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Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;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) 1892-12-01 Volume 3 Issue 7 Pages Page range in volume 225–264 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18921201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che #uthor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. III —No. 7.] DECEMBER 1, 1892. CONTENTS, [Price SIxPEncr. PAGE Warnings eee = es Feuilleton— How to Use the Society 5 | 1.—Collaborators. By M. E. Francis 244 The Authors’ Syndicate | 2.—Fenton Fane, By G. B. Burgin... 248 a | Notices... oes The Authors’ Club i aes Resignation of the Chairman Literary Property— 1.—Criticism of Books: Counsel's Opinion 2.—The Review of Reviewers ee 3.—Magazines and Copyright American Copyright Author and Editor ... Authors’ Rights to Titles... A Copyright Bill .. eae A Case in Court 10.—An Anticipated Charge 11.—Ownership ... eae *s tae Notes from Paris. By Robert Sherard ... “Glamour.” By Eleanor Sweetman Notes and News. By Walter Besant Serial Rights: a Warning. By W. Morris Colles... Correspondence— 1.—A Little Sum 2.—No Answer aoe | 3.—Letters not Received 4.—A Suggested Memorial | 5.—A Question | 6.—For Nothing ... ae oe | ‘.—A Brilliant Scale of Pay ... 8.—A Lawyer's Letter ... 9.—Defamatory Criticism 10.—Society of Archivists 11.—A Puzzle : 12.—TIllustrations ... a 13.—Liberal Remuneration o te es 14.—A Suggestion—and Something More ... At the Sign of the Author’s Head... New Books and New Editions PUBLICATIONS OF THE SOCIETY. l. The Annual Report. That for January 1892 can be had on application to the Secretary. 2. 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.) 15, 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 Couuus, Barrister-at-Law. (Henry Glaisher 95, Strand, W.C.) 3s. 9. The History of the Société des Gens de Lettres. By S. Squrrm Sprraax, late Secretary to the Society. ts. 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, W.C. 2s. 6d. 7. The Various Methods of Publication. By S. Seurrz Striaer. 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 frand which have been made possible by the different clauses in their agreements. Henry Glaisher, 95, Strand, W.C, 36. } i 8. 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. Leny. Eyre and Spottiswoode. 1s. 6d. H a d  226 ADVERTISEMENTS. Now Ready, Price ONE SHILLING, Postage One Halfpenny. THE CHRISTMAS NUMBER OF = + TME QUEEN + WILL CONTAIN THREE BEAUTIFUL PRESENTATION PICTURES IN COLOURS: “WHAT SHALL I SAY?” “SCHOOL DAYS.” From a Painting by C. HaraH Woop. From a Painting by Davipson KNOWLES. “THE SQUIRE’S DAUGHTER” From a Painting by G. L. S—yMouR. PORTRAITS OF THE QUEEN'S GRANDCHILDREN, J REPRODUCED FROM THE ORIGINAL MINIATURES BY THE GRACIOUS PERMISSION OF HER MAJESTY, And under the Supervision of THE MARCHIONESS OF GRANBY. PAPERS ON WOMEN’S WORK AND WOMEN’S INTERESTS, €& By the DUCHESS OF RUTLAND, the MARCHIONESS OF DUFFERIN AND AVA, SUSAN LADY MALMESBURY, LADY JEUNE, and other distinguished writers. AUTOBIOGRAPHICAL REMINISCENCES: HOW THEY MADE THEIR FIRST SUCCESS, | ba: By MISS CHARLOTTE M. YONGE, MRS. LYNN LINTON, and others. STORIES by Mrs. KENNARD, R. M. BURNAND, FRANCIS GRIBBLE, and other distinguished Authors. NUMEROUS WOODCUT ILLUSTRATIONS. ILLUSTRATIONS OF FASHIONS AND ART AND FANCY WORK “QUEEN” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, LONDON, E.C. NEW NOVEL BY JAMES PAYN. MR. HORACE COX begs to announce that MR. AMES PAYN’S New Novel, § “4 STUMBLE ON THE THRESHOLD,” is now ready at all Libraries, Booksellers, and Bookstalls, in Two Volumes, crown Svo., cloth, price 21s. WINDSOR HOUSE, BREAM’S BUILDINGS, LONDON, EC. Che #Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. III.—No. 7.] For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible, HE Secretary begs to give notice that all remittances are acknowledged by return of post, and requests that all mémbers not receiving an answer to important communications within two days will write to him without delay. During the last six months a number of letters have not been delivered at the Society’s office, and, as one robbery at least has been proved to have been committed, it is reasonab'e to suppose that the letters have been stopped in the hope of stealing uncrossed cheques. All remittances should be crossed Union Bank of London, Chancery-lane, or be sent by registered letter only, ea. WARNINGS. > Specian) Warntna. — Readers are most URGENTLY warned not to neglect stamping their agreements immediately after signature. If 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 TOs, 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 VOL. III. DECEMBER 1, 18o2. [PRIcE SIXPENCE. 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. (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. hes been refused by respectable houses, pay others, whatever promises they may put forward, for the production of the work. (7.) Never sign away foreign, which include 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, s 2 f fi P 228 (10.) Never 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, Porrucan Street, Lincouin’s Inn Frewps. pecs ——— HOW TO USE THE SOCIETY. 1. Every nember 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 0,inion from the Society’s solicitors. If the :as+ 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 THE AUTHOR. virtuous, good man’s pain at being told that his accounts must be audited; (3) a virtuous indig- nation at being asked what his proposed agree- ment 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. g. Send to the Editor of the Author notes of everything important to literature that you may hear or meet with. pecs 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 def.ayed 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 efficiency. Mean- while members will please accept this intimation that they are not entitled to the services of the Syndicate gratis, and when desirous of seeing Mr. Colles, they must write for an appoint ment. 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; — 10  THE 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 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. NOTICES. —<—___ HE 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 850 members, besides the outside circulation of the paper, the Author ought to prove a source of revenue to the society. The Editor is always glad to receive short papers and comimunications 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 wid m this work send their names and the special subjects on which they are willing to write ¥ oo —<—S+ Communications for the Author should reach the editor not later than the 21st of eath month. All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any AUTHOR. 200 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. ——— 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. Sa 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. Se 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. So 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 tive years ? SEEenetooeeeeed 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. 230 Some 1emarks have been made upon the am: unt charged in the ‘Cost of Production” for advertising. Ofcourse, we have not included any sums which may be charged for inserting adver- tisements in the publisher’s own magazines, or in other magazines by exchang-. 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. sec THE AUTHORS’ CLUB. Se \YHE Authors’ Club, which has been carried cn in temporary premises at St. James’s Place, is endeavouring to obtain a more permanent holding. Its chairman, Mr. Oswald Craufurd, is now negotiating for a set of rooms in the most central and convenient position of all London. Should he be so fortunate as to secure them, the club will make a new start with a most excellent set of rooms, thoroughly con- venient for everything, with a membership of 200 to begin with, and with a cheaper subscription, for a high-class club, than any other club in London. It has begun already its monthly— soon to become fortnightly—dinners, at which the institution of “Uncut Leaves”? has been founded. That is, unpublished verses, tales, &c., are recited and read to the members after dinner. In Noveu. ber, Mr. Richard le Gallienne read a poem, Mr. Eden Philpotts read a tale, and Mr. Jerome gave a recitation—all of things as yet unpublished. re RESIGNATION OF THE CHAIRMAN. T a meeting of the Execut:ve Committee, on Monday, Nov. 21, 1892, specially con- vened, the following statement was read by the chairman, Mr. Walter Besant : “T have for some time perceived that the habit of speaking of the Society as my society— of putting forward my name as standing for the society — has been becoming more and more prevalent in the Press and elsewhere. At the present stage of our corporate existeuce, a real danger attends this practice—the danger, namely, that the world, which has no time for investi- gating things, may easily be led to believe THE AUTHOR. that the Society is nothing but my own project— a thng run by myself on my own lines, and perhaps (who knows’) for my own personal profit The importance and authority of the Society, therefore, is in danger of being exactly measured by my own importance and authority —a small thing indeed as representing so great a body as our own. At the early stages of an association, the principal part of the work must necessarily be done by one man; but as time goes on, if that one man, and he alone, continues apparent to the world as the sole spring or brain ot the machine, that association will be supposed to have failed in getting support from those who should support it. In our own case I know for a fact that persons interested in the depreciation of the Society speak of it openly as my society, implying, even stating, that men and women of letters stand aloof. It is no use tou answer— because the people who hear the slunder may not read the answer—that we have 850 members, including, with very, very few exceptions, all the leading men and women of letters. It is no use to point out—because we cannot get to those persons—that, so far from the Society having been run by myself alone, Iam the third chairman of its eight years’ existence, my predecessors having been Mr. James Cotter Morrison and the late Sir Frederick Po lock. It is no use, for the same reason, to point cut the list of our ¢ uncil, or to the fact that everything is done by a committee regularly chosen from that council and regularly meeting. If, however, I resign the post of chairman, it will become impossible to speak of the Society in this way. Everybody will then have to recog- nise that it is governed by the council and a chairman and a committee like every other society, and we shall much more readily thau before receive the recognition due to our numbers and our name. Ido not say that we shall effectually silence the voice of the slanderer, but we shall make him invent another kind of slander—a thing which he does not like. I beg, therefore, for these reasons, to tender my resignation. In so doing I do not wish to leave you, or the good work, and I propose, with your permission, to remain on the executive committee. No change will therefore be made, except that the reins will pass into stronger hands; and I desire to place on record my most sincere thanks for the assistance you have rendered me at all times during the last four years. ** T have only to add that all the assistance that I can give to the Society, which attempts the greatest thing ever designed for the sacred cause of literature—namely, the independence of the literary calling—will at all times be freely and willingly and loyally rendered to my successor.” The committee, on receiving this statement, 9 By a % = + 6! . 2 a < v Cs SE RYU EN TI oe Pontes  THE passed the following resolution: “ The committee, being informed by Mr. Walter Besant of his spontaneous decision to resign the chairmanship of the committee of management, hereby offer their best thanks to the outgoing chairman for his long, zealous, and efficient services in that capacity, and, while expressing their sincere regret that he has found this course necessary, likewise express their satisfaction that they will still have the benefit of his assistance as a member of the committee, and instruct the secretary to cause this resolution to be published.” The committee then proceeded to elect a chair- man in succession to Mr. Walter Besant. Sir Frederick Pollock, Bart., was unanimously elected. LITERARY PROPERTY. i Tue Pusuic Criticism oF Books. I. 1. Has a newspaper any right at law to criticise books not submitted for review ? 2. If a newspaper reviews a book uufavourably which has not been submitted for review, is there such a presumption of malice as would rebut a plea of privilege ? Counsel’s Opinion. 1. Every newspaper, and indeed everyone, has a right to criticise any book printed for general circulation amongst the public, whether the author expressly submits the book for review or not. This 1s not strictly a privilege at all: (Merivale and Wife v. Carson (C. A. 20 Q. B. Div. 275.) It is a general right posse-sed by every citizen, and does not depend upon any request made by the author. Such a book becomes public property as soon as it is published. “A man who publishes a book challenges criticism; he rejoices in it if it tends to his praise, and if it is likely to increase the circulation of his work; and theref re he must submit to it if it is adverse, so long as it is not prompted by malice, or charac- terised by such reckless disregard of fairness as indicates malice towards the author:” (Per Cockburn, C.J. in Strauss v. Francis, 4 F. & F. at p. 1114.) 2. The mere fact that the book was not sub- mitted for review would, in my opinion, not give rise to any presumption of malice. If there were other circumstances suggesting malice, this fact might also be taken into consideration. But by itself it is, in my opinion, no evidence of malice. Surely many papers review the latest volume of Tennyson or Browning, although no copy is sent AUTHOR. 231 them by tte author. When all the world is talking about a book, such, for instance, as “Robert Elsmere,” the editor of any paperis,in my opinion, entitled to send out and buy a copy, and then state in his columns his honest opinion of that book, however unfavourable his opinion might be. It might be otherwise when a work appears from the pen of some unknown author. It an enemy of his seized on the opportunity to gratify his spite against the author by publishing a review undeservedly severe; in that case the unusual circumstances of the critic’s going out of his way to buy the book in order to review it, would no doubt be some evidence that he was actuated by a malicious motive; and the judge would in that case leave the issue of malice to the jury. W. BuaKke OpGERS. 4, Elm Court, Temple, E.C., Nov. 15. II. 1. As to “D.’s” complaint in the November number of the Author, I apprehend that un- qualified acceptance of a contribution by the editor of a journa' which usually pays its con- tributors after the lapse of a reasonable time, amounts to a contract to pay for it on the usual terms, and that the promise can be enforced b, an action if necessary, whether the article is published or not. Really inevitable accident, such as total destruction of the pub- lishing office, or of MSS. at the printer’s office, by fire or tempest, would probably be an excu-e, but not mere “crowd ng out.’ I do not think the editor is bound, without request, to tell the con- tributor beforehand what the rate of payment is. A prudent contributor will, of course, require that information, unless he has already obtained it otherwise. 