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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) 1893-07-01 Volume 4 Issue 2 Pages Page range in volume 37–72 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18930701 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The HMutbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. IV.—No. 2.] JULY 1, 1893. [Prick SIXPENCE. GONTENTS. PAGE PAGE Warnings and Notices a 1 - oe ae one ... 39 | Omnium Gatherum for July. By J. M. Lely ... i ies as 8 The Annual Dinner ... oe Ae oe as ee ie ... 41 | Notes from Paris. By R. H. Sherard ... as oe eee cor OF Literary Property— To Arrigo Boito. By Mowbray Marras... ae aes i sen 00 1.-Notes by the Way. By Sir Frederick Pollock ... +. #4 Notes and News co ey Ate 2.—Anglo-Austrian Copyright Convention See ae we 44 Correspondence— aS 3.—Copyright in Brazil ae . 45 1,—The Stock-in-Trade of Critics ... see see tue tte 58 . The Profession of Letters. By the Editor ... on Bs ax 58 ee eee Reoven a8 a eS = Be _ ‘ . : . aes, . C ee one eee aoe eee Memorial of Shelley at University College... ees < ee 46 4.—Reviewing. By the Kev. Canon Bell ... He ee 2 Bo What the Papers Say— 5.—An Explanation. By the Rev. J. J.Haleombe ... os 60 1.—Loeal History sie ws ave eon one ave ws 48 6.—‘* In Plain Figures ” ae a ts oe oC 60 2.—The Human Element of Criticism oe ew ane “se 38 7,—** All the Edges Gilt, Please” ... as a pee 80 3.—The Dante Exhibition ae sae see on oe ve 49 8.—The Right of Translation cee pee sae aus ie OO. 4.—A Question of Propriety... .. + + «+ + 49 | At the Sign of the Author's Head ee OE The Preternatural Story. By Henry Cresswell Oe ee ... 49 | New Books and New Editions ... as te o aS see 02 PUBLICATIONS OF THE SOCIETY. 1. The Annual Report. That for January 1892 can be had on application to the Secretary. 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary Property. Issued to all Members. 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887. 4. Literature and the Pension List. By W.Mornrs Corrzs, Barrister-at-Law. (Henry Glaisher, g5, Strand, W.C.) 35. 5, The History of the Sociéte des Gens de Lettres. By S. Squrre Sprices, late Secretary to the Society. Is. 6 . The Cost of Production. In this work specimens are given of the most important forms of type, size of page, &c., with estimates showing what it costs to produce the more common kinds of books. Henry Glaisher, 95, Strand, W.C. 2s. 6d. 7, The Various Methods of Publication. By S. Squire Spriecr. In this work, compiled from the papers in the Society’s offices, the various forms of agreements proposed by Publishers to ‘Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements. Henry Glaisher, 95, Strand, W.C. 35. 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.Luny. Eyre and Spottiswoode. 1s. 6d. 9. The Society of Authors. A Record of its Action from its Foundation. By Watrrer Brsant (Chairman of Committee, 1888—1892). 15.  38 ADVERTISEMENTS. The Society of Authors (Sncorporatfed). PRESIDENT. GHEORGH MEREDITH. COUNCIL. Str Epwin Arnot, K.C.LE., C.S.I. ALFRED AUSTIN. J. M. Barrie. A. W. A BECKETT. Ropert BATEMAN. Sir Henry Berene, K.C.M.G. WALTER BESANT. AUGUSTINE BrRRELL, M.P. R. D. BLacKMORE. Rey. Pror. Bonney, F.R.S. Riaur Hon. James Bryce, M.P. Haut Carne. EGERTON CASTLE. P. W. CLaYDEN. EpWwaARpD CLODD. W. Morris Conus. Hon. JoHN COLLIER. W. Martin Conway. F. Marion CRAWFORD. Austin Dosson. A. W. Dupovura. EpMUND GOSsSE. Tuomas Harpy. J. M. Ley. OswALD CRAWFURD, C.M.G. Tue EArt or DEsartT. J. Eric Ericusen, F.B.S. Pror. MicHakEt Foster, F.R.S. Rigut Hon. HerBeRT GARDNER, M.P. RicHaRD GARNETT, LL.D. H. Riper HAGGARD. JrERnomsE K. JEROME. RupyaRpD KIPuLina. Pror. E. Ray LANKESTER, F.R.S. Rev. W. J. Lorri, F.S.A. Pror. J. M. D. MEIKLEJOHN. HermMAN C. MERIVALE. F.R.S. Rev. C. H. MippLeTon- WAKE. Lewis Morris. Pror. Max MULLER. J.C. PARKINSON. Tue EARL OF PEMBROKE AND MoNnT- GOMERY. Srr FREDERICK POLLOCK, BART., LL.D. WALTER HERRIES POLLOCK. A. G. Ross. George AuGustTus SALA. W. Baptiste Scoonss. G. R. Sims. S. SqurrE SPRIGGE. J. J. STEVENSON. Jas. SULLY. Witiiam Moy THomMAs. H. D. Trarut, D.C.L. Baron Henry DE Worms, M_.P., EpMUND YATES. Hon. Cownsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs Fretp, Roscoz, and Co., Lincoln’s Inn Fields. Secretary—G. Herpert Turina, B.A, OFFICES. 4, PortuaaL Street, Lincoun’s Inn Freips, W.C. Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s. AN ANECDOTAL HISTORY OF THE BRITISH PARLIAMENT, From the Earliest Periods to the Present Time. WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY. CoMPILED FROM AUTHENTIC SOURCES BY GHORGEH HANRY JIN Nite, CONTENTS. Part I.—Riseand Progress of Parliamentary Institutions. Part II.—Personal Anecdotes: Sir Thomas More to John Morley. Parr III.—Miscellaneous. 1. Elections. 2. Privilege; Ex- clusion of Strangers; Publication of Debates. 3. Parliamentary Usages, &c. 4. Varieties. ApPENDIx.—(A) Lists of the Parliaments of England and of the United Kingdom. (B) Speakers of the House of Commons. (C) Prime Ministers, Lord Chancellors, and Secretaries of State from 1715 to 1892. Opinions of the Press ‘The work, which has long been held in high repute as a repertory of good things, is more than ever rich in doth instruction and amuse- ment. ”—Scotsman. ‘‘Tt is a treasury of useful fact and amusing anecdot in it latest form should have increased pommlatity.—- Glebe, eae ‘Its advantage to those who are seeking seats in Parliament, or who may have occasion to assist as speakers d the electoral campaign, is incumparable."