms of the dancing girls, sometimes almost falling to their bare, soft feet ; then, rising as a bird rises, it might poise against the dark robes of an Indian princess or the painted hide of a beast of prey. But it never quite settled; it might rest a moment on the shining hair of a queen or the helmet of a warrior, but only as a white butterfly alights. The impulse of the music or the wind of the swaying robes came upon it and it was away. It advanced and receded. Sometimes it broadened to a banner of white silk fluttering in desert winds at the head of a black steel-clad army ; sometimes it was the sail of a king’s galley on a distant sea, and again the rounded gleaming snow-crest of the highest Hymalaya. And ever among the beauties of women, the strength of heroes, the deeds that live, the words that burn, the gorgeous colours of beasts of prey, mountain wastes, ivory cities, and lonely forests floated and swayed that rare white rose-leaf, while its scent lay heavy on the air. Last of all, the fairest of the women slaves came to him on the wide divan. She took his head upon her lap and shut his eyes to sleeping with her white soft hands, so gently that the Porter could not know it was the magic white rose-leaf settling at last and falling there in coolness, perfume, and unending rest. And darkness was over all. At early morning he was at the eastern entrance of the Bazaar, waiting till some mer- chant should give him work todo. But none of those who hired him knew what things he had seen and lived through since the day before. ARCHIBALD MAcMECHAN, THE tL CacornTHES SCRIBENDI: AN APOLOGY. “Do you still try to write,” asked Marcia, brutally. “J still write,’ answered Helen, with some dignity. Marcia went on, unabashed : your things accepted ?” Helen shuddered, but, after a moment’s pause, she said firmly: “ Not often.” “How often?” “About once a year I find an—appreciative editor.’ The bitterness that Helen carefully kept out of her voice betray ed itself in her smile. “Bach time I imagine it to be the beginning of better days ; but it never ise “Do you think these matters are governed by merit—or private interest—or what F Are they fair to the young aspirant, these editors ?” Helen smiled; this time without bitterness. “Yes,” she said, in a tone of conviction. ‘I believe in them. It stands to reason that they are governed by the merits of the manuscripts submitted to them. Their object is the success of their magazines. Why should they accept inferior work? Believe me, abuse of the much- enduring editorial race is the last resource of incapacity. J do not represent Incapacity, but Mediocrity ; therefore I still believe in editors. Of course, like every other class, they have their bad habits. They are apt to forget that the sensitive writer of manuscript is suffering from daily palpitations on the arrival of the post-bag. But they are improving. I heard a friend of mine say the other day: ‘ Oh, the editor of the Frisoler is so kid! He always returns one’s manuscripts at once !” Marcia laughed. “It appears to be a cheerful kind of life,” she said, drily. “May one ask, without seeming impertinent, why you go on? Do you think it is merely a matter of perse- verance? Have you confidence in your own powers’ Do you believe your enthusiasm to be a guarantee of ultimate suscess ro “JT can answer ‘No’ to all those questions,’ said Helen. “1 think perseverance goes a long way, but it is not everything. Something more than perseverance is needed—something that I have not got, and shall never have in this life. As for my own powers, I have no confidence in them at all. I have no consciousness of latent genius waiting for its opportunity, Give me the genius, and you may trust me to make the oppor- tunity. Enthusiasm, again, is a good thing, but it guarantees nothing. Have you never noticed « And do you get that the accomplishments, and not only the vir- tues, on which a man particularly prides himself, AUTHOR. 205 are the very ones in which he does not sbine? No, I have no faith in my productive powers, but in my perceptive powers I have much. I know good work when I see it, and I know my own work is not good.” Marcia looked half amused, and wholly puzzled. “That seems a great pity, my dear,” she said. “ But that being the case, I can only repeat—Why do you go on?” Helen's face flushed, and, throwing off ber manner of forced quietness, she began to speak quickly and earnestly. “T go on, my good girl, because there is no help for it! It isa disease, and I was born with ib, When I was a child I wrote hymns im my mother’s butcher’s book. Before I was tbirteen I had written at least two-volumes-worth of a novel. It never had an end, and,as far as I can re- member, there was no guarantee that it ever would end, though the sudden shipwreck of all the characters gave hope. Before [I was seven- teen I had filled three books with verses, which I called ‘ poetry’ then. I was as pessimistic and Jin-de-siecle as any minor poet of them all! Since then [have spent the greater part of my time in producing manuscripts that no one will ever read beyond the first page. I cast my bread upon the waters with the pleasing certainty that it will re- turn to me after many days. And I don’t care a bit! (‘Why so excited?” interpolated Marcia, mischievously.) “I don’t care, I tell you! What does it matter? Whatis this life but one among many—one rung of a ladder—one link of a chain? It is because I believe that with my whole heart and soul that I go on! It is because I believe that my efforts and failures here will go towards making me a karma of success in some other life that I go on! Perhaps in my last existence I did not try to produce at all, but, by earnestly cultivating my powers of receptivity, I prepared the way for my present craving to create. The impotence of that craving is probably due to some former want of perseverance, some weakness of purpose. Or perhaps, again, I did try my utmost in that past life,for it may be that the advance from the passive to the active state 1s the most that can be done in one step. Do you think that a George Eliot can be manufactured 1 one pitiful little lifetime ? Ridiculous ! It must take lives upon lives and ages upon ages to de- velop genius like hers. The more I think of it the more unlikely it appears to me that our powers are arbitrarily doled out to us. It is far more probable that they are the accumulated result of our efforts in past lives, and the embryo of our successes in future lives. Don’t you see, then, that I must work—work—work ;_ that I must keep myself up to the farthest tension 206 THE of effort; that I must never falter for failure or discouragement? Perhaps in my next hfe, or the next, or the next after that, I shall be able to write—I shall succeed.” Helen emphasised the last word with a stamp of anticipatory triumph, and paused to take breath. After a few