2. As to defamatory criticism, the law is plain enough. Publication or public performance or exhibition is in itself an invitation of criticism, and the right to criticise published work is exactly the same whether the critic has teen specially invited or not, Fair criticism of pub- lished work is no libel, even if there has been no special invitatiou, and special invitation will not prevent unfair criticism from being libellous. When “ Rank and File’? complains that it is “ well nigh impossible” to prove that any criticism is unfair, I do not knuw what hemeans. I never heard that juries had any bias in favour of newspapers, and if there are few actions against newspapers for literary criticism, and fewer successful ones, I can only infer that criticism, though it may not be always wise, is generally fair. Since writing this note, I have seen Mr. Blake Odgers’ opinion, with which I entirely agree BP. P. na i THE II. Tae Review or REVIEWERS. The question which you raise, whether an author should ever answer a review, is not very difficult to answer. If an author is pretty sure of his ground, beyond all doubt he ought not to put up with ill-considered criticism. “The English Bards and Scotch Reviewers” of Byron, and the “ Master Christopher” of Tennyson, are good instances of successful reviewing of reviews, and in nine cases out of ten the author knows twenty times as much of his subject as the reviewer. But there is, of course, a great danger lest excessive sensitiveness should provoke an ill-considered and really foolish answer from an author, and in the generality of cases it is highly desirable for the author to show his answer to a friend before publishing it to the world. I greatly doubt whether the distinction you try to draw between the review of a work “sent for review”? and the review of a work not so sent islegallya sound one. In either case the reviewer or his publisher is answerable for a really malicious review. But of course the fact that the reviewer went out of his way to review unfavourably would be strong evidence that he reviewed maliciously. I need hardly point out that in many cases it is far better for an author to be reviewed un- favourably than not to be noticed at all, J. M. Lety, IT. MaGaziInes AND CopyriGcHt, E Your article on page 190 may possibly answer the question it refers to, but I venture to ask some further explanation. During past years I have sent, I should think, a hundred articles to first-class periodicals, the names of some of which I inclose privately. They have been duly inserted and paid for, but nothing has been said about copyright by either party. Whose copyright are they P You say: “If the proprietor has paid for the article, and unless the author, by express or implied contract, reserves to himself the copy- right, then the copyright resides with the proprietor.” According to this, therefore, the copyright of my articles belongs to the proprietors of the periodicals. But the Act says, section 18: “When any publisher shall employ any person to compose articles, on the terms that the copyright therein shall belong to such AUTHOR. proprietor the copyright shall be the property of such proprietor.” And as (except in any few cases) I was not “employed” to compose the articles, and as no ‘such “ terms” were ever agreed to by me, or even named to me—then it would seem that section 18 does not apply, and that under sections 2 and 3 of the Act the copyright will belong to me. Plea-e state your view of the case. Pp it. Perhaps you will pardon me when I very respectfully question, whether your construction “in simple language,” of the 18th section of 5 & 6 Vict. c. 45 is in every respect entirely warranted. You state, “that if the proprietor has paid for the article, and unless the author, by express or implied contract, reserves to himself the copy- right, then the copyright for twenty-eight years resides with the proprietor,” {c. You thus throw on the author the onus of pro- tecting himself by “express or implied contract. But, does the wording of this section justify this construction? It is true that it vests the copy- right in the proprietor when he shall have employed the author on the specific terms that “the copyright” of the latter’s work “ shall belong to such proprietor.’”’ But, when no such terms have been specified by the proprietor, although he shall have paid for the work done by the author for the specific purposes set forth in the section, is there anything in its terms which justifies your construction, that “if the proprietor has paid for the article, and unle-s the author, by express or implied contract, reserves to himself the copyright, then the copyright . . resides with the proprietor”? — In the absence of the stipulation by the proprietor that the copyright shall belong to him, unless he has employed the author “on the terms” to that effect, is it not the sense of the words used, that, notwithstanding the payment for the work done for the proprietor’s specific purposes, the generic copyright shall not reside in him, but shall remain with the producer, the author. Thus, I contribute an artic’e to the Chimerical Review. The editor thereof, acting for the pro- prietor, accepts the article simpliciter, without any stipulation for “the terms” that the copyright shall belong to his principal. In the absense of such stipulation, does not tue copyright of the article, in default of any expressions in the section to the contrary, ipso facto vest inme when the article shall have fulfilled the specific météer for which the editor has accepted it and the pro- prietor has paid for it ? Of course, if I had been employed “on the | dor pon wg" goo  ~— THE AUTHOR: 233 terms that the copyright ”’ of the article “ shall belong to the proprietor,’ I should have to wait twenty-eight years before coming into the right to republish. c III. The letter of “ P.”’ which we print above, is a very important one. There are probably some hundreds of authors in his position, and some thousands of articles as to the copyright, in which the question “ P.” raises might be asked. If there was a contract of employment, no doubt the 18th section of the Copyright Act applies, and the copyright vests in the proprietor if the article was composed on the terms that it should belong to him. If nothing was said about copyright, a contract that itis to belong to the proprietor will not ordinarily be implied by the Courts of Law, and it will belong to the author. Tf there was no contract of employment, that is to say, if the author, without previous com- munication with the editor, sent the article to the editor who printed, it and paid for it, we cannot think that the 18th section will apply. Tt seems that in such a case, as ‘“‘ P.” contends, the ordinary law applies, and the copyright belongs absolutely to the author. The foolish restriction of the 18th section, that incase of employment, &c., the copyright is to remain the property of the proprietor for twenty- eight years, should, of course be amended by shortening the period. T:e Royal Commission of 1878 recommended three years; and three years was the period proposed by Lord Monks- well’s Bill, which Lord Halsbury so illogically allowed to be read a second time on the condition that it should not be further proceeded with. Sooner or later we hope for better things from the present Lord Chancellor, who happens to have been one of the members of the Commission of 1878. Meanwhile we may state that the ordinary practice of magazine proprietors is most liberal in the matter. As a matter of courtesy, Jeave to publish an article separately is always asked for by the author, but we think we are right in stating that never, after the lapse of a reasonable period from the publication of the magazine con- taining the article, has this leave been refused. J. TN AMERICAN COPYRIGHT. A problem was suggested by “Curiosity” in our November number (p. 210) as to the possi- bility of protecting a book from further piracy VOL. III. in America, by adding a chapter and observations to the edition which has already been published and pirated, bringing the new portions out in an American magazine first of all, to secure American rights, and then publishing the book with the additions. ‘“‘ Could the pirates produce this com- plete edition? Would there be a chance of the preservation of such a new edition from the piratical competition ? ” The answer clearly is, that the pirates could not produce the complete edition with its copyright additions. But the fact of these copyright additions being published with the book would not create copyright in the 1emainder or old portion of the work, as to which, no copyright in America had ever existed. So that, although the pirates could be restrained from producing the book with its copyright additions, as a whole, their liberty to print the original work in its unextended form would continue just the same. No doubt, if the new chapter and ob-ervations were known by the public to be incorporated in an authorised edition, such an edition would be pur- chased in preference to others not containing them. But the pirates could always continue to flood the market with the book in its old form and without the copyright additions, since the non-copyright source would be always available for them to copy from. The publication of the new portion could, no doubt, be effected without the aid of a magazine ; separately, for instance, as a complete work, being added to their principal after. Vv. AUTHOR AND Eprror. It would be interesting to know what consti- tutes “acceptance” by an editor. Not long ago I forwarded some stanzas to an eminent “weekly,” and received from it a “ proof,” almost by return, which I sent back the same day for press. The stanzas dealt with an ephemeral topic, and in order to have any raison @étre should have appeared in the next number, or, at the latest, in its immediate successor. They were, however, inserted in neither, and in response to a polite appeal for explanation I was curtly informed that the editor had been unable to make use of my contribution. Now, had I not concluded, by the light of former experience that the sending of a proof was tantamount to acceptance, I should certainly not have left the stanzas with the newspaper in question, as there were at least two other ‘‘ weeklies” where I should have had no difficulty in placing them. I quite agree with your suggestion (editorial eM | | a a  234 note, p. 210, November number of the Author) that, where acceptance is qualified, there ought to be some expression to that effect on the part of the editor. As regards accepted contributions that will “keep,” it would be satisfactory to ascertain whether an editor can indefinitely postpone pub- lication, or is under an implied agreement to publish within ‘‘a reasonable time.” It is now fully three years since a contribution of mine was accepted by a popular periodical, but it has not yet appeared, the excuse tendered being “‘ pressure on space,” while of course no payment has been made. Iam much disposed to test the matter in a court of law, and get the author’s rights clearly defined. W. VI. “SpriaL Rieguts: A Warnina.” A practice, happily, at present rare, but capable of extending rapidly, is coming into vogue of claiming the right of separate sale and assign- ment of the use of contributions to periodical publications on a simple purchase of the “serial rights.” In the great majority of cases the author, in disposing of the said “ serial rights,” had no intention of parting with anything more than the “single serial use” in the particular publication in question. In the absence of an express agreement, or, at any rate, of such an assignment in writing as would carry a right of ‘separate assignment, it is extremely doubt- ful whether he does part with anything but this single serial use, It is, however, most desirable to clear up this question so far as it can be cleared up without a judicial ruling as to the true construction of such terms as “serial rights’ or “serial right.” By statute it seems quite clear that the contract with the proprietor of a periodical is expressly limited to appearance in that periodical in the absence of any agree- ment which varies the contract. It is wholly immaterial whether the proprietor purchases the copyright or not. The words of 5 & 6 Vict. c. 45, s. 18, which were quoted tn evtenso in the Author for November, are quite explicit on the point. From this it will be seen that the purchase of “serial rights,” if the words can be made to bear the construction which is being put upon them by the proprietors of certain journals carries more than the sale of periodical copyright as contem- plated by the statute. Now this is a very serious matter. An author of repute, who had sold a short story to a journal of high standing, would naturally feel seriously annoyed to find the same story subse- THE AUTHOR. quently appearing in a journal for which he — would not have been willing to write on any terms, po A young and rising novelist would feel himself ). to be seriously aggrieved if an advantageous transaction fell through on the ground that stories of his sold some months previously to a high-class weekly were being hawked round the market at nominal prices. A writer who had arranged to contribute a series of stories to a publication of good repute would be aggrieved by a claim on the part of the editor to publish or not publish the papers as he pleases, and to farm them out apparently all over the world and for ever. The first and most serious effect of such a practice would be a general and disastrous lowering of terms. Obviously vendors of serial rights, who seek to obtain nothing more than a rebate, are in a position to make bargains which are very injurious to an author’s reputation. In the second place the existence of a perpetual serial sale seriously reduces the value of any copyrights which the author may have reserved. It is one thing to publish matter which can only be read in the back numbers of journals or periodicals, another to put upon the market stories or articles which are apt to turn up in a large number of obscure and possibly not very reputable prints. To sum up, therefore, writers of every class are urgently advised (1) to stipulate in writing that the trans- action is limited to the single serial use in the periodical in question; (2) in the event of the sale of “all serial rights” or the “English serial rights ’’ being insisted upon, to fix the price upon the understanding that any copyright they may reserve is practically worthless. One word more. The public is held at law to have notice of the articles of association of regis- tered companies. In the case of certain journals the proprietors are, by their articles of association, traders as well as publishers, and in the absence of an express agreement defining the rights sold, it is possible that it would be held that the author in question had notice of the intention of the proprietors in question to trade with as well as publish in their own publications any rights they may have acquired from him. It is suggested that in order to obviate difficulties arising from the use of terms which are capable of having their true construction disputed, it is desirable for authors to simply, and in so many words, “ license” the proprietors of any publication to use the matter in question in the columns or pages of that publication. W. M.C. BiG tee bi ba od Bar bd hod vie 4 a sapere, THE VIl. AutHors’ Rieuts to TITLEs. It is well settled law that no copyright exists in a title (in the general meaning of the word) ; and Lord Justice James’s opinion that literary property can be invaded in three, and only three, ways is now generally accepted, the three ways being stated by his Lordship as follows : 1. By publishing an unauthorised edition, or importing or selling a foreign one. 2. By appropriating the fruit of anoth-r’s labour. 3. By selling one’s work under the title or name of another. Numbers 1 and 2 constitute infringements of copyright, and, as copyright is the creature of statute, protection must and can be found in the provisions of the Act of Parliament. Number 3 is, however, an offence against the common law of the land, is not an infringement of copyright, and protection is given by the common law, because the act of selling one’s goods by the title or name under which the goods of another are sold amounts to fraud. As, in trade generally, it is obviously dishonest to describe your mer- chandise in such a manner as to lead a purchaser of it to believe that he is buying something else; so with reference to literary proper'y it is a fraud to call your book by such a name as will lead a buyer to suppose that he is purchasing another book. ‘This isthe principle upon whicha literary work will be prevented from being sold under a title already associated with another work; but it is entirely unconnected with copy- right, and it is correct to say that there is no copyright in a title. That being so, it is important to ascertain the nature and extent of the right that is capable of acquisition in the title of a literary work; as well as the method by which it can be acquired. And to commence with, it should be explained that by “Title” is here meant a few descriptive words, and not a mass of lengthy description, “for instance, a whole page of title or something of that kind requiring invention,” which might constitute an original work. If a person, by long use of a name, title, or description, so ass ciates that name with a cer- tain article he sells as to undoubtedly connect the two in the minds of the public, he will be able to assert his common law right to restrain another from passing off other goods as his by selling them under the name that he has used. But by long use and reputation alone will a per- son acquire this right. To take a practical Instance :—Two persons, A. and B., conceived the idea of bringing out a magazine called Belgravia, VOL, III. AUTHOR. 