—Sala’s Jounal ‘ eer of the Present Edition. ‘Tt is a work that possesses both a practical and an historical value, and is altogether unique in character.”—Xentish Observer. ‘We can heartily recommend this work to the politician, whatever may be his party leanings.”—WNorthern Echo. ng ‘*Here we have the whole company of Parliamentary celebrities, past and present, reduced to puppets, so to speak, and made to repeat their best and most approved rhetorical performances for our leisurely entertainment, which is not less enjoyable from being allied with edification.” —Liverpool Courier. Sa Orders may now be sent to HORACE COX “Law Times Office,” Windsor House, Bream’s-buildings, E.C.  The Mutbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vot. IV.—No. 2.] JULY 1, 1803- [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the committee unless they are officially signed by G. Herbert Thring, sec. ae" Secretary of the Society begs to give notice that all remittances are acknowledged by return of post, and requests that all members not receiving an answer to important communications within two days will write to him without delay. All remittances should be crossed Union Bank of London, Chancery-lane, or be sent by registered letter only. ect AGREEMENTS. rt ig not generally understood that the author, as the vendor, has the absolute right of drafting the agree- ment upon whatever terms the transaction is to be carried out. Authors are strongly advised to exercise that right. Inevery other form of business, the right of drawing the agreement rests with him who sells, leases, or has the control of the property. Pee WARNINGS. BADERS of the Author and members of the Society are earnestly desired to make the following warnings as widely known as possible. They are based on the experience. of nine years’ work by which the dangers to which literary property is especially exposed have been discovered :— 1. Ser1au Ricurs.—In selling Serial Rights stipulate that you are selling the Serial Right for one paper at a certain time, a simultaneous Serial Right only, otherwise you may find your work serialized for years, to the detriment of your volume form. : VOL. IV. 2. Stamp yvouR AGREEMENTS. — 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 agree- ment 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 forwarded without the stamp. The author may be assured that the other party to the agree- ment never neglects this simple precaution. 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. 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO BOTH SIDES BEFORE SIGNING 1r.—Remember that an arrangement as to a joint venture in any other kind of busi- ness whatever would be instantly refused should either party refuse to show the books or to let it be known what share he reserved for himself. 4. LITERARY Aqunrs.—Be very careful. You cannot be too careful as to the person whom you appoint as your agent. Remember that you place your property almost un- reservedly in his hands. Your only safety is in consulting the Society, or some friend who has had personal experience of the agent. Do not trust advertisements alone. 5. Cost OF Propuction.-—Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures. 6. CHoIcE or PuBLisHEeRS.—Never enter into any cor- respondence with publishers, especially with those who ad- vertise for MSS., who are not recommended by experienced friends or by this Society. 7. FUTURE Worx.—Never, on any account whatever, pind yourself down for future work to anyone. 8. Royauty.—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. . Personat Risk.—Never accept any pecuniary risk or responsibility whatever without advice. 10. Resectep MSS.—Never, when a MS. has been re- fused by respectable houses, pay others, whatever promises they may put forward, for the production of the work. 11. AMERICAN RicHts.—Never sign away American rights. Keep them by special clause. Refuse to sign any agreement containing a clause which reserves them for the publisher, unless for a substantial consideration. If the publisher insists, take away the MS. and offer it to another. D2 40 THE AUTHOR. 12. Cession or CopyriaHt.—Never sign any paper, either agreement or receipt, which gives away copyright, without advice. 13. ADVERTISEMENTS.—Keep control over the advertise- ments, if they affect your returns, by a clause in the agree- ment. Reserve a veto. If you are yourself ignorant of the subject, make the Society your adviser. 14. Never forget that publishing is a business, like any other business, totally unconnected with philanthropy, charity, or pure love of literature. You have to do with business men. Be yourself a business man. Society's Offices :— 4, Portugat Street, Lincoun’s Inn Frevps. Poe HOW TO USE THE SOCIETY. 1. Every member has a right to advice upon his agree- ments, his choice of a publisher, orany dispute arising inthe conduct of his business or the administration of his pro- perty. If the advice sought is such as can be given best by a solicitor, the member has a right to an opinion from the Society’s solicitors. If the case is such that Counsel’s opinion is desirable, the Committee will obtain for him Counsel’s opinion. All this without any cost to the member. 2. Remember that questions connected with copyright and publisher’s agreements do not generally fall 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 represented. This isin order to ascertain what has been the nature of your agree- ments, 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 infor- mation thus obtained may prove invaluable. 