moments she went on more calmly. “Meantime, I am obliged to be constantly sub- mitting my attempts to the editors of magazines, that being my best means of judging of my progress.” “And meantime,’ added Marcia, with a glint of humour in her eye, “isn’t it a little hard on the editors?” Cravis. ee as THE MOSS LAND. By Hume NIsser. I cannot reach the stars, But I can find a shade Beneath this moss-tree glade, Away from human jars. I emulate the mites ; And with them sympathise, And borrow their sharp eyes To climb their giddy heights. Our world, this crack is all. Each speck of earth has grown A most stupendous stone. Eternity the wall. The thing that cannot fly, May surely learn to crawl; Grow like its neighbours small, Or rule a lesser fry. Here do I wear the crown, My kingdom half an ell. My subjects ne’er rebel For I could knock them down. We are a cultured band, We fight, snd steal, and slay, And justice pawn away , As in the bigger land. We love, and fear, and hate, And cheat, and lie as neat, As if we were six feet, And lived in court and state. The Alps are mere ant-hills To angel-eyes I mean. Each inch of moss so green A forest densely fills. There is no form, or size; There is no test of hue; The truth to me, to you Is but a peck of lies. Time is an idle tale, The stone-cased frog is young, The midge, his hour once sung, Grows old, and stiff, and frail. AUTHOR. THE PRESERVATION OF AUTOGRAPHS, J \HE proposal to form a society, to be called | “The Society of Archivists and Autograph Collectors,” is one that deserves the atten- tion of authors. Perhaps, by the time these lines meet the eye of the reader, the new society may have been already happily inaugurated, and, if go, literature will be provided with one more hand- maid very usefully devoted to her service. It is true that a great number of learned, antiquarian, and literary societies already exist, so many, indeed, that there is occasion to fear that they may sometimes rather divide than concentrate the energies of their supporters. None, however, has exactly the same aims as those which the new society proposes to itself, and those aims are most undeniably useful. Commencing from the banding together “for mutual benefit” of collectors of autographs, whether those who are very seriously engaged in that valuable pursuit, or those who have taken it up more lightly, as a tasteful hobby or occasional pastime, the Society of Archivists proposes also to attempt something towards educating the public into regarding “ old papers” with more of the reverence due to them, to exchange views as to the collection and preserva-_ tion of manuscripts, and to compile a reference catalogue, as complete as possible, of the many valuable MSS. scattered about the country in private and other collections. The last mentioned undertaking would be gigantic, but the society’s programme is certainly an admirable one, and one that should command the sympathies of all authors and literary men. For the whole world of letters has no greater or more terrible foe than this ignorance of the respect due to “old papers,’ which the new society arms itself to fight. This ignorance, public and private, has robbed us of what wecan neither replace nor afford to lose, and is robbing us still. Ever since man first discovered a device for scratching a record of his thoughts on a stone, to the present hour, parallel with all the labours of the student, the scholar, the historian, and the poet, of everyone who has ever written anything, has marched unspeakable ignorance, more ready than wanton malice to destroy anything set forth in letters, from the grandest flights of poetic genius to the humblest “ Hic jacet”” that records the shed- ding of a tear. Indeed, it would hardly be an exaggeration to say that ignorance has had things all its own way. If aught has survived of the labours of authors for thousands of years, that has been due rather to blessed chance than to any momentary abstention on the part of ignorance from its niko, . geal Y THe AUTHOR. destroy. Neglect has sometimes passion to proved more safe than care, and idle time, a faithful custodian of treasures, man had cast aside. A long array of cases in point might be easily adduced. But it is superfluous here to repeat what any man may read in that sad chapter on the “ Destruction of Books” in Disraeli’s “ Curio- sities of Literature,” a work which certainly ought to be on the shelves of every English author. Unfortunately, such things as are there narrated are going on still, both in small ways and in large ; and if no one is now engaged in burning the poems of Sappho, or in burying a whole Slavonic library,* that is only because neither enterprise is, unhappily, any longer possible. To compensate itself ignorance is still busy, burying, burning, and tearing up all that it can, and the only way to stop the mischief is by putting an end to the ignorance, or, in fact, by trying to impress humanity, as the Society of Archivists hopes to do, with some notion of the value of “ old papers.” Meanwhile, as these pages come under the eyes of a good many authors, it is a painful duty to remark that there have been few greater sinners in the matter of neglecting to provide for the proper preservation of autographs than authors. Considering how great is the labour which authors often bestow upon their works, and how great the affection with which they invariably re- gard them, their cavelessness about their fates may seem incredible. Nevertheless, this careless- ness is a familiar phenomenon. Doctor Johnson dwelt upon it (Idler, No. 65, July 14, 1759). and what he wrote will be read with the interest that attaches to all the utterances of so great aman. “ He who sees himself surrounded by admirers . is easily persuaded that his influence will be extended beyond his life with hopes like these, to the executors of Swift was com- mitted the history of the last years of Queen Ann, and to those of Pope the works that remained unprinted in his closet. The performances of Pope were burnt by those whom he had perhaps selected from all mankind as most likely to pub- lish them ; and the history had likewise perished had not a straggling transcript fallen into busy hands. “The papers left in the closet of Peirese sup- * This wholesale destruction of documents, of a peculiarly valuable sort, took place in 1823. Jakim, metropolitan of Sophia, having learned that a number of old Bulgarian manuscripts existed in the village of Cerovene, near Berko- vica, informed the peasants that, unless they either burned or buried the books, he would not enter the village. The books were buried, all but three hidden by a rope. In 1864 search for the buried volumes brought to light nothing but Inmps of rotted parchment, 207 plied his heirs with a whole winter's fuel; and many of the labours of the learned Bishop Lloyd were consumed in the kitchen of his