235 and B. advertised an announcement of his pro- ject widely, being quite unaware that A. had long desired to print a magazine under such a title, and was actually at work upon it. A. naturally hurried on when B.’s announcements appeared, and actually published his Belgravia first, B.’s following shortly after. B. then filed a bill to restrain A.’s publication, and A. tried to restrain B.’s; when the Court of Appeal held practically that neither party had any exclusive right to the use of the title in question, and so neither could restrain the other; that B.’s advertisements and expenditure did not give him the right to restrain A. from publishing a magazine under the same name, the first number of which appeared before B. published his; and that A. had not acquired any right to restrain B. from using the name, and that even the fact that A. had registered the title a long time before publication could not give him a copyright in that name. Neither party had, in fact, by use associated his magazine with the name Belgravia, and so it was open for either, or all the world, to use that name until such time as it might become associated with a particular publication, when an exclusive right to its use would be recognised and upheld. Neither the registration, therefore, nor the invention of a title will be sufficient to acquire a right of property in it ; but only actual user. And when aright of property has been gained by user, it will apparently not be necessary to show frau- dulent purpose on the part of a person who invades the right by selling another book under the same name; and it will suffice to show that such sale is calculated to injure the sale of the book with which the name is generally asso- ciated, and that it is misleading to the publi. Applying the rule to the circumstances set out on p. 212 (in our November number), if a novel was in 1884 selling under and known generally in connection with the title “ Incognita,’ clearly no publisher had any right to publish another work bearing the same name, even innocently by unawares and without fraudulent purpose. The fact that still another and earlier book, with similar title, had been published two hundred years before would not be of great importance ; except in the case of a work whose popula- rity and fame might still survive; when the principle of misleading the public would perhaps apply, though one can scarcely see who would bring proceedings—unless it were a deceived member of the public. Alternatively, if in 1884 no novel was generally associated with the title ‘“Incognita,”’ or was being inquired for or selling under that-name, no right by user could have been upheld, and the pub- r 2 i i \ i q 236 lishers would have been justified in proceeding to print the book under that title, even if another “Incognita” had in fact been published. For surely the very essence of a right acquired by use is a continuation of that use; and a first consequence of non-user will be the loss of the right. The use of the title in a play would not appear to interfere with the sale of a book with (pre- sumably) a different plot, or to mislead. Fora person who asks and pays for a seat at a theatre will not be given a copy of the novel instead, neither will booksellers sell theatre tickets to persons asking for the book. Had the author of the novel dramatised it, the consequences might have been different. However, as the circumstances referred to#re of recent occurrence, it would perhaps not be desirable to discuss them at length. It may be said, in conclusion, that two books published under a similar title, are really different in their contents will not be taken into consideration. The question the court has to consider is merely whether a purchaser desiring to obtain and asking for a particular book (or other article), is deceived into purchasing another bock (or article), to the disappointment of him- self and to the damage of the vendor of the book (or article) which he really intended to buy. ————— VIII. A CopyrieHt BIL. It will be remembered by those who take an interest in the law of copyright that, when Lord Monkswell’s comprehensive Bill to consolidate and amend the law of the subject came on for second reading in the House of Lords last year, Lord Herschell was prominent in pressing the Government to take the subject up on the lines indicated by the Bill. Lord Herschell has now a good opportunity of carrying out his own recommendations, and, as one of the few sur- viving members of the Royal Commission of 1878, will be able to deal with the subject with creater knowledge and experience than any possible Lord Chancellor. It is possible, therefore, that a Copy- right Bill may be promised in the Queen’s Speech, and there is no reason why such a Bill should not become law. The main amendment to be expected is one substituting the life of the author plus thirty years as the period of copyright for the present forty-two years from the date of publication, or seven years from the date of the death of the author, whichever may be the longer. —Law Journal, — THE AUTHOR. IX, From the Standard, Nov. 28, 1892 :— (Before Mr. Justice Currry.) Borromury v. Tur “News or tHE Wor.xp.” —Mr. H. Bottomley renewed his application for an interlocutory injunction to restrain the de- fendants from publishing in their newspaper as a complete copy of a book written by the applicant that which was not complete——The applicant submitted that the defendants, who had pur- chased the rights of issuing his work in a serial form, were bound to publish a complete edition of his book, or to indicate what was not com- plete.—The Judge: On what grounds do you ask for an injunction on this motion’:—The Appli- cant: On breach of contract. There can be no custom in journalism that where a serial issue is published in a newspaper the editor can eliminate at will—After some discussion, the judge having indicated that his view was that the case was not one for an interlocutory injunction, an order was made that there should be no order on the motion, except that costs be costs in the action. Sem X. An ANTICIPATED CHARGE. Among the many valuable services rendered by the Society of Authors there is none more useful than the act of its officers in giving experienced and sensible counsel to those members who seek their advice. I have profited by this assistance more than once, but in no instance so signally as in a case of difficulty in which I recently found myself involved. I had written a novel called “The Fate of Herbert Wayne,” which had a certain peculiar central idea that I believed to be entirely new in fiction. The book was ready for publication when I discovered that my ‘‘ new idea”’ had been used already, and not very long ago, by a popular novelist. My first impulse was to suppress my own work, but it was represented to me that such a step would cause great inconvenience to those who had made arrangements for the production of the hook, and I was strongly urged to proceed with it. Still, my conscience was not easy. I did not like to run the risk of being accused or even sus- pected of plagiarism, and, indeed, I was in doubt as to whether in honour I ought to proceed with the publication of a story after I had found that its main point had been anticipated. What was I to do? As a member of the Authors’ Society I resolved to take it into my con- — fidence, and submit this delicate question to the  THE AUTHOR. 237 arbitration of the Chairman of the Society of Authors. I knew him to be a busy man, with something better to do than to concern himself with every petty trouble of distressed scribblers. But this question was, to my mind, no petty matter, and one worthy of our chairman’s personal consideration. He treated it as such, and was good enough, not only to write me a private letter of advice, but to publish a note on the case in the Author. In this he gave his opinion to the effect that a novelist who had happened to hit upon the same idea that had been used by someone else before need not on that account be deterred from giving his story to the world, that he thought I was quite free to publish my book, but that it might be well if I were to insert in it # preface stating the circumstances of the case. That course I adopted. I published my novel with such a preface as was suggested, and I am glad that I took his advice, for my reviewers have nearly all taken notice of the incident, and not one of them has commented upon it save in terms of approbation. It is most gratifying to me to find it recognised in all directions that I have done the right thing in inviting an opinion, and in acting up to it. I make this brief statement as a simple act of grateful acknowledgment of kind and_ wise counsel and as a practical tribute to the value of the Authors’ Society. I hope it will not have the effect of causing our chairman to be worried by appeals for aid in trifling circumstances, but I will say to my brother and sister authors, when you find yourselves in any really serious difficulty mvolying a question of professional honour or propriety, do as I did, and consult the Society. EK. J. GoopMAn, Nov. 20, 1892. mE OWNERSHIP. Some paragraphs in the Author last month as to the ownership of literary work leave me, and, I daresay, many others in doubt upon a certain point. Supposing I send an article, say upon the “Tower of London,” with a great deal culled from historical documents (of which I quote much) toa magazine. Suppose that the maga- zine, in two or three years after the acceptance of my article, dies. Suppose I receive half the agreed payment in compensation. Then I want to write a book on “London,” four or five years later. Am I to omit the “Tower of London” from the book? Orif Linclude it, must I abstain from using the historical documents again? Or if I use them, and cloak them in new words, must I abstain from making the same quotations ? If the article had appeared in the magazine, the courtesy of the editor would have allowed me to reprint it; but the magazine is dead, Suppose I offer to buy back my work, and the editor refuses? He holds my article; can I re-use the original matter if I re-write it in a different form? If you can throw lght upon these questions in December you will confer a favour upon Xe Ne [The case is not clearly stated. If a writer has sold the copyright in an article to the proprietor of a publication, he obviously cannot make use of the article in another form without the consent of the said proprietor. How far he can plagiarize his own article is more a question of morals than of law. | NOTES FROM PARIS. WY HAVE had a letter from a lady who went to see John Barlas in the Murray House Lunatic Asylum in Perth, and she informs me that, whilst the authorities consider this unhappy poet to be quite sane enough to be liberated from his awful durance, they allege him to be subject to “ delusions.’’ I wonder how many of us are not in this merry worldof ours. In the meanwhile I have to express my thanks to the numerous confréres who have assisted me in drawing public attention to the mournful case of my friend, by reproducing my note about him from last month’s Author. ee Apropos of confréres, I have a word to say to certain gentlemen of the press, who have thought it necessary to comment upon various items which have from time to time appeared in my letters to the Author. Is it worthy, messieurs, to com- mence by proclaiming yourselves members of this society of ours, and then to set to work to blame and ridicule, im newspapers which go into the hands of the general public, a fellow- member who, in contributing to the organ of our society, has no other object or aim in view than to do what he can to add to the interest of that periodical? I can’t imagine a member of the French Société -de Gens de Lettres, acting in this way towards a fellow member, and I suppose that the individual who quite recently accused me of being bribed with “meal or malt” to write certain para- graphs about a poet for whom I have the highest admiration, and who is a personality in French 238 literary circles also, must be a type of homme de lettres with which I am unacquainted. It seems to me that it is in the Author, and in the Author alone, that any matters concerning the private affairs, either of this periodical, or of our society, should be discussed, and that is a great want of esprit de corps, to say notuing else, to bawl out at the corner of the street what should be spoken in the common-room. I can’t imagine, for instance, a member of any London club going forth into Piccadilly, and yelling out some ditferences of opinion he may have with a fellow member, and afterwards passing round the hat for coppers in pay ment of the diversion afforded. —= Stéphane Mallarmé intends to retire from the post of Professor of English, which he has held for many years at the Collége Rollin, and, after the new year, when his pension will commence, will devote himself entirely to literary work. This is news which will please all the many admirers of the great poet both in England and France, for, up to the presen’, the drudgery of his professional work has prevented Mallarmé from devoting himself to his art. He is a very slow worker, writing and rewriting each sentence until it satisfies him, resembling in this respect Gustave Flaubert, or José de Herédia, the poet, who spends three months over the creation of a sonnet. The opinion in Paris that the English maga- zines and reviews pay mo t liberally for c ntribu- tions has been somewhat modified since it has been whispered abroad that the article on Lord Tennyson, which a certain distinguished French poet contributed recently to a certain weekly, was rewarded with the sum of sixty francs, or two pounds eight shillings. Verlaine has written to Camille Doucet, to inform him that he is a candidate for one of the vacant seats in the French Academy. I am afraid, however, that this application will not be takeu au sérieux. The Academy is a salon as well as a ré-union of literary men; indeed, more a sa/on than anything else, as every one of the Academicians whom I interviewed for my Daily Graphic articles on “An Academy of Lette:s”’ for England, informed me. Verlaine is without doubt the first poet of France, but I am afraid he would hardly be an acquisition to any drawing 100m, even much less select than that at the French Institute. THE AUTHOR. A poet who has known how to make his muse pay him handsomely is Mr. Jean Rameau, who, after leading a Bohemian life, frequenting the Chat Noir and similar haunts, for some years, has of late blossomed out into a society entertainer, and who may be seen at most of the grand soirées in Parisian society, reciting choice selections from his work, being treated precisely the same in the way of remuneration as the comic singers, jugglers, and monologuists engaged at the same soirées to help out the evening. The cheque is in- variably a handsome one, each such evening being worth from eight to twenty guineas to the prac- tical young poet. I have heard bitter things said about Jean Rameau by fellow poets on this account, notably from one old Academician and poet, who said it was dégoitant. For myself I think Rameau very smart. Let us wring from the bourgeots all the pieces that we can, and laugh at them behind their backs. The longer [ live in France the more I am convinced that the forced military service is an excellent thing for young men. [I have just received the visit of a very smart young soldier, up in town on leave from a garrison town in the east of France. When he was shown into my garret, [ imagined there must be some mistake, as I failed to recognise him. It was only when he mentioned his name that I realised who this bright, trim, joyous youth was. When I last saw him it was at a literary café in the Latin Quarter, and a more miserable-looking object I never remember having set eyes upon. His hair was long and matted; his face was sallow with nightly walks, and his conversation as dismal as his appearance. He was a decadent poet of considerable merit, but, although only twenty years of age was blasé about everything. I found him changed as much morally as physically. The army had taken all the nonsense out of him, and he was as full of life and hope and faith in the future as I could wish to see a young man. I cannot help thinking that a year or two of forced military service would do our English youths a sight of good. One is always more or less of an ass at twenty, and some hard work, discipline, and privation, are the best cures for nonsense and conceit. Send Bunthorne or Postle- thwaite “aw régiment” for a year or two; let an unromantic corporal and a practical sergeant deal with him, and he will return an infinitely more useful and agreeable member of society. Quite a batch of promising young poets have just gone this way of late, November being the oe at THE month when the conscripts have to join their regiments, and our Paris Parnassus is emptied of its young folk. I can imagine the delight of the regimental barber in shearing the flowing locks of the many young bards who still clung to this distinction, views jeu though it be. Sar Peladan, by the way, the most hirsute littérateur of Paris, made a great fuss when he was told that “it had all got to come off,” and it is reported that he called out to the sun, “‘ Dost thou shed thy light on such an outrage?” Notwithstanding, it all had to come off. A league has been formed amongst a certain number of Parisian and provincial booksellers, to resist the demands of the public for discounts on published prices of books, and it has been arranged with the publishers that any bookseller giving such discounts shall have his credit account closed with them. There are, however, upwards of 2000 booksellers who do not belong to this league, so that we shall continue to get our 3d. in the shilling just the same as before. oe I hear that a school of poets, styling themselves “Die Phantasten,” and whose literary creed is that of the French symbolistes, genre Moréas, Ver- laine, and so forth, has been formed in Germany. Till now it was realism of the crudest kind that had most favour in the Vaterland, and I cannot but think that the symbolistes will get but a poor hearing from their compatriots. The book of the day in Paris is ‘“ Le Roi au Masque d’Or,” by Marcel Schwob, the brilliant chroniqueur of the Echo de Paris, and one of the most remarkable, because ore of the most original of contemporary French prose writers. Schwob will be remembered as the author of a most interesting article on Frangois Villon, which appeared a few months ago in the Revue des Deux Mondes. He is a lover and the chronicler of the beauties of the old world, but in some of his short stories has shown that when he cares to be realistic he can be so in the most striking manner. The Revue des Deux Mondes people have or had a clever business practice, which it surprises me not to have seen adopted by English publishers. It is, or was, I do not know what the arrange- ments are there to-day, that no writer received payment for his first contribution to that review. As a number of people are able, like a certain Hamilton in the matter of oratory, to produce AUTHOR. 