descendants. “Some works, indeed, have escaped total de- struction, but yet lave had reason to lament the fate of orphans exposed to the frauds of un- faithful guardians, How Hale would have borne the mutilations which his Pleas of the Crown have suffered from the editor, they who know his character will easily conceive. “The original copy of Burnett’s history, though promised to some public library, has been never given ; and who then can prove the fidelity of the publication when the authenticity of Clarendon’s history, though printed with the sanction of one of the first universities of the world, had not an unexpected manuscript been happily discovered, would, with the help of factious credulity, have been brought into question by the two lowest of all human beings, a scribbler for a party, and a commissioner of excise. “ Vanity is often no less mischievous than-neg- ligence or dishonesty. He that possesses a valu- able manuscript hopes to raise its esteem by con- cealment, and delights in the distinction which he imagines himself to obtain by keeping the key of a treasure which he neither uses nor imparts. From him it falls to some other owner, less vain but more negligent, who considers it as useless lumber, and rids himself of the incumbrance.” This is very serious admonition, and most seriously true. And it suggestsa question, which should be answered for himself by every author who sets any value on his autographs: “ What provision am I making for the preservation of my manuscripts in such sort as I should wish ?”’ There is. of course, no place in this world where anything is absolutely and for ever secure from destruction. But the safest place for manuscripts, notwithstanding the historic fate of the Alexandrine Library, is a public library; in fact there is no other place that is “ safe” at all. Had not Pepys’ Diary been in the library of Magdalen College, Cambridge, what would have become of this work in cypher, which, as it was, lay neglected and undeciphered for so many ears? Of how inadequate any place of custody, saving a public library, is, a most terrible example exists connected with a name no less than that of Aris- totle. Aristotle left his library and his auto- graphs to his successor, Theophrastus. These and Theophrastus’s own library were inherited by Theophrastus’s relation and disciple, Neleus, of Scepsis. Neleus sold both libraries to Ptolemy Philadelphus. But he retained, as an heirloom, Aristotle’s autographs. It is easy to imagine the sentiments which prompted him to do this; but 208 THE AUTHOR. how great a mistake he made the future was to show. The descendents of Neleus hid the manu- scripts in some sort of vault (kara yfjs ev duapvyé tere) that the Attali (who wished to rival the Ptole- mies in the formation of a great library) might not find them. For a couple of centuries the autographs lay exposed to the ravages of damp and worms, until, less than a hundred years before Christ, the wealthy Athenian book col- lector, Appellicon, of Teos, traced the valuable relics, and bought them from the ignorant pos- sessors. Apellicon, unfortunately, was far from possessing the knowledge necessary to restore correctly the damaged portions of the great philosopher’s autograph, and his edition of them was in many respects highly unsatisfactory. And all this was the result of a single mistake, of a not unnatural mistake made by a man who meant well, and was led by an “ amor habendi’”’ with which it is easy to sympathise! What con- sequences have ensued from less pardonable errors? Everyone can answer; for history teems with the destruction of books; whilst, probably, there is not a literary man living who cannot relate from his own personal experience some deplorable history of blundering or wanton barbarism. But authors cannot throw the first stone. The vast majority are as careless about their manu- scripts as Timon the Sillographer, who “ was bothered by the dogs and the maidservants ’’— the life of authors has always been the same! Timon’s manuscripts lay about half eaten by the rats ; and, on one occasion, when reading a work of his own to Zopyrus the orator, he suddenly discovered, when half-way through the book, some pages of the earlier portions which he had not missed. That the works of Timon have perished—cela va sans dire. Only a few lines remain to prove that the loss is exceedingly to be regretted, and to show that it is not the most worthless authors who are the most careless. How many authors in London at present have their manu- scripts so arranged that they can on the spot lay their hands on anything that they want? It is with the writer himself that recklessness about autographs begins, and the new Society might not do amiss could it commence by persuading authors to be a little more careful about manu- scripts. ‘ The institution of some depository like the Weimar Archive, which, from being a depository of Goethe and Schiller autographs, is now to become a storehouse of manuscript for all the great authors of Germany, might perhaps some day add a wider development to the careful pre- servation of manuscripts, too few of which at present find their way into the public libraries. That, however, lies in the distance, and it is to be hoped that the work of the “ Soc‘ety of Archivists and Autograph Collectors’? may soon be a present power amongst us. Their aim is a noble one, and has been ere now compared to what is perhaps the most humane and most touching of all enter. prises—the care of orphans. In a quaint dedica- tion to the collected works of Firenzuola, the editor, Lorenzo Scala, writes, “As it is the office of a kindly and compas- sionate mind, to take charge and care of those children of others, who, by the loss of theic dear parents, r-main orphaned and deprived of the most faithful and most winning sort of protection, how much more laudable and more generous an act should theirs be esteemed, who, with every kind of affection and love, devote themselves to the offspring of the intellect of another, when that offspring is left despoiled of the care of the affectionate author of its being. And, in truth, if he merits praise who undertakes to protect the fruit of the body, how much more worthy of honour and of commendation, is he who engages himself in the defence of the creatures of the mind? The former, though frail and perishing, are wont to be beloved and welcome, but the latter, pledges and fruits of what is divine in us, and therefore of much longer endurance, are our most continual and most honoured charge.” Henry CRESSWELL. pect THE IRRITABILITY OF AUTHORS. HE irritability of authors is proverbial. What is proverbial may be, in a rough way, assumed to be not very far from the truth. Why the author should be a peculiarly touchy and snappish animal does not so clearly appear. The phenomenon can hardly be ex- plained in the latest fashionable way of accounting for everything by the single word “heredity.” Perhaps, however, in the secrets of nature’s workshop there is some trick of warp and woof that, of necessity, occasions the peculiar com- plexion which constitutes irritability of nature to be a part of the composition of an author’s brain, just as it has been said that all nervous people are monarchists, and all melancholy people democrats ; which, after all, may not be true. Or, a more likely explanation may be sought in the fact that the exercise of an author’s profession, one which induces a nervous sensibility of a peculiarly complicated kind, possibly tends to ‘nervous tension that causes the fibre of an author’s brain to jar under circumstances incap- THE able of producing, in more slackly-strung natures any vibration at all. Be all that as it may, this is indisputable, that only too many people, who have had a good deal to do with authors, are more than ready to bear witness to their being a yery captious and touchy species, anything but delightful to their personal friends, and often trying in the extreme to the patience of those whom they ought to treat with forbearance and regard. ‘Allthis is sufficiently unfortunate. Yet, perhaps, after all, no one is so bitterly punished by the author’s proclivity to snappishness as the author himself. For the only happy aspect of this sad failing of literary people is, that the culprit is not ignorant of his own excessive irritability. Only, seeing that literary people are fully conscious of this weakness, why are not penmen of all classes constantly on their guard against it? Why do they not frequently ask themselves, in all seriousness, “‘ What is the use of l-sing one’s temper ?” It might have been supposed that a man, when meditating turning author, would recollect, amongst other things, that one of the results of his enterprise, whether successful or unsuccessful, must inevitably be a vast increase of what- ever share of natural irritability nature had put into him. But it is a well-known fact that men mostly become authors either without knowing it, or, at the best, without thinking at all definitely about what they are doing. And one of the consequences of this is, that when the hardships and difficulties of literary enterprises begin to appear, authors are enormously astonished, and not a little out of humour and out of heart. How people can suppose that any human enterprise can exist not beset with diffi- culties and disillusions is really inexplicable. Yet it is certain that no one thinks much before- hand of difficulties in authorship. The soldier and the sailor must run risks and encounter trials. The lives of solicitors, of medical men, of merchants, all imply many restrictions and much self-denial. Every calling in life has its drawbacks and its dangers. No one is ignorant of the fact. In making choice of a profession men reflect upon its hardships, and prepare them- selves to face them. Seldom, however, in the case of literature. Qui nihil scripsit nullum putat esse laborem. Almost every man is persuaded that he could write a book well enough if he chose to take the trouble. After he has been writing the diffi- culties appear, and then ensue the phenomena of the author’s peculiar irritability and proclivity to lose his temper. AUTHOR. 209 The first person with whom the author gets into a rage is himself. Little harm enough in that, it will be said—a just retribution ! Only it is no jesting matter to the man conscious of possessing all the abilities and powers requisite for success—saving the knack of keeping _ his temper. The story will not shape itself. The characters will not come out well defined. The The pen will not obey the behests of imagination. So the author gets into a passion with them all. He smashes the pen, curses his dramatis persone, and pitches his manuscripts into the fire. And then, what is his work the forwarder for that? No difficulties are surmounted by getting into a rage with them, but by taking time and pains patiently to effect what has to be done. The persons with whom the author next gets into a passion are invariably editors and pub- lishers. After many holocausts, some manuscript is at last completed, often more by good luck than by good management. The editor or pub- lisher, to whom it is offered, then refuses it. In nineteen cases out of twenty the author is abso- lutely ignorant why it is refused—whether because it has been sent to the wrong place, or because it is really worthless, or because the publisher has just accepted a similar work, or for which of fifty other reasons. That does not prevent his form- ing hypotheses. ‘There is a clique.” “The publisher’s readers never look at manuscripts, unless they are written by their own friends.” “ Nothing but bosh is ever accepted now.” And so forth. The author himself scarcely believes all those things that he says. But—suppose they were true. Then they would be facts about literary work with which he must reckon; just as the market gardener must reckon with the fact that a single frost may ruin his peach crop for the year. Getting to rages will not alter the case. Why not think of the difficulties with which men contend in other professions ? Why not have patience, learn wisdom from failure, and try to offer saleable work in the markets where it is wanted ? Later on the author is in a rage with the critics. Why? Because they tell him disagree- able truths? If they do, he is a lucky man. And seeing how difficult a thing it is, under any circumstances, to accept adverse criticism wisely, of what use is it for the author to complicate matters by losing his temper ? But the critics tell him nothing. They are asses! Be itso. And is not a man himself an ass who loses his temper with asses ? Still there remains the public—who have no discrimination ; and “ that great beast the general reader’’—-whose Philistine tastes are ruining scenario is a tangle. 