239 one article and one only worth printing, giving in it, it would seem, all they have in them, the arrangement is an excellent one for the proprietors of the magazine in question Even the writers have not very much reason to complain, for it is the glory of a writer’s life to have been published in the Revue des Deux Mondes. A thoroughly Anglo-Saxon type of man of letters is the person who, whilst writing for money and for money only, goes howling in the public places that he is an artist, and that if he does not produce artistic work it is because the public won’t have it. The man of letters is either a tradesman cr an artist. If he is an artist his one pre-occupation is to produce beau- tiful things without any consideration whatever of their saleability or the reverse. If he is a tradesman he writes for money, and according to the lights of many is a wise and a respect- worthy man. But don’t let vs have the trades- man, bustling about like Martha, envying the part of Mary. What would be thought of a Clapham cheesemonger who should promenade about as a Bohemian, and confide to whoever would listen to him, that though he made a good living by selling Cheddar and Stilton, his soul was above such traffic, and that he despised it as much as any man? He would be very justly written down as a snob. An interesting personality amongst English men of letters in Paris is that of Mr. H. F. Wood, the Paris crrespondent of the Morning Advertiser, who, unless I am much mistaken, will one day occupy a very high place amongst Bri ish novelists. His novel “A Passenger from Scotland Yard,’ which, though set down as a detective story, was a work of the highest psychological interest, will be remembered by most readers of fiction, who will be glad to hear that another work from the same pen, which has already appeared in America and in the Continen- tal English library, is about to be published in London. Its title is ‘“‘ Avenged on Society,” and itis aremarkable work. Mr. Wood works very hard at his books, and has the infinite capacity for taking pains. I want very much to recommend to any readers of the Author who make use of the services of the professional typist, the Miss Patten whose announcement appears in this journal. She has been doing a quantity of work for me, and is really an artist in her genre. Andit appears that  now. 240 Nov. 23, 1892. work would be particularly acceptable to her just oa GLAMOUR. The wind is blowing from the height, The hillside gorse has gathered light, The day is widowed of the sun, And dies upon a blooming pyre ; Through shifting glories of the sky The golden argosies sail by, To reel and founder one by one, And vanish in a sea of fire. The air is full of startled wings, And calling notes, and tossing boughs, And eerie cries of feathered things That deepen as the twilight grows ; And voices from the solemn seas Send rustling echoes through the fern, Where lone upon the lonely leas A ruin’s battered windows burn. Through loosened tiles the sunset gleams, Old cobwebs dangle from the beams, The casements rattle, creepers twine Green arms about the gabled walls ; The grass grows lush besides the doors, And mildew creeps o’er broken floors, Where blazing trails of autumn vine Make chilly fires in roofless halls. There is a rustle in the leaves, The wind swings round the creaking vane, The jasmine dropping from the eaves Beats wildly on the casement pane ; And where its tendrils interlace Round ancient glass that fronts the west, I see a strange and lovely face Against the glowing lattice prest. Like summer lightning in the air, Its vivid beauty trembles there ; The wind-blown roses whispering Send forth a sudden breath of musk ; Then swiftly dies the sunset flame, The vision darkens in its frame, And flitting shapes on leathern wing Flash circling through the growing dusk. The door swings loudly on its hinge, My steps are on the crazy stair, The echoes wake, the shadows cringe, The owls fly hooting from their lair ; I stand within the latticed room Where dust and darkness reign supreme, A cat emerges from the gloom And hissing wakes me from my dream. ELINoR SWEETMAN. THE _ AUTHOR. Ropert H. SHERARD. propose to terminate my chairmanship with an NOTES AND NEWS. LSEWHERE will be found a report of LH) the meeting of committee of Monday, Nov. 21, called to receive my resignation and to appoint my successor in the office of Chairman of the Committee of Management, The paper in which I set forth the reasons for taking this step explains itself. I would only add here, or repeat, that I have been for many months considering and consulting whether, for the advantage of the Society, it would not be best for me to take this step. It seemed, not only to myself, but also to those whom I consulted, that the time had come when a change of chairman should take place. In the first place, in a society covering so many interests, it is important to have more than one mind following its daily work. In the second place, it does positive harm to a society so large and so important as ours has now become, that it should be constantly coupled with the name of one man. It has come. to be regarded, as stated in that paper, as the hobby and creation of one man. That, at all events, will now stop. I hope, however, to con- tinue, under Sir Frederick Pollock’s command, to work for the society. We must never forget that our association is regarded by a certain class of persons with a hostility and hatred perfectly intelligible—we bear them no ill-will on account of it—they only act after their kind—because we have interfered, and are still constantly interfering, with their sweet little schemes for overreaching the author. Whenever they can, these persons get a paragraph or an article attacking the Society in a paper or magazine. The meddlesome country clergyman is set up to accuse us of breaking agreements ; the * London editor ” is set wp to accuse us of making letters a close profession ; he also carefully reads and comments upon documents which do not exist except under lock and key in the Suciety’s office ; but the favourite caluwny, and the most persistent, has been that which represents the Society as, in my person, “defying publishers.” This was the phrase used by the Globe the other day, not by any means for the first time. We do not, of course, ‘defy publishers,’”’ or anything so foolish ; but, so long as the statement may do the Society any harm, it will be used. I have undertaken to read a paper at the general meeting of the 12th on the past work—the present work—and the future work of the Society. I  { THE invitation to all the members to take part in a constructive attempt at the placing of publishing on an equitable basis. Perhaps, when we have ourselyes arrived at a statement of our own views, we may be able to invite the consideration of those publishers whose views are worth asking. The following reaches me in a_ roundabout fashion. It is an extract from a book on Ossian published in Edinburgh thirty years ago. It was sent to the editor of the New York Critic by Mr. Wall, curator of the Stratford Museum. The discovery that Shakespeare was a Scotsman will surprise and delight many. Seotsmen should never forget that the concocting, the sending, and the paying of that base man [Dr. Samuel Johnstone} was just what might be expected from the nation of liars called ‘“ English,” the people who have the audacity to claim for a fictitious character, named by them Shakespeare, that never had a being, the work of Archibald Armstrong, who accompanied James the Sixth [James the First of England] to London, and who by his wit tormented Bishop Laud and the rest of that set at court so much, that he was obliged to leave his royal master, and hide himself in a garretin the metropolis of England, where he composed a great deal of what English impostors are now claiming for a-man who uever lived. That while in that solitary abode Armstrong employed an English mountebank, whose name perished with himself, to recite through the streets of London those pieces then composed, caricaturing the knaves by whose influence he was expelled. That, for the most part, the work of Armstrong (Shakespeare) is founded on the dying confessions of hanged English male- factors; but that since many additions have been made to it, and that the most recent of these are by the late Henry Dundas (Lord Melville, ‘*‘ Hielan Harrie”). ‘That all the English impostors that have hitherto attempted to forge examples, signatures, &c., of ‘ Shakespeare's ” handwriting were completely detected by Scotsmen these two ways: I. By proving that those specimens were not penned by Shakespeare, nor by anybody else, but were the impressions of types forged for the purpose. 2. By an analysis of the ink used by the forgers, whereby it is proved that the ingredients used in the manufacture of that liquid at the alleged period of Shakespeare, were not those of the ink in use by English scoundrels in their deliberate imposition, deifying a nonentity. It is very well known that whatever mortals undertake, Setebos troubles all. The Setebos in my mind at this moment—he is as numerous as the motes of thought in the human brain— is a creature who is at once impecunious (for which he has our deepest sympathies), and incompetent (for which we tender our sincere pity); and ardently desirous to fill his purse in spite of incompetence. And the way this gentle- man proposes to act is this. He has heard that in certain quarters it has been proposed to teach young writers the elementary laws—the technique of the craft; not with the view of manufacturme genius and multiplying writers so much as that VoL. III. AUTHOR. 241 of weeding out the incompetent and preventing future disappointment. Our friend, who has never written anything imaginative in his life, and has no knowledge of the Arts of Poetry, Fiction, or the Drama; and knows nothing of Belles Lettres; thinks he now sees his chance. He volunteers—this impudent person—to teach the Art of Letters. Ss There are many, especially girls in the country, who may be deceived by such a pretender. There is one simple touchstone. Ask him to refer you to any published works by him, which will show his fitness to teach either as Poet, Novelist, or Critic, and inform him that you are going to send his letter to the Society. “The last time,” a correspondent tells me, “that € saw Mr. Facing-both-ways—that rising publisher, he warned me seriously, that a young author must not be too grasping. He spoke with pain as if he had suffered much from the avarice of young authors. He further advised me to have nothing to do with agents. And he then offered to produce a certain work of mine at my own expense. When I came away I reflected that the advice not to be too grasping was unde- served, because I wanted nothing unfair; that perhaps the advice about agents was not quite disinterested ; that perhaps I might, after all, do something with an agent—so I tried one. He presently obtaned for me a very good offer for the very book which my friend wanted to pro- duce for me at my own expense. The moral of this is obvious.” <> When one has been working for many years on a certain subject, collecting books and making piles of notes, the first emotion on taking up another man’s work on the same subject is one of curiosity. How much does this man know? If the book is a good book curiosity is followed by a kind of shame, because he seems to know so much more than the reader. This may be, how- ever, only the effect of work on different lines. For instance, I have been from time to time for the last fifteen years studying certain aspects of the eighteenth century. I have written four novels and three or four short stories, the period of which was laid in that century. ‘These attempts have necessarily demanded as close a study of the manners and customs—the ways of thought—and the language of the period as I could bestow. In other words, I thought I knew a good deal. But there is a book by Mr. Austin Dobson which seems to show a great deal more U i i i  242 THE AUTHOR. knowledge than I possess. The book is called “Highteenth Century Vignettes’? (Chatto and Windus). It consists of some twenty essays on books and writers and artists of that century, and is charming, as is everything produced by this graceful writer. Austin Dobson is, in fact, the lineal descendant of Addison, Goldsmith, and Gray. He loves the libraries and the garden, the book shop, the coffee house, and the society of poets and wits. In his end of town one never comes across the pressgang, the crimp, the ruffing sea captain, the slaver, the riverside thief, and all the ragamuffin crew that haunted the ports of London and Bristol, Gravesend, and Dover. ‘To him itis a century of leisure. Praed found it so as well. To me, who have lived more at Wapping than St. James’s, it is a century full of fighting, flogging, robbing, pressing, hanging, enterprise, audacity, ambition, oppression—eyvery- thing that was wanted to make men discontented and to stimulate them to work and fight. There was mighty little leisure in the life of Clive and the men who went out to conquer an Indian Empire. On the other hand, to sit and bask in the sunshine of the eighteenth century with Austin Dobson turning on the sun is a rare and a holy joy. So The following is an extract from Lord Lytton’s England, 1837. It does not appear that things have greatly changed in fifty-five years. “Why is the poor author to be singled out from the herd of men (whom he seeks to delight or to instruct) for the sole purpose of torture? Is his nature so much less sensitive and gentle than that of others, that the utmost ingenuity is neces- sary to wound him? Or why is a system to be invented and encouraged, for the sole sake of persecuting him with the bitterest rancour and the most perfect impunity ? Why are the rancour and the impunity to be modestly alleged as the main advantages of the system? Why are all the checks and decencies which moderate the severity of the world’s censure upon its other victims, to be removed from censure upon him ? Why is he tobe thrust out of the pale of ordinary self-defence ? —and the decorum and the fear of consequences which make the intercourse of mankind urbane and humanized, to be denied to one, whose very vanity can only be fed—whose very interests can only be promoted, by increasing the pleasures of the society which exiles him from its commonest protection—yes! by furthering the civilisation which rejects him from its safeguards? It is not very easy, perhaps, to answer these questions; and I think, sir, that even your ingenuity can hardly discover the justice of an invention which visits with all the most elaborate and recondite severities that could be exercised against the enemy of his kind, the unfortunate victim who aspires to be their friend. Shakespeare has spoken of detraction as less excusable than theft ; but there is a yet nobler fanvy among certain uncivilised tribes, viz., that slander is a greater moral offence than even murder itself; for, say they, with an admirable shrewdness of distine- tion, ‘‘when you take a man’s life, you take only what he must, at one time or another, have lost ; but when you take a man’s reputation, you take that which he might otherwise have retained for ever: nay, what is yet more important, your offence in the one is bounded and definite— murder cannot travel beyond the grave—the deed imposes at once a boundary to its own effeets ; but in slander, the tomb itself does not limit the malice of your wrong—your lie may pass onward to posterity, and continue, generation after generation, to blacken the memory of your victim,” Seiaimeaecaememen! Mr. Stanley Little sends me a tiny volume of verse bearing the name of Charles William Dalmon. I open it at random, and I find the following, and I ask—is there promise in the lines? The little book is published by that eminent firm, Messrs. Digby and Long, whose kind hearted reader is so ready to “report so favourably on your book that we are prepared to offer you the following favourable terms: You to pay, &., and to receive ””—half or two-thirds, or anything you please out of the enormous profits. At ANTHEM-TIME IN WESTMINSTER ABBEY. At anthem-time he glided down, Wearing his fresh green laurel crown, And stood by me, with downcast eyes, Close to where Robert Browning lies. The choristers sang on so sweet, I heard the sound of angels’ feet Walking along in Paradise, Close to where Robert Browning lies. He heard it too, and raised his head, And I looked in the face long dead, And watched it vanish, vapour wise, Close to where Robert Browning lies. In my notes of last month 1 gave my own opinion, innocent of law, that an author may bring an action against an uninvited reviewer — who maligns his work to his material injury. Since I wrote the committee have submitted the question to counsel’s opinion. The opinion will be found on p. 231. that it is not only the uninvited reviewer who It will be found —  it iin d tae ih Kee THE AUTHOR. 