210 THE AUTHOR. literature; and “the young person” whose mamma is the occasion of mawkishness marching triumphant through the land; and the “ idiots” —who persist in preferring some other man’s books; and the general *‘ cussedness”’ of every- thing. With all these the author is unceasingly getting into passions of different kinds. And of what use to him are his rages ? they alter anything ? He says that he cannot help getting into a rage. But he ought to learn to be able to help it. And this is certain, if he would learn, he would have an enormous advantage over the other authors who will not. Henry CresswE.t. Do CORRESPONDENCE. ie AvuTHOR’ AND Eprror. T is now considerably more thana year ago, shortly after the publication of Mr. Edmund Gosse’s Biography of his father, that I wrote a sketch founded on the book for a certain paper published in London and a country town. The sketch was accepted. Six months afterwards, however, it was still unpublished. I accordingly wrote, pointing out that, if not published before the book ceased to be talked of, it would lose its interest. No notice was taken of my letter, and seven or eight more months passed. Seeing that it now had little chance of being published at all, I wrote, pointing out that it had been kept till it was of no use to me, and demanding payment. In reply the article was returned without a word of explanations. D [This case is one of real hardship; if an article is accepted the writer cannot offer it anywhere else ; if it is not paid for, the writer loses the money on which he had a right to rely after the accept- ance. It would be satisfactory if a claim of this kind could be tried in a court of law, and a prece- dent established. Of course, editors are deluged with MSS. ; of course, also, if a paper is crowded out until the time for its appearance has quite gone by, the editor is not to blame. In this case it is clear that the editor, in accepting the MS., intended to use it if he could. Would it not be well to insert the words “if possible” or in some other way to indicate the fact that an article, although accepted, may not perhaps be published ? The writer could then please himself, either to take his chance or to try elsewhere.—Ep. | II. DrraMatTory Oriricism. I have read with much interest Mr. Cresswell’s article on “The Criticism of Novels,” which appears in the current number of the Author, In connection with the question may I say a few words on a subject which is of vital importance to those who belong to the humbler ranks of Authorship? TI allude to what may be termed defamatory criticism. Literature is a recognised profession, and every member of it is, in common with the members of other professions, entitled to redress, should his reputation be unwarrantably assailed. If in the exercise of his calling a doctor or a lawyer|is unjustifiably attacked by the Press, he has his remedy in an action of libel. But from this resource the unfortunate author is practically precluded. The difficulty of estab- lishing his case against a “critical” traducer is necessarily so great, that for an author to obtain legal reparation would be well-nigh impossible, Thanks to this immunity, there exists an ever- increasing class of so-called ‘“ eritics,” who are little better than literary cut-throats. The obscure author, or rather, the author just emerging from obscurity, is peculiarly their prey. Armed with insolent superficiality, and adepts in the art of denigration, they use their powers to mar, and, if possible, to unmake, reputations which, though modest enough, it has taken years of patient labour to acquire. It is idle for the victim to protest. Sentence has been passed ; there is no appeal. All that remains for him to do is to “ live it down,” a process which, however heroic, is scarcely conducive to fresh literary enterprise. It is surely high time that the newspaper editor sets his “reviewing,” department in order. Let him either dispense with the class of critics I have described, or add to his office staff a supervisor of reviews, whose duty it shou'd be to satisfy him- self that criticisms were, at all events, bond fide before they went to press. No reasonably author asks for favour: he will be perfectly contented with justice, and that in nine cases out of ten he fails to obtain. Rank AnD FIs. It. AMERICAN CoPYRIGHT. An authoritative opinion on the following ques- tion would be of some interest to your readers. A scientific writer produced a yery valuable work twenty years ago, which was at once seized and appropriated by the people of the United States without any payment to the worker. Now, if the author were to write another important chamter Bk Je, “ae. wade THE bringing the book up to date, and adding some valuable observations, and were to publish this chapter in an American journal so as to secure copyright for it, and then were to publish a new edition of the original work with the copyright addition, could the pirates produce the complete edition? Would there be a chance of the pre- servation of such a new edition from the piratical competition ? CURIOSITY. TV. Literary CRITICISM. You invite members to send you communi- cations on all subjects connected with literature. May I, therefore, make a few remarks on a curious piece of criticism which has just appeared. on a book of mine ? The book I refer to is, ‘‘ Gleanings from a Tour in Palestine and the East,” a second edition of which was published as far back as 1889. The critique alluded to only appeared this month, Oct. 1892. The reviewer says, in not very com- plimentary terms, “It is quite an old-fashioned book, with its unpretending woodcuts, and scraps of well-known hymns; but it is up to date, never- theless.” How it can be at the same time “ old- fashioned,” and yet “ up to date,’ Lam ata loss to apprehend. And would you believe, it, Sir, there is not in the book “one scrap of well- known hymns.” There are, indeed, in the volume some original poems, of which the Morning Post said, in a review which appeared at the time, “The verses written in contemplation of these sacred spots are marked by great beauty and devotion. They read like some of the Church’s glorious hymns of tbe Passion set anew, in fresh strains and varied metre.” These are what the critic in this paper calls ‘scraps of well-known hymns.”” It makes one ask if reviewers read the books they pronounce judgment upon in this summary fashion ? It certainly does not tend to give an exalted opinion of the fairness and justice of the critic’s craft. But there are critics and critics. Cuares D. Bett, D.D. Ae Tur Proposep SHELLEY LIBRARY. T have your kind permission to plead, in these pages, for the above project. I shall not trouble your readers with a statement of the reasons for founding the library and museum. The scheme has been discussed in many hundreds of journals throughout the world, and in almost every AUTHOR. 211 instance it has been heartily commended. It will be to the purpose, however, to endeavour to point out why we should look to men and women of letters for support. The reason is a paramount one, in that if they do not help us no one will. Shelley’s attack upon everything the ordinary “Britisher” holds dear, has alienated from him the sympathies of almost every class of well-to-do Englishmen. Rank, wealth, and fashion are against him. Nowhere is this seen more clearly than at Horsham. There is not much rank there; but there is some weath, and any amount of would-be-fashion. The men and women engaged in an amiable conspiracy, having for its object the creation of a fine old crusted landed aristocracy, belong, for the most part, to families which in Shelley’s time were anywhere or nowhere, but certainly had nothing to do with Sussex. Perhaps this is why the poet is regarded as an intruder; in any case he is looked upon as an impossible person, whose admission to such good company, even in a ghostly form, is not to permitted fer a moment. Horsham itself, so far as the townfolk are concerned, is not without sympathy with Shelley as a teacher. But these good people are afraid to support us, not for dear respectability’s sake, but because they have their livings to get. Party feeling runs very high. The rich squatters in and aboit Horsham have possession of the lands once farmed by the Sussex yeomen, to whom the shopkeeping cla s then looked for support. Horsham tradesmen have, therefore, to consider the prejudices of these persons, who, as things now are, are their pr n- cipal customers. I have been asked why the movement is not better received in Horsham itself. I am glad of an opportunity of stating the reason publicly. Those who would help either cannot or dare not: while those who could accomplish the matter with the greatest possible ease, hate and detest the very name of Shelley, and are, besides, absolutely opposed t» anything which tends in the direction of the real enlighten- ment of the people. On the top of this, I need scarcely add that a library at Horsham would be a very great boon to the town, indeed to the county, which, if we exclude one or two of the coast towns, can boast of no library worthy the name. There are, of course, a great number of per- sons who honour Shelley as a preacher rather than asasinger. But of these, few are in a position to render this project, whereby the poet will be permanently commemorated, pecuniary aid. It is clear, then, that we must look to the men and women who, in the nature of things, are best able to value Shelley for that which was greatest in him, and I make this appeal to my THE 212 co-workers in the confident belief that it will meet with a generous response. Subscriptions may be sent to Mr. J. J. Robinson, West Sussea Gazette, Arundel, Sussex, or to me as below. Jas. STANLEY LittTue. Buck’s Green, Rudgwick, Sussex. Sept. 20, 1892. VI. A PERPLEXED PEN. Tam a lover of the pen. The very look at one stirs a wild longing, the holding of one sends a feverish thrill through my frame. The moment I touch paper with one thoughts come like a spring of water (as to the quality I am no judge). Having made this discovery, and lured by this magic in the pen, I became a literary aspirant, and, as author of a few short stories and a novelette, a member of the Society of Authors. I suppose I have fair success—my first story nobody will have, my second brings me seven guineas, my third three guineas, and so on. My first article having been twice refused, now is in a drawer—forgotten. My first novel—for this a publishing firm made an offer—the Society of Authors advised me to try some other publishers. I tried two. The MS. is refused. I try no more publishers. I turn my back on the pen; I will play no more with it, and yet it calls—it calls and the old feverish desire to scribble seizes me. Also, I want occupation, and a paying one. There is other work open to me: but the pen—I cannot turn from it. I start again ; this time I seek out a literary coach. I want to know my flaws and feeblenesses. Oh, how he abuses me! crushes under his foot my “higher form ;” sneers at my ideas of life! Then, when I grow faint and weary, administers this dose—* Honestly, and from no other motive than your good, I say that you have talent enough to write very readable novels. Your gift is as yet immature. I advise you to pluck up courage and go on.” Reaching this point, I now accept the fact that I ought to work and earn money by my pen. How? As a novelist or a journalist? Halting here, I take up the Author and read “ Women in Journalism.” Foolish, flighty, frothy work! Is this what journalistic work means for a woman ? My pen to be a demoralising influence! Again, to be a successful journalist, a woman must be neither old nor ugly. Surely, it cannot mean that in this work women must trade on their good looks and attractive manners? If these things are, I must turn to my book or story writing. AUTHOR. Having decided, a feeling of relief arises, for halting between two opinions, as you know, is far from the most comfortable condition. Then I light on your correspondence, and once more am flung into the abyss of despair as I read : Literature and Independence. Books — to pay—must be empty of brain work, full of sensational nonsense, I understand from it. The higher work finds no market for the Un-known, What am Ito do? Three things are for my choice: to try to be a novelist, or a journalist, or say to this eager, fretting, anxious pen, “ be still.” I shrink from the last. The first I fear, for I have no confidence that I can push through the struggling throng. And to be a journalist of the higher type, I understand I must pay high fees and give a year or more time before I am equipped. Is this so, is there no other way of getting into journalistic work ? Will anyone relieve my perplexed pen, and steer it into the right direction ? M. VII. TITLES. Amongst our perpetually recurring real diffi- culties, there is one great one, which a little patience and labour might, surely, entirely re- move. That is the difficulty of knowing what titles are copyright property. Titles continue to be literary property but for a limited period, like all other literary property—to the disgrace of the Legislature. Could not a complete index of all copyright titles within this limited period be made? If such an index existed at the offices of the “ Incorporated Society of Authors,” and a small fee was charged for consulting it, would not those fees before long prove a nice little source of income? From the careful lists of new books now published, it would not be diffi- cult to keep the index up to date; now, would it seem unreasonable to think that Stationers’ Hall might lend its countenance to the formation of an index so valuable to all literary men. Will not someone take the matter up? In 1884 I published a novel entitled “ Incog- nita.” I think that the book had been actually published, and, at any rate, it had been, for some little time, advertised, when someone called upon my publisher, and proved copyright in the title. A cheque settled the difficulty. Subsequently I discovered that a novel entitled “ Incognita,” was published by William Congreve, under the pseudonym of Cleophil, in 1692. Had the publisher or I known that (and perhaps I ought ie petal Se NAR 4 THE AUTHOR. to have known it), could we have pleaded that the title “ Incognita” is no one’s property, its copyright having expired so long ago? Or, when a copyright im a title expires, does the copyright of title (unlike that of a book) renew its youth like a pheenix, and become capable of being registered afresh by someone else? Some tell me that is the case. Now, however, a play has been produced with this same title. I do not know whether another cheque has