243 is liable, but any reviewer. The slating and slashing and insulting of authors which formerly was a disgrace to hterature, are now confined to a very few papers and magazines. Perhaps an occasion may present itself for trying what a Court of Law may say to the editor who permits himself, or any of his staff, the luxury of blasting a man’s reputation and destroying his livelihood. ——— Among the sixty poets enumerated by Mr. Traill some time ago, did he mention the name of John A. Goodchild? I think not, but I have mislaid his ist. But here are three volumes of verse called Somnia Medici, First, Second, and Third series. (Kegan Paul, Trench, Tribner, and Co.) All these series are in their second edition. This means that the author has arrived at creating his clienté/e for himself. Out of Mr. Traill’s sixty poets how many have been so suc- cessful as to go into a second edition? And here is aman who is in his second edition with every one of his volumes! Let us note this phenomenon. Let us further note that the new poet’s works are for the most part stories or dramatic scenes presented in verse, and that neither the stories nor their pres sentation breathe the pessimism so dear to the young poets of whom we hearsomuch. Pessimism may be—very often is—the cloak to poverty of imagination. But one submits these facts for consideration. In an age when poetry is supposed to be hope lessly out of fashion, here is a poet whose name is seldom mentioned in the papers, articles, and reviews, yet has become, quietly, successful and popular. Is it not worth while to inquire what are the qualities which have brought him success ? And is it not worth while asking whether poetry has, after all, gone out of fashion ? ——— The writings of Anatole France are finding many English readers. Those who are also readers of these columns are invited to make a note of L’L£tui de Nacre, his latest book. It is a collection of short studies, all equally remark- able for the fine outline and definite expression of clear thought which make this writer a model. The “woolly”? appearance of so much English writing is due, I believe, more to “ woolly’ thought than to a lack of power of expression. Why are there, for instance, so few critics? Because there are so few who have formed for their own use, in their own minds, their own standards. Clearness of thought, and, therefore, clearness of expression, are impossible to them. So also, in fiction. If the mind does not perceive a character quite clearly and distinctly as a separate individual, the result is “ woolliness.”’ Might one recommend the study of L’Etui de Nacre to young artists in fiction f IT called attention last month to a certain American paper called Science, which invites scientific contributions from young ladies living in country vicarages, and offers the paper for nothing if their contributions are accepted, otherwise they will have to pay 4'50dols. The idea is sagacious. A correspondent protests against our remarks. He says that English scientific papers do not, as I fondly thought, accept all papers which are a real contribution to science ; that this paper has accepted his contribution, and has given him a hundred copies for presentation among his friends. Very well. But our corre- spondent 7s a scientific man; one can very well understand that the New York paper was very pleased to have his contribution; every one of the hundred papers is an advertisement of the paper. And our correspondent is not the unscien- tific young lady living in a country vicarage. SS I have great pleasure in publishing this appeal. Will readers of English literature do something for the object proposed? “Our church, which was built about 1350, contains a brass figure of John Lydgate, who occupied a position analogous to that of the Poet Laureate of somewhat later date during the earlier half of the fifteenth century, and was a fete of this village. Although Lydgate was the author of 250 works, but few are now extant, yet we have sufficient knowledge of him to prove to us that he was the greatest poet, scholar, and author, of his distant day. I feel confident, there- that I may appeal to your learned society, I do very ear ‘nestly, to help us to put into good an the church of his village and of his time. For a long time past the condition of the church roof has caused us anxiety owing to the number of leaks that have manifested themselves every time rain has fallen. We have counted no less than thirty- three such! All the work we desire to do is absolutely necessary, and, if not speedily attended to, the result “will be that our ancient church will be irreparably damaged. The total cost is estimated at £300. As the parishioners are agricultural labourers, with four farmers, we are compelled to seek help outside the parish. In twenty-eight months, and with great difficulty, we have got together "£212 13s. 6d. We shall be most grateful for whatever assistance you feel disposed to render us. Please do what you can to help.—E. Awpry Gray, Rector of Lydgate.”  244 The Americans are stirring. From that land of practical common sense and business instincts we should get leading and an example. The following is quoted by the New York Critic, from which paper I take it. The passage, written by Mr. Maurice Thompson, appeared in the Zndependent. The plain statement that the present system of publishing books is “an open bid for fraud on the part of the publisher” is exactly what we have been proclaiming for some years. What has always seemed to us the key of surrender is the royalty system of publication. Any man is a fool who is willing to have another administer on his estate while he yet lives. Whenever an author hands his manuscript to a publisher, and agrees that said publisher shall print, publish, sell and account for the book, that author has an administrator on his estate and is at his mercy, honest or dishonest. There is no way, and there can be no way invented, it is to be feared, by which a dishonest publisher can be forced to administer faithfully. It is useless to ery out that publishers are as honest as any other set of men. So they are; but they are also probably just as dishonest as any other set of respectable men. It is a safe rule of business, and publishers well know it and act on it in their own behalf, that no set of men, however reputable, may be trusted with one’s monetary affairs where there is no guaranty of good faith other than the mere word of promise, and where there is no fairly certain way of detecting fraud. This rule, when applied to publishing, reflects no discredit on publishers. It is a rule of banking, of railroad manage- ment, of merchandising, of manufacture. Bankers must even submit to the searching examinations of an agent ap- pointed by law; yet bankers surely are as honest as pub- lishers. The bottom fact is that the whole system of book publication, on the so-called royalty plan, is unbusinesslike, and is an open bid for fraud on the part of the publisher. Even if all publishers are honest, the principle is wrong. It is a principle which does not obtain in the transactions be- tween publishers and booksellers; a principle which, indeed, applies nowhere save in the relations of publisher and author. It is time for the pot-boilers and the bean-hoers to take some steps toward a better control of their labour and their property. The “literary fellers”” have been the laugh- ing-stock of the business world long enough to learn some- thing from the one-sided farce in which they have played the losing réle. There isnot the slightest call, however, for any ill-feeling toward publishers, or for any ill-treatment of them. What the situation demands is a courageous application of well-known and well-grounded business principles—the principles of supply and demand, and of bargain and sale. —+—- —- The Globe, whose attentions to the Society we have already once or twice thankfully acknow- ledged, makes a few remarks about the change of chairmanship, in which it says that the Society ‘“‘ appeals to the unsuccessful.” Also that “it is understood to contain at least some authors of the more helpless sort, who, at any rate in a state of nature, throw the blame of their original mis- fortune—namely, to have received writing lessons —upon the publishers.” Do we appeal to the unsuccessful? If so, how? By what promises? By what hopes? We exist to maintain literary THE AUTHOR. property. But the unsuccessful haven’t got any literary property to defend. How, then, can we help them? Never mind. It is only another stone to throw. We ought to collect all the stones that have been thrown at us and make a little museum of them. = Our friend the §.P.C.K.—or, rather, the high- minded, just, righteous, and noble branch of it which publishes books—has been hearing hard things in the Church Quarterly.. Even its own familiar friend, the Church Quarterly ! Can it he that Nemesis is overtaking the society ? The Society for Promoting Christian Knowledge is a Church society, richly endowed, conducted by able men, and, apart from all its direct religious teaching, ought to provide an ample and magnificent supply of sound, whole- some, and high-class fiction for young people. For doctrine, science, and as pure literature, their juvenile books should take the highest rank. They who know them best cannot bestow any such commendation, but are sometimes driven to use such descriptive words as twaddle or wishy-washy, no salt, not a spark of fire, no flame of living truth. One result of this is that thousands of young readers, yawning over the Society for Promoting Christian Knowledge, seek or food and amusement elsewhere. So It is late im the day, after all the reviewers have said what they had to say upon his book, to adda word of welcome to Mr. Edmund Gosse on his first appearance as a novelist. The work is, as might have been expected, full of brilliant writing. The story belongs to the medieval period. It is told simply, and without straining after effect. One may be permitted to hope that the “Secret of Narcisse” may be followed by other works in fiction from the same hand. WaLrer BrEsant. spec FEUILLETON. I. CoLLABORATORS. RK. WILLIAM MORTON, editor of the i extremely refined magazine which bears his principal’s name, was one morning examining a manuscript which had just arrived by post. It was a very innocent-looking manu- script, with a simple and attractive title, “An Idyl of the Hills,” beautifully type-written, and, © moreover, the work of one of his most constant contributors; yet Mr. Morton frowned as he glanced through it, and finally flung it on the © table with no slight irritation.  THE AUTHOR. 245 > “What is the woman about?” he exclaimed. “That she of all people in the world should try to write a romance in humble life! Why on earth can’t she stick to her own line? Frisky matrons and jealous husbands — in society, of course — with dark-eyed and haggard Lord Georges and Sir Geoffreys, and a fascinating actress or two thrown in—that’s your form, my dear lady! But this rural love-story—you can’t do ita bit. It isn’t badly imagined, though— I'll say that for you and really rather pathetic, only so ridiculously inconsistent. Any child could see the woman hasn’t the faintest know- ledge of what she is writing about.” He drew the packet towards him again, observ- ing as he did so that the author’s original rough manuscript had been inclosed with the type-written copy. This reminded him of a letter which he had received from the lady in question a day or two before, in which she had informed him that —being about to go abroad—she intended to have her story sent to him straight from the type-writer’s, and expressed, as he now remem- bered, some fear that he might not be altogether pleased with this, her promised contribution. After a short search he found the letter, and read it over, smiling a little sarcastically to him- self. “Going abrcad — h’m, hm. . . hopes there won’t be many mistakes .. . these type-writing people are so stupid Doesn't quite know what I will say to this story, which is in a different style to what she usually writes. Everybody being so depress: d she found herself rather hard up for a plot, but the main idea of this little sketch is certainly original. She won't hide her light under a bushel—trust her for that! but she’s right to a certain extent. The plot vs original, but the story is so badly told.” At this moment a clerk made his appearance, announcing that there was a young woman down- stairs who said she must see Mr. Mowbray at once. “ What does she want?” “Don’t know, I’m sure, sir. I told her you were busy, but she made a great fuss—says she won’t keep you a minute, but she must see you on very particular business.” The Editor laughed and push 4 back his chair ; then he frowned. “Ask her what her business is. Begging, I daresay. Tell her I’m much too busy to be dis- turbed like this.” The clerk vanished, and reappeared after a short interval. “ She says, Sir, she’s come about some business of Mrs. Mountjoy’s.” “Mrs, Mountjoy’s? Tell her to come up.” After a moment’s pause the young woman was ushered into the room; a very young woman, indeed, a young girl one would have said if it were not for the wedding-ring on her ungloved hand. <A pretty young thing too, dark-eyed, pale, with brown hair curling under her shabby hat. She paused in the doorway, and dropped a timid, countrified curtsey ; the smile which had hovered over her lips vanishing as she met the editor’s surprised gaze, and a hot blush covering her face. “Did you say you came from Mrs. Mount- joy?” he asked. She closed the door carefully and approached the table. ““T didn’t say she sent me, sir,’ she said tremulously. ‘Perhaps I didn’t ought to have said it was business of hers at all, but I was so afraid they wouldn’t let me up. It’s my business, really, sir ; it’s—it’s about a story Mrs. Mountjoy wrote—I typed it, you know, sir. I work for Mrs. Sutton. They call it the West London Type-writing Company, but it isn’t a proper com- pany—it’s—there’s only Mrs. Sutton and her daughters and one or two more of 11S.” “Tm sorry it isn’t a proper company,” said the editor, smiling; then, with a little impatience, though kndly, ‘“ Well, what can I do tor your Hasn't Mrs. Mountjoy pad her bill? She iS abroad, you know.” “Oh, it isn’t that, sir,’ cried the girl eagerly. “Besides, that is Mrs. Sutton’s affair, not mine. It’s about the story—‘ An Tdyl of the Hills,’ she calls it. Oh, please, sir, don’t print it! That’s what I’ve come for—to beg you not to print it. It’s my story—our story, and it’s so unfair!” “ Your story ?” repeated the editor in amaze- ment. ‘ Do you mean to say you wrote ie “ No sir, I—we acted it, we lived it, Jem and I. Tt’s us that she talks about. We—we were the lovers. But she’s spoiled it—she’s spoiled it ””— the girl repeated indignantly—‘ she doesn’t tell it as L told her. Jim never said the things she makes him say, and I never—never did what she says. Nor wouldn’t, and Jem knows I wouldn’t. She’s got it all mixed up so. Going and saying my aunt took in washing. She didn’t. We had a little farm, and never needed to do no such thing. Mr. Morton came out from behind his writing table, and set a chair for his visitor ; then he went back again. “ Sit down, and tell me all about it,” he said, “TJ don’t quite understand. You told this story —your story—to Mrs. Mountjoy, did you?” “Yes, sir. You see when we married and came to London we hadn’t so very much money, and  246 though Jem had his post as a reporter, I thought it would be a good thing for me to do some work too, so—as I never was much good at my needle, and I wanted to get work as like Jem’s kind of work as I could, I got myself taught type- writing. Besides copying in the office, I used to 'e sent out with the machines sometimes, by the day, to work from dictation. This wasn’t at Mrs. Sutton’s, you know, sir, but at the first place I had. Well, just before Christmas I went to Mrs. Mountjoy s. She was was writing a novel, and part of it had to be changed and part not; so she had to be with me all the time to explain things. I thought her a very nice kind lady, and was sorry when she had done with me. It was just the last evening I was there that she said to me, laughing: ‘ You type-writing people must be rather amused at all the different stories you have to copy. I suppose sometimes you get quite excited over them?’ ‘Yes, ma’am,’ I said, ‘and yet I don’t think any story can be so strange as the things which happen in real life. I often say so to my husband.’ ‘Do you?’ says the lady. ‘Has your life been so strange, then? You look very young to be married. How long have you been married? and are you devoted to each other?’ Well, sir, she went on like that, and you know what a taking little way she has, and so—”’ “And so suppose ?”’ “Yes, sir; it all came out somehow, and she said it was very curious and touching, and would make a good novel. Well, I never thought any- thing about it, except feeling a little vexed, maybe, that I’d been led on to talk so much, till bad times came. Jem got the influenza, and had to give up his place, and I couldn’t make enou eh to keep us—if you’ve read that ”—elancing towards the lately-received manuscript which her quick eye picked out from the others on the table—* you’ll know, of course, how it was that I couldn’t write home. I had to give up my place in the end, and was glad to get work at Mrs. Sutton’s, where the pay was a little better, Well, sir, it was when things was at their worst that I thought one day of what Mrs. Mountjoy had said—that our story would make a good novel, and so I said to Jem, ‘T’ll tell you what,’ says I, ‘you must write it. You must make a book about you and me, Jem. It’ll be the best beginning you can have, for you've got it all there, and have only got to write straight out of your heart.’ You know, sir,’—glancing again towards the manuscript— it says even there what a scholar he is. You know, by rights he should be a gentle- man, he’s not common and ignorant like me, you told her all about it, I He”—throwing back her head and colouring THE AUTHOR. with wifely pride— He was educated as a gentle- man, and should be one, now, if he had his due. He is so clever and writes—beautifully. He has had little things taken by magazines some- times. Did you ever hear of the People’s Prize, sir?” Mr. Morton shook his head with due gravity. “Well, he tried Longman’s and Temple Bar first, but they are so hard to get into, you know. And so then he sent a story to The People’s Prize, and they took it there ; and Podbury’s Weekly, do you know that ? ” Mr. Morton was also obliged to disclaim acquaintance with that interesting periodical. “Jem writes for it sometimes. J think it’s a very good magazine,” she said, wistfully, ‘ but he often says he would rather never write at all if he had his choice, than let himself down to these things. But, though he doesn’t get much money from them, he gets something, and we want all we can get. Well, as I was saying, I asked Jem to write our story, but he wouldn’t hear of it at first. ‘I couldn’t, Jenny,’ he said, ‘It’s too sacred. I feel too strongly about it. What are you think- ing of?’ And then I said, ‘But who’s to know it’s us, Jem? Youcan put different names, you know. And, oh dear! you and I are such poor, unknown, small people, who will ever think that the Jem and Jenny in the book—only you won’t callthem Jem and Jenny—are you and me, or were ever alive at all? And as for your feeling, my dear,’ said I, ‘unless you feel very strongly about what you write you’ll never do any good at it.” ‘Who told you that?’ he said, and he was pleased. I can’t often put what’s in my mind into proper words, but he feels it there, and that’s how we understand each other so well. Well, he gave in at last, and he wrote it all, bit by bit, between the odd jobs he gets here and there. He used to read it to me o’ nights, and sometimes we laughed over it, and sometimes we cried, and I used to remind him of things he’d forgotten, and oh!” said the girl, with tears in her eyes, “ it’s beautiful, it 7s beautaful! It goes to your very heart!” The editor looked at her with an odd mixture of feelings. Wonder and compassion, and a certain half-amused ienderness. Mrs. Mount- joy’s story, imperfect as it was, had seemed to him pathetic, if improbable; but the sequel was more touching, more impossible still. This pair of married children battling with London poverty ; Jem, with his good education and gentlemanly instincts writing for Podbury’s Weekly, and doing ‘“‘odd jobs’; Jenny, the mountain maid, toiling hour after hour in a typewriter’s office ; and then these poor innocent babes in the slums, thinking to redeem their fortunes by setting forth their  THE own little history for the edification of the world at large. It was absurd, utterly and imconceiv- ably ridiculous, and yet !— “T typed it, after hours,’ went on Jenny. “Mrs. Sutton allowed me to when I told her who it was for. But, of course, I had to pay for the paper, and even that, you know, it would quite surprise you to find how it mounts up. And now, just as it is nearly finished—poor Jem working so hard, and staying up at night, even—I have that given me to copy,” pointing to the offending document on the table, “and I find it’s—oh, it was wicked of Mrs. Mountjoy !—wicked and cruel ! I told Jem, and he was near broken-hearted.” Here the tears flashed into her eyes again. ‘‘ But he never said a cross word to me, though it was all through me it happened. He just pushed away his papers. ‘It’s no use, Jenny,’ he says, ‘she’s taken all the cream off it. Ours, if it did come out, would look as if it was borrowed from that.’ Fancy! borrowed! Our own story!” Her voice choked with passion, her look and attitude were almost noble in their wrath and scorn. “Think of it, sir! We lived it and suffered it, and she--she traffics with our hearts’ blood. She, she’s like the wicked giant in the fairy tale, she grinds our bones to make her bread !”’ Even this anti-climax did not make Mr. Morton laugh; on the contrary, the girl’s fiery indigna- tion seemed to infect him, and seizing both the rough manuscript of the “ Idylof the Hills ” and its fair copy, he tore them across and across, and flung them into his waste-paper basket. “There,” he said, “‘ that’s disposed of!” After Jenny had gone he remembered that he had no right to destroy MS. submitted to him, and he fished the thing out of his basket, and sent it back to the author with a note which made her “sit up.” Jenny’s face, after a momentary pause of blank astonishment, was a sight to see; dimpling all over with the sweetest, sunniest, most ecstatic smiles, “Oh, sir!’ she cried, and clapped her hands. “Oh Jem! what will Jem say ?” “ What will Mrs. Mountjoy say?” Mr. Morton, with a dry smile. ‘“That’s more to the point. Don’t be alarmed ’’—as the bright face grew clouded over again—‘“T’ll settle all that, and you may be sure I will never betray you.” “You are good!” said Jenny, “I can tell Jem now. I didn’t before, because I was afraid he would think it such a silly plan of mine, to come here, a poor girl like me, you know, and tell you all this. But it’s allright now ’—clapping her hands again—‘ I can tell Jem it’s all right.” observed AUTHOR. 247 Was it all right, and did this poor child really think there were no further disappointments in store for them? Did she imagine that her husband’s novel would be straightway accepted, and published, and that their fortunes and his reputation would be made without more ado ¥ And what a very different fate awaited them in all probability ! In his mind’s eye Morton could see that hapless manuscript coming back, and back, a little more soiled and shabby each time, and he could imagine how in the midst of their acute disappointment and heart-sickness there would be additional pangs at the sight of the damage done to those fair sheets, so carefully copied and so expensive, and at the thought of the serious outlay in stamps incurred by each fresh journey. “Look here,’ he said, ‘you may tell your husband that if he likes I will look over his book when it is finished. I don’t mean that there is the slightest chance of its suiting ws,’ he added hastily, as he saw a momentary wild hope leap into Jenny’s face. “ But, as he is a beginner, I should be very glad to help him in any way I can, and 1 will tell him candidly if there is any use in his offering it to a publisher.” “Thank you, sir,” said Jenny, curtseying ; but all the light faded out of her face, and Mr, Morton began to wonder impatiently if it would not have been better to have left it alone. Well, the manuscript came, and Mr. Morton did not find it a perfect gem, faultless alike in inatter and construction, and did not immediately hasten to secure it, offering Jem a large sum for the right to run it as a serial in his magazine, before afterwards producing it in three volumes. Nothing of the kind; this is not a fairy tale. He found a good deal of charm and power in the telling of the story, which was of itself, as has been said, an unusual one; but . . . and VOC He sent for Jem, and gave him a great deal of advice, about what he was to read, and what he was to write, and how it was far better for him to let his manuscript lie by for a little till be matured. He told him there was good stuff in it—and watched the eager intelligent eyes dilate with pleasure—and then, with careless good humour, enumerated its faults, and was conscious of an odd feeling of compunction as he saw the blood sweep over the boy’s face. The end of it all was that Mr. Morton took a fancy to Jem. He procured him employment which sufficed to keep the wolf at quite a respectable distance from the door, and guided and encouraged this literary novice, till he required such help no longer. The story of Jem and Jenny saw the light at last under a new form, and made its mark, and Jem  248 is now—but if I were to tell you who and what Jem is now, Lam sure you would not believe me. M. HE. Francis. ———— od II. Fenton Fane. By G. B. Burain (Author of “A Quaker Girl,” &c.). Kettering is so much sought after in general society, that we were all rath+r surprised to see him in the smoking-room of “ The Bohemian” just before dinner the other evening. For some time past, Kettering has forsaken his less successful cronies, but he is sucha good-natured little fellow that we willingly tolerate eccentricities which in others would call for the severest reprobation, He seemed excited yet jubilant. You know his work, of course? Mildly sentimental books, which are very successful with young ladies. They say he makes over two thousand a year—guineas, not books. Turns novels out like so many Waterbury watches; at any rate,a man of the world wants as much winding up as a Waterbury before he can get through one of Kettering’s love stories. Still, he is clever; there’s no doubt about that. And he can’t help being conceited. Success has that effect on some people. Strange to say, he is still good-natured. Successful men can afford to be good-natured sometimes—when they like. Very often they don’t like. But that has nothing to do with Kettering. I have often known him to help a fellow. Well, Kettering came in with a bundle of evening papers under his arm, and very full of something. “ Tell us all about it,” said Spittleby, of the Warbler, (Spittleby is the man who writes costume and cookery letters under the signature of “ Lady Godiva”? Says he adopted that signature because of his love for naked truth. Most of those letters are written by men. You know the sort of thing, where you enter all the shops of the universe in the course of one afternoon, and wind up with a recipe for marma- lade or muffins.) “Tell us all about it,” repeated Spittleby, looking enviously at Kettering’s special editions. Kettering had evidently bustled in to tell us a story. We languidly waved him to the centre of the hearthrug, and prepared to wile away the unhappy quarter of an hour before dinner. And this is the tale he told, as he stood before the fire, the bundle of papers under his arm strangely contrasting with his correct evening dress : One morning, about three months ago, some- body knocked at my door. It wasn’t a timid or frightened knock, but a very vigorous rat-tat— the knock of a successful man. © Come in,” I shouted, and he did. THE AUTHOR. Now I ask you dispassionately, whether a man like that had a right to knock as if he were Kipling, Jerome. J. M. Barrie, Conan Doyle, Alfred Calmour, and myself all rolled into one? I put myself last because you other fellows mayn’t have heard of my most recent success, Of course, it’s your misfortune; and ’m sorry for you. Still, when a man has made a hit he ought not to be too modest about it; it’s all confounded nonsense. Most people think that last book of mine great, so I don’t mind telling you candidly I agree with them; it is a great book. My publishers quite flatter me about it. When they forwarded my last cheque — three figures—I asked them, and they said that the cheque meant volumes. It did—my volumes, T’ve been working a good many years to climb to the topmost pinnacle of fame. When a fellow’s been doing that, he likes to be approached with a little deference after he is sitting on the point, Not that it matters much, although it does show a sense of the fitness of things. Naturally, when that man knocked at the door, I thought it was the author of ‘“ Pilkins’ Pilgrimage,” at least (you all know the way he enters the room, as if he were a country squire, and you'd had the impudence to sit in his pew without being asked, and had better get out before he made you), Well, it wasn’t. It was only a new shorthand fellow, who came in as if he were my equal, sat down at the table, pulled out his dirty notebook, nodded familiarly to me, and cast a contemptuous glance round the study. Then he grinned. Positively grinned, What sort of a fellow was he? Oh, about thirty. Tall, thin, not too well-fed. Bags rather gone at the knees—looked as if they had been “yevived ” and then collapsed again, after the manner of most revivals—seams of coat seedy (you know the greasy pallor of a coat seam, like that on the face of a dead man) and cheap boots rather gone at the toes. And his linen was—vwell I'd rather not mention it—dinner’s coming — It reminded me of my old Irish servant’s celluloid collar, which he wore all the year round, and only washed under protest aad the pump on Christmas Day. But the fellow was goodlooking in spite of his poverty. Forehead a bit too bulgy perhaps, and his eyes (blue) hada way of sizing one up which was rather embarrassing. He was to be paid a shilling an hour and his lunch, in addition to the pleasure of forestalling the British public by reading my new book before any one else did, That should have been worth at least another shilling to him if he could only have seen it in Don’t worry, You're the proper light, but he didn’t. — Jones! I'll give you the papers directly. more like a human bookworm than ever.  THE AUTHOR. Selwyn (one of my publishers—I keep two or three—mainly Dissenters) had found him for me. “Good all round hack,” was Selwyn’s descrip- tion. Seemed to think I wanted to be carried up and down the park. Well, the fellow opened his notebook, looked round the room as if he thought all my pictures beneath contempt (don’t believe he’d ever seen a Segantini before) and threw himself back with a laugh. “ Doesn’t all this bosh—(he called the get-up of myself and room ‘bosh,’ the irreverent brute. You know that rig-out of mine which Jones will call a ‘tea-gown’ although he’s well aware it’s old Florentine velvet)—rather interfere with your work?” “No, it doesn’t,’ I said shortly. enough, Mr. Be “Fenton Fane.” “Fenton Fane, not to interrupt me by discussing questions of taste, and thus exposing your ignorance. We will start with chapter four if you please.” “Very well,” he answered. you're loaded up to the muzzle.” The man seemed to think I was an old Tower musket. I stopped hurriedly striding up and down the room (you know that panther walk of mine which has been so much talked about in interviews) and stared at him. Then I began to dictate, but not so fluently as usual. It didn’t matter how fast I went. The fellow just made little jerks with his fingers—little im- patient jerks they seemed to me—and waited. Now, there’s nothing so exasperating as to have a shorthand-writer get ahead of you. It makes you feel as if he knew so much more about the thing than you do yourself. The more he jerked, the more confused I felt. At last, I came toa dead stop, and felt empty. Fenton Fane threw down his pencil with a contemptuous laugh, and looked at me. ‘Thought so,” he said cuttingly. “When I saw you rigged out in that high- faluting dressing-gown and muffin cap I ought to have known you wouldn’t amount to much.” “What d’you mean?” I gasped. “T'll tell you, if you don’t object to smoke,” he said. “Got amatch? Thanks. He actually struck it on his trousers—the Antipodean part of them—and lit a filthy pipe. I had to burn a pastille in order to stifle its fumes. The man drew a shilling from his pocket. really can’t stand it,’ he said. “Td rather go back to reporting the police courts. That Barabbas of yours paid me a shilling in advance, on . didn’t bargain for deleterious drivel like is !”’ I was speechless with rage. “Be good “Fire away, if “Ty You all know 249 what even the National Observer has said of my work; and it’s very few great men their people are civil to. When I pointed haughtily to the door, he only laughed. ‘‘ Let us talk it over,” he said. ‘Perhaps you’ll learn something.” There was no other way to get rid of him, so I listened. He took up his shorthand book, and read the opening paragraph, a beautiful little poet- laureate like opening; at least, it resembled the style of all the candidates for that post. “It’s all incorrect,” he said. ‘ Every bit of it. Think it over. You've mixed up the flowers in that garden as if Ouida had planted them in a hurry ; it’s the wrong time of year for a thunderstorm ; and that slovenly alliterative style is sad enough to sicken a slouching schoolboy.” Of course, I ought to have cut him short, but the fellow confused me. “ You—eh—get the general effect,” I said, crushingly, “ with—eh—a broad sweep of the brush, and realise the scene. It doesn’t need little niggling water-colour touches.” “Bosh!” he said. ‘“ Bosh! You’re hopelessly, ignorantly, blatantly, blunderingly, irredeemably wrong. And the world (he took his pipe out of his mouth) calls you a great man.” He laughed. It was not a pleasant laugh to hear; it seemed about a semi-tone wrong. « Don’t you—eh—think it is time to end this dis- cussion ?” I said, laying my hand on the bell-rope. That sobered him. He flung back his hair with a shake, and sat down. “No,” he said shortly ; “I don’t often indulge myself in this way. Suppose I give yowa shilling (he took one from his pocket) just to free my mind.” I thought the fellow would make a good character study, so consented. He gave me the shilling. I have it now. “Tye watched you for some time,” he said. “ Yow re courted all round because you’re read by people about as wise as yourself. They under- stand your sentimental twaddle, and you under- stand them. Your books sell. Here and there, one notices a faint suggestion of the divine spark —the sort of mark where the match of genius has been rubbed along and left a slight phospho- rescent streak—but that’s all. You're wealthy, I’m poor; you're a great man, I’m a little one; and yet, before Heaven, I decline to change places with you, for I have genius—you haven't.” The fellow actually swelled. “Tm not mad,” he laughed (he was always laughing: that’s one of the secrets of a sane genius—to know how to laugh). “No, Pm too tough for that. But I’ve got to the heart of Nature’s secrets, I know men and women; I can paint you pictures passionate or gay, move you  250 to laughter or tears, excite your pity, anger, derision, scorn; I can take you into the night and make you shudder with nameless dread, or sing to you in sun-flooded highways so that the very flints become flowers to your feet. Oh, yes, I’ve done all that. It’s the truth, the truth, the truth. Only I can’t get my chance, I can’t get my chance. Life slips away, day by day, hour by hour, minute by minute. Fame stands on the hill-top, and you, and fools like you, bar the way, so that my voice fails to reach my fellows. Do you know what you have done ?” he asked, coming near to me. “No,” I said; and I didn’t. “ Well, you, and the fellows like you, murder men’s souls—murder the souls of men who are the world’s prophets and preachers and singers. You stifle the hearts and consciences of all man- land, you dull their ears with your petty babble of this and that. But they are so accustomed to the note of your penny whistle that when some great, pure clarion voice rings over the heights, men turn aside and heed it not. Out of the way, you and your brood. Give place.” The man was evidently mad. I tried to soothe him. ‘Yes, yes, my good fellow. You're quite right—quite right. But the world needs us, and we make it pay.” He laughed long and low, and put his pipe back »n his pocket. “I beg your pardon, Mr. Kettering,” he said. “It was awfully bad form. Pll get my chance some day, and then you can review me; but you must admit there is a good deal of truth in what I have said. I ought not to have wasted your morning. Good day.” I stopped him. Couldn’t help pitying the poor devil. ‘ Can I help you?” I inquired. The colour came into his cheek. ‘“ No, thanks,” he said. “Td like you to spend half an hour with me and read a chapter of my book—the book no publishers will publish because I haven’t had one out before. I don’t blame them. Why should they run any risk ?”’ Somehow, the fellow toucied a sympathetic chord—reminded me of the time when I pawned my gold watch and chain to get my first book out. The book came out, but the profits and the watch didn’t. We went downstairs together. “Can you stand being seen in a’bus?” he asked. “ Will your reputation suffer ? ” But my brougham came up, and we got in. ‘Royal Mint Square,” said Fenton Fane.” Up by the Tower.” It was the usual sort of dirty den—a kind of Eastern carayanserai, without the camels, but equally odorous. The !odgings were divided into two or three little rooms, mostly inhabited by THE -AUTHOR. policemen, with a sprinkling of ex-Girton girls and charwomen. The rooms were very pretty ; so was Fane’s wife. Nay, she was beautiful. Never saw such golden hair in my life. There was a little girl also, of about nine, with her mother’s eyes, and Fane’s trick of looking you straight in the face. Mrs. Fane greeted me with the self- possession of a Mayfair matron. Then Fane brought out his book, and I began to read it. The clock struck one. When I looked up again, it was growing dusk. All that time, the man and woman and little child sat there without saying a word. I didn’t even hear them breathe. At last, the strain was so great that I could bear no more. I laid down the MS. with a long-drawn breath. The man and woman and little child sat there looking at me, their hearts in their beautiful eyes. They had sat there for hours—in silence— waiting. Their faces were white and strained, the lips quivering a little as I looked up. Even the child knew what was going on. I laid dwn the MS. Fane rose to open the door for me, without asking a single question. I stood for a moment, dazed, bewildered, over- come. Then I took Fane’s hand and turned to his wife. “He is great,’ I said. “Great! Great! Great; I am not worthy to sit at his feet.” Fane clasped the woman in his arms and held her there. 1ooking in her shining eyes, I knew whence came his greatness. “That all? ” we queried. ‘“*No,” said Kettering. “It isn’t. fellows seen the evening papers ?” We hadn’t. How could we when they were all under his arm Kettering handed us the bundle, and in them we read of Fenton Fane’s first book. His clarion voice is ringing still. Ringing throughout the world, stirring the souls of all, as we who are fain to move them fail to do; for the man who would fire the heart of his fellows must be cradled in poverty and wrong, live dolorous days and sorrow on through darkest nights, ere dawns the morning light when those who once scoffed and turned him away kneel humbly crying: “Master, with golden tongue and heart of fire, teach us the secret of the hidden ways, that we may climb life’s upward path with thee and touch the skies.”’ Have you  THE: AUTHUR. CORRESPONDENCE, 1 A Littie Sum. some agreements the following clause N a occurs:—|The publisher] “shall... pay to the author on all copies sold at abvve half their published price a royalty of ro per cent. on their published price, and on all copies sold at or below half their published price a royalty of 20 per cent. on the net receipts of such sales.” It is interesting to notice that under this clause there is an inducement to the publisher to sell at a lower price than is to the author’s advantage. More exactly, if the published price be taken as 100 units, we get :— Selling price. Publisher’s share. Author’s share. 55 45 ee 10 BO) 2 0 IO BOS AOS IO GO AO IO BO Ae. 5 499 AOL 8... 4°99 See HOG 4°55 It is, therefore, to the publisher’s interest to sell :-— At 50, rather than between 50 and 55 29 49 ” ” ” ” ”? 5471 ”? 48 ” ” ” ”? ” 53°2 ” 47 ” ” ” ” ” 52°3 92 46 ” 99 9 ”? ” 514 ”? 45 a3 29 ”? ” ? 50°5 While to the author the lower price in each case brings half (or less than half) the return brought by the higher price. Il. No ANSWER. A lady living in the country sent a MS. toa certain weekly journal. The editor replied to the effect that he would like to use it, but that it was too long and should be cut down. The author, in return, offered to cut it down herself. The editor made no reply to the offer. He sent no proofs of the paper, but published it six months later. The writer then asked to be paid. She has written repeatedly. Up to the present moment she has had no reply to her letters. She has been advised to put the case into her solicitor’s hands. 251 IPE LerrEers Not RECEIVED. Here is another case. A lady sent a MS. to an editor, which was accepted, printed, and pub- lished in a certain paper. Then the writer sent a note asking for a cheque. She received no reply. Then she wrote again. She received no reply. She waited a little, and wrote a third time. Again, no reply. She then put the case in the hands of a gentleman, who wrote for her, and informed the editor that unless a cheque was sent by return post the case would be placed in the hands of a lawyer. The editor then for- warded a cheque, stating that he had not ) eceived any of the three letters! In such a case as this, the only way is to put the case ina lawyer’s hands when the first letter remains unanswered. ————$—- IV. SuaaEstED Memoriat. I trust that a special memorial of the late Laureate, our President, will be raised by the society, and I venture to suggest that a bust of the poet might be the best form for such a memorial to take. It should be easy to find it a place of honour in the rooms of the society. Many members would be sure to avail them- selves of the privilege to contribute to such a memorial ; and you may include me among them. A. M. ———— > V A QUESTION. In the “Notes from Paris” in the November number of the Author, Mr. Sherard mentions how he picked up a first edition of Stendhal’s “De Amour” from a book-hawker on the quays of the Seine. I should like to know if, in the first edition of “ De Amour,” the sixtieth chapter was printed. I have a copy of that work published in 1833, which has Le chapitre supprime LX. Des Fiasco, in manuscript. bound up with it, The book was given to me by a gentleman who formerly lived in Paris, and the suppressed chapter was supplied to him by a Monsieur Milsand, a litterateur of some note at that time, and a contributor to the Revue des Deux Mondes. Cuaup Harpine. <= VL. For Noruina. I think the secret at the bottom of half our literary difficulties lies in the anxiety of amateurs  252 to see themselves in print. Am I not stating a well-known fact when I say that an enormous amount of matter, neither very good nor very bad, is sent in to editors daily by writers who are perfectly content that their work should be pub- lished gratis? Indeed, with regard to poetry, I believe it is rather the rule than the exception, with middling magazines, not to pay for it at all? Verses are positively poured into the market by writers who desire nothing better than to see their effusions published ; so that many a p etty little poem, which would find its price in time under different conditions, is doomed to oblivion. I know the price given for verse in some of the second-rate magazines is something absurdly low. But surely if a poem is worthy of being set up in type at all, itis worthy of a fair price! One must consider that beginners in literature, if not absolutely drivelling, are likely to be somewhat crude in style, and that the market for mediocre work is the smallest of all. For very good work there is always an opening, for actual rubbish there is plenty of room in the weekly “ dreadfuls.” It is the moderately good writer who suffers most, and upon him the selfish egotistical amateur preys. I write feelingly, having had articles rejected, before now, with the words, “ We can get what we want for nothing, thank you!” I have even heard more than one established writer say un- blushingly, “ Oh, I wrote for nothing at first; one has to do so, you know.” I don’t know. I don’t believe it. I never wrote for nothing, except for a local newspaper that could not afford to pay or for amateur magazines. If one’s early work is not worth remuneration, it never ought to appear im widely circulated professional magazines. Of course, it would be better still if it never appeared at all; but if amateurs and beginners must see themselves in print, there are plenty of amateur magazines open to them nowa- days. There is no blame to be attached to editors in this matter, for they are only obeying the laws of economy. They know well enough that if everyone demanded payment the sifting process would be fairer, and many of the stories and articles they publish for nothing would be paid for without a murmur. But, say a man has two articles sent in to him, one of which he may have gratis, the other requiring remuneration. Suppose them to be nearly of equal merit and suitability, but the latter the better of the two. Which will he choose, considering the expense of type-setting, &c.? Why the gratuitous one, of course, even if slightly inferior. How could it be otherwise ? This is a burning question, and the sooncr a crusade is started against the vain and egotistical THE AUTHOR. amateur the better for the bread-winner. The better for author, editor, and literature generally, M. L. P. VIL. A Briturant Scare or Pay, A correspondent sends information of the “scale of pay” adopted by a certain penny weekly supposed to have a very large circula- tion. It is, indeed, princely. For articles— stories—he says that he has received payment at the rate of 5s., 7s. 6d., 10s., or, as the highest pay, 15s. “ For one story of eight chapters,” he says, “T received 15s, !!!!” The proprietor of this delightful journal may plead—and very justly—that he can get what he wants at that rate, and why should he pay more ? Certainly—why pay more? All the advertise- ments ask the same question. One answer is that cheap stuff—in literature, as in other things —is bad stuff.. A journal which offers bad stuff is not only low down, but is doomed to go lower down. VIII. A Lawyer’s Lerrer. Iwas asked last January to contribute an article to a projected new review. I was told to name my own subject and my own price. I named £20, and, at considerable personal incon- venience, wrote and sent the article within about a week. It was never published, as difficulties supervened, and the idea of starting the review was abandoned. But I had written the article, and had in black and white, in terms fully suffi- cient to satisfy what the Times the other day called the “ Statue of Frauds,” an undertaking to pay me £20 forit. After waiting six months I wrote and offered to take £10, and consider the article as withdrawn. This was refused, and I was told [had no legal claim, so I put the matter in the hands of my solicitor. Three days later he wrote that he was offered £8 8s. for me and £1 1s. for his costs: would I take this? ‘ No,” I replied ; “TI said I would take £10, but, having had the trouble of employing a_ solicitor and writing four letters, [mean now to have £11 11s. for myself, plus costs, or I shall sue for the full £20.” A day or two after I got my cheque; so the projectors of the review in question paid £12 12s. and their own solicitor’s costs instead of £10, which was all I asked. 4 | 7 1 7 i THE AUTHOR. 253 ix DEFAMATORY CRITICISM. A remedy for the crying evils of which “ Rank and File” and Doctor Charles D. Bell complain, in the current number of the Author, appears to present itself in your apposite notes on Mr. Thomas Hardy’s “‘ Review of his Reviewers.” Permit me to repeat your words: “If a man 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.” Now for an application of the remedy. In a recent number of a certain journal, eight works of fiction, com- prising fifteen volumes, by authors of more or less repute (yourself among the number) are airily polished off in about two thousand words, from which I select an apposite illustration of the “happy despatch” administered to the latest production of an author of four or five books which have passed through various editions : “For misspelling, misquotation, misconception of every usual matter of common knowledge, and constant grammatical atrocities, Mr. ——’s book is the novel of the season.” It must be frankly admitted that this latest specimen of the pseudonymuncule has “a nice derangement of epitaphs.” Supposing his state- ment be a true one, the wretched author is bound to submit in silence—but, on the other hand, suppose it can be proved to the satisfaction of “twelve good men and true” that it is false, wilfully and maliciously false in every particular, would not an action lie for libel, and if so, might not this be made a fest case for the general good of the craft ? The subject invites discussion from both the captains and the rank and file of the army of authors. Possibly, too, some of your eminent legal colleagues will deign to favour us with their views. Rover. [There seems little reason to hesitate. If the book is, and can be proved to be, falsely described, the author is as much injured as the imaginary baker, and has his remedy in a Court of Law. | x. Society oF ARCHIVISTS. With reference to the account of the above society, written by Mr. Cresswell in last month’s Author, kindly allow me to make a few remarks. Stated in a few words, the main objects of the society are, (1) to combat the dense ignorance of the value of old MSS. that prevails among the educated classes; and (2) to form a combinat on or “trade union” for the profit, protection, and pleasure to be derived from the companionship of brother colle: tors. One great difficulty in form ng the society is the indifference, often amounting to coutempt, shown by those who, instead of leading the public taste up to higher things, pander to its grossest forms, and follow its more depraved instincts into the gutters of the police and divorce courts. I refer to the newspapers. There are honourable exceptions, but they are few and far between. The consequence is this: That, although we have been trying to attract public attention (almost the only chance of success) for nearly six months, the number of leading papers which have published accounts of our objects or otherwise drawn attention to us, may be counted on the fingers of one hand, while day by dav unleaded type accounts are minutely fur- nished of the meals eaten and words spoken by the Jatest ‘‘ fashionable” criminal. There is a remedy for this, Sir, and it hes in this direction. Let some of the leaders of public thought, the great writers and literary men who read this journal, join us, if only as honorary members (it costs 5s.), and I make no doubt that the daily papers will soon find it out, and, ever on thealert as they are to flatter the great with an obsequious paragraph, may in the long run serve the cause to which, when it stands on its merits alone, they turn a deaf ear. H. Saxe WynpuaM, Hon. Sec. Society of Archivists Thornton Lodge, Thornton Heath. 