passed; but, when the copyright, which I unwittingly in- fringed, ceases to exist, can the owner of the copyright of the play restrain the sale of my book upon the plea that the man who allowed me to use his title, could not allow the use of his title for longer than his right lasted ? Henry CRESSWELL. I should much like a reply to this question. Have instances ever occurred when the general voice of the critics (of course they would never be all agreed) has correctly predicted the success of a really very successful novel by an author previously unknown or little known? It would be invidious to name this novel or that, but many occur at once to the mind ; and, personally, I am unable to remember a case of the critics having prognosticated en masse a big success. VIII. Eprrors’ RiautTs. Last March I offered a couple of stories to the editor of a well-known London magazine to choose from, and he liked them well enough to keep both, In the summer number of the magazine one of the stories duly appeared, though no cheque followed its publication. I waited till September before reminding the editor that I had not been paid for my work, but my letter remained unanswered. A month later I had the unpleasant task of again writing to ask for what was due to me, and by the middle of October I received a cheque for a sum so small that, if the editor was not ashamed to offer it for the work done, I was ashamed to receive it. He did not apologise for keeping me waiting more than three months. I returned the cheque together with the the receipt I was asked to sign acknowledging the absurd sum as payment, not only for the story, but for the sale of the entire copyright as well. I wrote that I would rather not be paid at all than receive such inadequate payment, and asking the editor to return me my other MS., which he did at once, although it had gone to the printer. I can best show you the deplorable pay offered by stating that for a story of the same length in one a¥8 of the September magazines I received on its publication, the actual time of payment, exactly six and a half times the amount I declined to accept from the editor of the other magazine ; not to mention a cheque that folluwed for the right of republication in a new York paper, which was in itself more than the sum I would not take from the other magazine both for story and copy- right. The editor of the meagre-paying magazine accepted the present I made him, writing in reply “that my story was paid for at the usual scale of payment for stories published in the so-and-so magazine, and from that scale there can be no departure.” Which means that the magazine in question pays on such a miserable scale, that, if all were equally bad, no one could live by his pen. I was able to show what I thought of such pay, since I was assured it could not be raised, by refusing to touch it, but, supposing this had been impossible, that this wretched sum withheld for more than three months after it was due was needed to buy my daily bread, how then? Why cannot an editor, when MSS. are submitted to him, plainly state what remuneration he is prepared to offer 2 Some do this, as I_ know by experience, and it is fair to both editor and author. Then, when such pay is offered as cannot be accepted, one can place one’s work elsewhere and be properly paid for it. L. B. Specs “AM THE AUTHOR'S HEAD.” MONG the noticeable books of the month A the daintiest is perhaps Mr. Douglas Sladen’s ‘ The Japs at Home.” Beautifully printed, beautifully bound, beautifully illustrated, and delightfully written. It is published by Hutchinson and Co. “Olga’s Dream: a Nineteenth Century Fairy Tale.” By Norbey Chester. It is perhaps no dis- respect to this book that it is clearly suggested by an old friend, “Alice in Wonderland.” Olga has been in for an examination, which she wants to know whether she has passed or not. She falls asleep, and has an illustrated dream—a very funny and remarkable dream. Mr. Harry Furniss and Mr. Irving Montagu seem to have had the same dream at the same time. They made sketches of what they saw. This coincidence is not uncommon. Mr. Henry Charles Moore brings out a paper in the November number of the Fortnightly on “Burmese Traits,” including the literature of Burma. 214 “ King Zub,” By Walter Herries Pollock. The latest contribution to the Whitefriars Library of Witand Humour. Some of these delightful tales have already appeared in magazines. In their collected form they revive pleasant memories of past good reading. “Hypocrites ” is the new novel by Hugh Col- man Davidson, author of ‘Green Hills by the Sea.” It is published by Sampson Low and Co., with Illustrations by René. The book will more than sustain the author’s reputation. “Tdyls of Womanhood” is a little dainty volume by C. Amy Dawson, author of “ Sappho.” There ought to be a place for Amy Dawson among the lesser singers of the time. Her taste is never out of tune; her touch is never false ; her song is always pure and sweet, if it is some- times neither original nor strong. Her danger seem to lie in her facility. Most of the Idyls are in blank verse, and it is so very very easy to write blank verse—of a kind. For one thing the reader of this book is grateful. Amy Dawson has rescued and put into verse the story of Sybelle and Guy de Lusignan. The book is published by Heinemann. “* Poems” is the simple title of a little book— a very pretty little pamphlet kind of book—by Mary Cross (Oliphant, Anderson, and Fernie). They are sweet and tender verses, hardly strong enough to be published, but pleasant and delight- ful to write. “The Holy Vision, and other Poems.” This is the title of a first volume of verse by Mr. Herbert Sleigh. Among many lines which are immature, and some which are echoes, there is as much promise in this little volume as one remembers to have seen in any early work in verse. If it is the case, as some think, that there is to be a speedy revival in the national loss and demand for poetry, Mr. Herbert Sleigh may have a great future before him. Meantime there seems to be the true ring about his early verse. Let him write ; let him think and meditate; let him nourish a lofty ideal and be disinterested. Amember of the Society, under the nom de plume of Arthur Milton, is inserting Indian stories in Messrs. Cassell’s Family Magazine. Three short stories appeared in the May number, and one, entitled “An Indian Story,” appeared in the present number. Mr. Bertram Mitford’s book entitled “’Tween Snow and Fire,” is one of Mr. R. Heinemann’s autumn publications. The selling price of “The Grievances of Authors,” published at the Leadenhall Press, has been reduced to a shilling. THE AUTHOR. Mr. Arthur A. Sykes has translated Nikolai Y, Gogol’s play of the “ Revizér ” (The Inspector. General). The play is most amusing: it turns on a very old incident, the mistaking of an ordinary and quite common-place individual for a great Government personage. The humour, however, is distinctly Russian throughout. The transla- tion is full of spirit, and, one hopes—not being a Russian scholar—faithful. The publisher is Mr, Walter Scott. The Rev. Edmund Fowle, late Head Master of Amesbury House School, Bickley, has sent us a work, called the “ Schoolboy’s Little Book.” Tt is a religious book, and is intended to be placed in the hands of a boy just entering school. It is also a practical work, likely to be of great use to boys in the direction desired by the author. Those who wish their boys to remain and to grow up under the influence of religion cannot do better than give them this book. In “Tom Paulding” Mr. Brander Matthews has essayed a new field. “Tom Paulding” is a book for boys, a story of a search for buried treasure. Tom, the hero, is a New York boy, who finds, among some family papers, a clue to a theft committed during the Revolution, by which his great-crandfather lost two thousand guineas. He sets out to recover the money, and, with the assistance of his uncle and two school friends, succeeds in doing so, only to find that the coins he has searched so faithfully for are worthless counterfeits. The story does not end here, for Tom finds that his search has not been wholly profitless, and that the reward of diligence often comes in unexpected ways. The book is published by the Century Company, New York. We are not a religious society. But we belong, so to speak, to every religion which produces literature, and here is a little story about a religious book. It is written by a busy professional man, and was intended at first for his own boys. He spent eight years over the book, giving his evenings to the work. As each chapter was finished he read it aloud to his boys, noting the effect it produced. Children are, in fact, the best critics in the world; they know how a story should be told; if it is told rightly they show it in their faces; if not, they leave off listening. When the book was finished the author, who believed in it, had it simultaneously published in London and New York. They are reading it at children’s services, and in Sunday schools, and even in churches. The title of the book explains its contents. It is called ‘“ Jesus, the Carpenter of Nazareth,” and it is an attempt to tell the history of the Gospel in simple language for the young. «4 { TH AUTHOR. The next number of the Pseudonym Library will be “A Splendid Cousin,” by Mrs. Andrew Dean, author of “ Isaac Eller’s Money.” Mr. Henry A. Harper, author of “ The Bible and Modern Discoveries,’ has written a book called “From Abraham to David ”—the Story of their Country and Times. He has embodied in this book all the recent discoveries. His work on the Holy Land, generally illustrated with his own pencil, was the outcome of much travel in the East. The publishers of this little book are Percival and Co. Australia is yielding up its romance. It is thirty-three years certainly since Henry Kingsley produced his “ Geoffry Hamlyn,” but Australia has not contributed her share to modern fiction. Mr. E. R. Kennedy, author of “ Blacks and Bushrangers,”’ has brought out a romance of Australian life called “‘ Out of the Groove.” It is published by Sampson Low and Co. “The Runaway Browns” is the title of H. C. Bunner’s new book published in “ Park’s Mul- berry Series” (Brentano, Agar-street, Strand). It is a very funny book—not so funny as a book by Frederick Anstey or Burnand, but in the present dearth of writers who can make us laugh, most acceptable. “ Paddles and Politics,” by Poultney Bigelow, is the record of a journey down the Danube in a canoe, illustrated by the author, and published by Cassell. New scenery, new society, and a delight- ful companion recalls this voyage down the Danube, in an armchair a most pleasant evening’s journey. It was not Mr. Henry Neville, but Mr. Henry Newill, whose book “In the Tilt Yard of Life” was announced last month, and two of the titles of his stories were given incorrectly. One was “The Best Friend,” instead of “Her Best Friend,” and it is not “Gritty’s Glove,” but “Gritty’s Ghost.” For these errors we hope the author of the book will accept this amendment as an apology. “The Ruined Cities of Mashonaland,” by Mr. J. Theodore Bent (Longmans) will be one of the books of the season. These cities, which have only recently been discovered. are as mysterious as the cities of Central America. Their buildings and their decorations are said to suggest Pheenician influence rather than to be actually Phenician. They are undoubtedly relics of the time when traders from Southern Arabia pene- trated in all directions round the shores of the Indian Ocean. The book is illustrated with maps and drawings. It is divided into three sections, (1) the journey and its incidents, (2) 215 the archeology and excavations, and (3) an account of further journeys in Mashonaland in search of other ruins. Mrs. Clifford, since her first success in “ Mrs. Keith’s Crime,” has been steadily advancing in reputation. Her last book, made up of short stories, and called “The Last Touches” (A. and C. Black) will sustain her latest advance. The story which gives the title to the volume is charming; if it were wanted, this story gives the lie direct to those who maintain that we can- not write short stories. Everything that a short story should have is here; a complete story in itself; the suggestion of a past; the atmosphere of a thousand stories. “is Official Wife” (Routledge) is a tale which no one can put down unfinished when it has once been begun. It is the most “ exciting u story that has appeared for a long time. Let everybody try it. This is the easier because it costs only two shillings. Mr. Arthur Waugh’s “Life of Tennyson,” appearing so soon after the Laureate’s death, was at a certain disadvantage. It seemed as if it must be a hasty, catchpenny thing, got up ina hurry, This is not the case. The biographer has been engaged upon the work for years. That it was almost concluded just before the death of Tennyson was an accident. Mr. Arthur Waugh is well known in certain literary circles as the successor of Mr. Wolcott Balastier. ee NEW BOOKS AND NEW EDITIONS. Theology. Birks, CANON. Hore Evangelice: The internal evidence of the Gospel history. Edited by the Rev. H. A. Birks, M.A. George Bell. tos. 6d. Boox or Common PraveER, THE, from the original manu- script attached to the Act of Uniformity of 1662, and now preserved in the House of Lords. Eyre and Spottiswoode. Carrns, John, D.D., LL.D. Christ the Morning Star and other Sermons. Edited by his brothers. Hodder and Stoughton. 6s. Coruesronge, R. S., D.D. Buddhism, present, in Magadha and in Ceylon. Longmans. 16s. Dyxzs, J. OSWALD. Plain Words on Great Themes. Volumes of “‘ Preachers of the Age”’ series, with por- traits. 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