2G A PuzzuE. A writer sends a short story to a paper which will not bind itself to return authors’ MSS. It is there for a long time, and he is in doubt about its fate. It is no use writing to the editor of the paper, because he won’t answer. At the end of six months or thereabouts, the writer settles in his own mind that the story is refused, and, liking the idea, rewrites it and sends it to another paper. This paper accepts the story and promptly q i \4 } ; (f iW i i se wegen oer  254 pays for it. A day after the writer receives a much smaller sum for the same story from the paper he sent it to first. Now, what ought he to dor Which cheque ought he to return ?,—A MEMBER. Ss XII. ILLUSTRATIONS. I am not an author, but may I ask whether, if I supply illustrations for an article by one author, his editor or publisher has a right to use them, without reference to me, in any other book he may be bringing out ? XIII. “TL. B.” anp Liserat RemMuNERATION. In the current number of the Author, your correspondent “TL. B.” recalls an experience somewhat analogous to my own. A few years ago, I called upon Messrs. North- ampton and Co., to discuss the publication of a novel. For reasons which need not here be recapitu- lated, the novel was not accepted; but, as certain short stories of mine in the Graphic, Longman’s, Temple Bar, &c., were enjoying a sort of vogue, it was proposed by Messrs. Northampton that I should write a short story for the summer number of a magazine, of which the firm had recently become proprietors. Terms were discussed, and I mentioned those paid me by the Graphic, Longmans, Temple Bar, New Review, &c. On the faith of what I considered to be an honourable verbal understanding, I wrote a story of twenty-four magazine pages, which occupied the place of honour among a series of stories by authors of distinction. A month elapsed—two—three—four—then I wrote suggesting that a cheque would be accept- able. Another month passed without a reply—then I wrote a polite reminder, whereupon I received a cheque for £2 10s., that is to say, 2s. 1d. for 600 words. Now the mere caligraphic process is so dis- tasteful to me, that I protest I would not (except under the pressure of starvation) have even copied the MS. for double this miserable pittance, leaving the composition of the story quite out of the question. Believing that there must be some mistake, I returned the cheque, requesting an explanation. Like “BL. B.,” I was curtly informed in reply that “ my story was paid for at the usual scale of THE AUTHOR. payment for stories published in the ‘ So and So? magazine, and from that scale there could be no departure.” I was “young in crime” then, and did not wish to figure in the County Court, but were Messrs. Northampton and Co. to try that little game with me now, I would put them in the box, and I would put beside them the half dozen dis- tinguished contributors to the “So and So” magazine, so as to prove the actual truth or falsehood of Messrs. Northampton’s statement. Moral All future contributors to the “ So and So” magazine will do well to take care to have a written contract before they commit their copy to the tender mercies of Messrs. Northamp- ton and Co. Once Brit, Twice Suy. XIV. A Sueecrstion—anp Somerurne Mors. The strength of the Society of Authors is proof—if proof were needed — of the excel- lent work it has done in offering an unbend- ing front to the fraudulent publisher. But if authors, individually, relax their vigilance, much of its good work falls to the ground. There are amongst us certain penny journals which, when they are going down, or fall into unenviable notoriety, make a call upon authors of good stand- ing to prop themup. And either from ignorance of the character of these journals, or from that thoughtlessness which prempts many a writer to say “Pl write an article for any journal that pays me my price,” the few at the top are apt, from no unkindness of heart, to rattle stones on the heads of the many below. If this sort of thing has not crossed the mind of any good writer before, may I bring it to him in this fashion. When he has been asked for an article, has he ever considered whether the journal which begs the loan of his name and talent is a journal worth propping up? Has he made certain inquiries about the price it pays its regular con- tributors? Ifhe has not done this, he may be unconsciously supporting that which it is the object of the society to destroy, the art of sweating. When a journal makes a call upon a good author, and in the pages of which he can gain neither honour nor renown, from which, as a matter of taste, he would shrink under ordinary circumstances from contributing to, that journal ought to be subjected to careful scrutiny. It has everything to gain from the influence of his name, the author nothing, save the guineas. Some of the reasons of these journals calling on good  si pe bee Sad Series Boe oe ae St ou ot a THE AUTHOR. 255 authors for help are easily understood. For an instance, the paper may be simply paralysed, it stands on the brink of destruction, with a rapidly decreasing circulation. As a desperate remedy, it cills on certain writers, and faces the public with their names in a string. ‘This is a literary tonic which often places it on its legs again. Where the journal is honest and straightforward, and grows weak through no fault of its own, this is a proper tonic; but where a journal erects a barrier with these names to keep the public off the scent of the regular and sweated contributor, such a tonic is unwholesome. An author, if he be not very careful, is lable to be paid with the bright guineas produced by sweating, and he puts it into the power of a journal to say, “1 sweat ! Look who contributes to my columns! The author of so and so and the equally talented writer of such a work!’ Then the general public, the keen discriminating general public, grows hardened against the sweated. “ Pooh! If the ‘penny soul of humanity’ sweated, do you think the author of this and the author of that would write for it?” Theauthor of repute is saddled with a rare responsibility; the general public never reasons, it goes by outside show, and takes the good writer’s name as a guarantee that all is fair and respectable within. Therefore, if the author of repute is misled, or thoughtless, he finds him- self in a most undesirable position. In perhaps a solitary case authors’ names are put forward to blind the general publi: ; they go down with it as the regular staff, while the poor objects hidden in the background, the regular sweated contri- butors, are writing their stories of 2000 and 3000 words for the magnificent pay of five shillings and seven-and-sixpence a story! In some bewilder- ment, the author of repute, who is not, or has not been till lately, much of a business man, asks how ishe to pick a journal of this sort out. Easily enough. Publish in the Awthor the rates of pay of every journal in the kingdom. Publish it in instalments, a little every month if you like, but by all means publish it. There are enough mem- bers of the Society to do this; let each one make out his little list and send it to the secretary. Then all will be fair sailing, the shoals will all be buoyed off, the rocks marked on the chart, and a good deep channel prepared for the literary ship to sail through. Witha good chart there will be less danger of running ashore. That is my sug- gestion, open to amendment. Some may assert that it is not needed; and those who deal in cold logic declare that mediocrity always will be sweated, it can’t command a price, and a writer of that sort must, in the nature of things, fall into somebody’s grasping clutch. To think thus is to do nothing. If a journal is discovered to be a sweater, it ought to be strictly boycotted, that is, if the Society is going to make any headway. No man who has made a name, or who values his reputation and_ the welfare of the humblest scribbler, should show it in the light of his signa- ture. Show the sweater that he is a sweater, deal with him as a sweater, make even the general public recognise him as a sweater, and, without he be made of wrought iron, or adamant, he will surely fade and die. Peace to his ashes ! CHARLES KING, 7, The Conge, Great Yarmouth. De “Al THE SIGN OF THE AUTHOR'S HEAD.” Dictionary of the World’s Press,’ is preparing an exhibit for the Chicago Exhibition of old newspapers. Contributions or loans may be sent addressed to him, Fleet-street, London. It is stated by the Queen that he will establish a permanent museum of old newspapers in London after the exhibition. There are surely materials in the British Museum for such an exhibition. N -R. HENRY SELL, compiler of “The Mr. James Payn shows all his old dexterity in his new story “The Stumble on the Threshold,”’ which has been running:through the Queen, and has just been published by Mr. Horace Cox Whe tale possesses a strong interest, while its dénouement is in the highest degree original, being, we believe, absolutely new in fiction. Not the least of the many charms of the story is its inexhaustible fund of humour. In ‘“‘ The Master,” Mr. Payn has given us a really great creation. The book of “The Recollections of Gordon Hake, Physician,” is simply delightful. Here is a man over eighty years of age who has always lived with literary and artistic people of the best kind, a friendof Trelawny, Walter Savage Landor, George Borrow, Latham, Rossetti, and to all those poets, painters, novelists, and writers who are associated with their names. The book is filled with anecdotes, and with sharp, caustic, clever things. To me at least, in such a book as this, attraction is the chief thing to be considered ; it proved attractive enough to make me read it from end to end at a sitting. It is more than attractive; it is a most valuable contribution to the literary history of the century. There is a strange charm about Wessex and its people and its dialect. Here is another novel —“Dark” (Smith and Elder)—belonging to Devonshire. The story is anonymous; it is  256 painful; it is lacking in humour ; but it is a true picture of country life. There is the girl—not unlike Hardy’s Tess—who loves and sins and suffers. The author should do much _ better things than “ Dark,” which, however, is a story to note and to read. The advertisement pages give us a few facts to note. Mr. James Payn’s new novel is pub- lished by Mr. Horace Cox—a new departure. The ‘“ Record Press Limited,” is the title of a new publishing firm. Mr. Newnes, proprietor and editor of the Strand and Tit Bits, has become a publisher with books by Conan Doyle, Grant Allen, J. E. Muddock, and George Sims. The continual increase in the number of London publishers is an indication of the rapid growth, as well as the enormous extent, of the book trade. The Orchid Seekers, a Story of Adventure and Peril in Borneo,” by Ashmore Russan and Frederick Boyle, will shortly be published by Messrs. Chapman and Hall, and by Messrs Roberts Brothers, of Boston, U.S.A. It was published serially in the Boys’ Own Paper. “The City and the Land” is a collection of seven lectures delivered in the spring of the pre- sent year on the work of the Palestine Exploration Fund. The lecturers were, Col. Sir Charles Wilson, Major Conder, R.E., Canon Tristram, Walter Besant (formerly secretary to the society), Rev. Dr. Wright, W. M. Flincers Petrie, and Canon Dalton. The lectures are published for the com- mittee by A. P. Watt, 2, Paternoster-square. The life of Lord Tennyson, by Arthur Waugh, seems to be accepted as the best biography we are likely to have until the appearance of that written with the assistance of the private papers in the hands of the family. Mr Waugh is per- fectly modest upon the subject ; he puts forward his work expressly as one prepared upon facts within the reach of everybody; he only professes to have searched into these facts with a little more care than most people are likely to give. The result is a good piece of careful work which will prove acceptable and instructive to every- body. The book has already gone into its second edition. “ Whither?” by Mrs. E. Francis, in 3 vols. (Griffith, Farran, and Co.), was published last month. The fourth edition is announced of Messrs. Gibbons and Uttley’s “Labour Contracts,” a popular handbook on the law of contracts, for works and services. It is revised with an appendix of statutes: (Crosby Lockwood and Son). THE AUTHOR. The Fortnightly Review for December con- tains a powerful and suggestive article by the Rev. Professor Momerie, called “ Religion—Itg Future.” It is a significant fact that such an advanced Broad Churchman as the Rey. Professor should have been selected to write upon this subject; but the time has come for speaking the truth about theology, and Dr. Momerie is the man to speak it. He is in the Church of England, but a member of an obscure sect; if he is wrong in his deductions there are plenty of Churchmen to set him right, and it is their bounden duty to do so if possible. Mr. Mowbray Marras is responsible for the Italian adaptation of “Der Schauspieldirektor,” recently successfully produced, with Mozart’s music, at the New Olympic Theatre, under the title of “L’Impresario.” He is likewise the author of the English version thereof, and both librettos have been favourably noticed. “This Wicked World”? is a final collection of hitherto unpublished essays by the late Hain Friswell, Author of ‘“ The Gentle Life.” There are twenty-one essays in all, presumably, though the fact is not stated, reprints from various magazines and journals. If this new volume achieves anything like the same success as has been accorded to ‘“‘ The Gentle Life,” now in its thirty-second edition, it will be a curious confirmation of the verdict pronounced twenty- five years ago upon that collection of essays on similar subjects and similarly treated. “Willow and Wattle”’ is the title of a little volume of poetry by Robert Richardson (Edin- burgh: John Grant. 1893). The verse is easy and pleasant to read; the metres are those of the latest and youngest poets. Asa writer of vers de société, at least, Mr. Robert Richardson should have a future before him. Yet at times he can strike a deeper note in the very pretty lines called ‘‘ Annette,’ and in a very beautiful ballade on the “Northern Autumn.” Those who are curious about young poets and fond of first editions, which may become scarce and valuable, should get this little volume without delay. Mr. E. J. Goodman has written, in “ The Fate of Herbert Wayne” (Chatto and Windus),a | & highly readable novel. Reference has already been made in the Author to the plot of the story. — Mr. Goodman’s treatment of the theme is fresh © and vigorous. The manner in which the tale — develops shifts suspicions from one person to another to the end, and all with the most deli- cate touch, so that the reader must perforce go finish the book to the last line almost before the secret is revealed to him. The novel has been — i  ne i cH ‘in Saas a ae (et 10 1a a that journal. + author, appears in the current number of Cham- THE AUTHOR. highly successful in serial form, and now as a book should win numerous readers. Headon Hill, whose series of detective stories is about running to a close in the Million, is engaged upon a further ser.es of short sturies for An Indian sketch, by the same ber’s Journal. “The Book of Delightful and Strange De- signs, being one hundred facsimile Illustrations of the Art of the Japanese Stencil-cutter, to which the gentle reader is introduced by one | Andrew W. Tuer, F.S.A., who knows nothing at allabout it.”” (Leadenhall Press Co.) The title islong, but when one gets through it there | follows the most extraordinary book ever pub- lished. It is a collection of the Japanese stencil plates used in decorating the cotton stuffs used in the dress of that people. All kinds of things are pressed into the service: cranes, bamboos, tortoises, umbrellas, chrysanthemums, butterflies, grapes—everything conceivable. Everybody in- terested in art should look at this book, grotesque as many of the plates are. Mrs. Greet tells her story of the ‘‘ Golden Owl” (Leadenhall Press Co.) on brown paper, the illus- trations alone being on white paper. The result is fatiguing to the eye. But the story charms away the 1tatigue. The “ Divers,” by Hume Nisbet (Adam and Chacles Black), is astory for boys—a romance of Polynesia—the only part of the world where the romance ofadventure may now be found. Fortu- nately, before romance has vanished from this, its last haunt upon the earth, the disciples of Romance have found her and captured her. An excellent and stirring book for boys. Hall Caine’s “Capt'n Davy’s Honeymoon,” Wich gives its title to the new collection (Heinemann) of these stories, shows the novelist ina new light. He can write in more veins than one. This story is light, fanciful, and humorous. It is well for an artist to show that he need not be always painting tragic pictures of strong emotions, Mr. R. Warwick Bond, M.A., University Extension Lecturer, is preparing a new edition of a long-neglected poet, William Basse (1602— 1653). It will be published in a limited edition by Ellis and Elvey, 29, New Bond-street. 25] NEW BOOKS AND NEW EDITIONS. Theology. Bapuam, F. P. The Formation of the Gospels. Second edition, revised and enlarged. Kegan Paul. 53s. Brrecuine, Rev. H. C. Faith, eleven sermons with a preface. 3s. 6d. Percival and Company. Bret, JosepH A., D.D. Through Christ to God. in scientific theology. Hodder and Stoughton. 6s. 6d. Book sy Boox. Popular studies on the Canons of Scripture. Isbister and Company. 7s. 6d. Driver, 8. B., D.D. Sermons on Subjects connected with the Old Testament. EXELL, Rev. J.S. The Biblical Illustrator. James Nisbet and Co. 7s. 6d. Farmer, Jonn. Hymns and Chorales for Schools and Colleges. Edited by. At the Clarendon Press, London, Henry Frowde. 5s. Mamora’s Brete Sroriss for her little boys and girls. A series of reading lessons taken from the Bible, adapted to the capacities of very young children, with engravings. New and cheaper edition. Griffith, Farran. Is. NELIGAN, Rev. M. R. addresses on some teaching. Skeffington. Peer or Day, THE: a Series of the Earliest Religious Instruction the Infant Mind is Capable of Receiving. With verses illustrative of the subjects. Illustrated edition. Cassell. 2s. 6d. Rrvineton, Ruy. Luxe. The Church Visible, a sermon preached in substance on the occasion of the investiture of the pallium of the Archbishop of St. Andrews and Edinburgh in St. Mary’s Cathedral on August 25, 1892. Kegan Paul. 6d. SrpeBoTHam, Henry, M.A. Readingsfrom Holy Scripture, with brief comments. SINCLAIR, ARCHDEACON. Stock. Srauey, Rev. Vernon. Plain Words on the Incarnation and the Sacraments, with special reference to Baptism and Eucharist. With a preface by the Rev. T. T. Carter. A study Il. Timothy. The Religion of Life: a course of characteristics of St. Paul’s The Servant of Christ. Elliot History and Biography. Apams, C. Kenpauu. Christopher Columbus: his life and his work. Gay and Bird. 4s. 6d. Arrcuison, Sir ©. U. Lord Lawrence; and the Recon- struction of India under the Crown. (Rulers of India Series; edited by Sir W. W. Hunter.) At the Claren- don Press, London, Henry Frowde, 2s. 6d. ALLEYNE, Forster M. All Saints’, Clifton; The Church, its History, andits Octaves. With a preface by the Very Rev. R. W. Randall, M.A., Dean of Chichester. Tlustrated. W.C. Hemmons, Bristol. Boyp-CarPentmer, H., Green, G. E. Outlines of British History, for pupil teachers and matriculation students. Joseph Hughes and Co., Pilgrim-street, H.C. 2s. 6d. Bremont, ANNA Comtesse DE. The World of Music. 3 vols. The great singers, the great virtuosi, the great composers. W. W. Gibbings, Bury-street, W.C. Brieut, Rev. Wituiam. 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