4. If the examination of your previous business trans- actions by the Secretary proves unfavourable, you should take advice as to a change of publishers. 5- Before signing any agreement whatever, send the pro- posed document to the Society for examination. 6. The Society is acquainted with the methods, and—in the case of fraudulent houses—the tricks of every publish- ing firm in the country. Remember that there are certain houses which live entirely by trickery. 7. 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 indepen- dence of the writer. __ 8. Send to the Editor of the Author notes of everything important to literature that you may hear or meet with. THE AUTHORS’ SYNDICATE, © EMBERS are informed : 1. That the Authors’ Syndicate takes charge of the business of members of the Society. With, when necessary, the assistance of the legal advisers of the Society, it concludes agreements, collects royalties, examines and passes accounts, and generally relieves members of the trouble of managing business details. 2. That the expenses of the Authors’ Syndicate are defrayed entirely out of the commission charged on rights placed through its intervention. This charge is reduced to the lowest possible amount compatible with efficiency. Meanwhile members will please accept this intimation that they are not entitled to the services of the Syndicate gratis, a misapprehension which appears to widely exist. 3. That the Authors’ Syndicate works for none but those members of the Society whose work possesses a market value. 4. That the business of the Syndicate is not to advise members of the Society, but to manage their affairs for them. 5. That the Syndicate can only undertake arrangements of any character on the distinct understanding that those arrangements are placed exclusively in its hands, and that all negotiations relating thereto are referred to it. 6. That clients can only be seen personally by appoint- ment, and that, when possible, at least four days’ notice should be given. The work of the Syndicate is now so heavy, that only a limited number of interviews can be arranged. 7. That every attempt is made to deal with the corre- spondence promptly, but that owing to the enormous number of letters received, some delay is inevitable. That stamps should, in all cases, be sent to defray postage. 8. That the Authors’ Syndicate does not invite MSS. without previous correspondence, and does not hold itself responsible for MSS. forwarded without notice. 9. The Editor will be glad to receive the titles of pub- lished novels available for second right serial use. It is announced that, by way of a new departure, the Syndicate has undertaken arrangements for lectures by some of the leading members of the Society. 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. 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. The Editor is always glad to receive short papers and communications on all subjects connected with literature from members and others. Nothing can do more good to the Society than to make the Author complete, attractive,  THE AUTHOR. 41 and interesting. Will those who are willing to aid in this work send their names and the special subjects on which they are willing to write? Communications for the Author should reach the Editor not later than the 21st of each 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 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 without 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 under- stood that the Society does not, under any circumstances, undertake the publication of MSS. The Authors’ Club is now opened in its new premises, at 3, Whitehall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. 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, if still unpaid, or a banker’s order, it will greatly assist the Secretary, and save him the trouble of sending out a reminder. Members are most earnestly entreated to attend to the warning numbered (7). It is a most foolish and a most disastrous thing to bind yourself to anyone for a term of years. Let them ask themselves if they would give a solicitor the collection of their rents for five years to come, whatever his conduct, whether he was honest or dishonest? Of course they would not. Why then hesitate for a moment when they are asked to sign themselves into literary bondage for three or five years P 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 canbe procured; but a printer’s, or a binder’s, bill is so elastic a thing that nothing more exact can be arrived at. Some remarks have been made upon the amount charged in the “ Cost of Production” for advertising. Ofcourse, we have not included any sums which may be charged for inserting advertisements in the publisher’s own magazines, or in other magazines by exchange. As agreements too often go, there is nothing to prevent the publisher from sweeping the whole profits of a book into his own pocket, by inserting any number of advertisements in his own magazines, and by exchanging with others. Some there are who call this a form of fraud; it is not known what those who practise this method of swelling their own profits call it. eee THE ANNUAL DINNER. HE Annual Dinner of the Society of Authors was held in the Venetian Room of the Holborn Restaurant on Friday, June 2. Sir Robert Ball, LL.D., F.R.S., Lown- dean Professor of Astronomy and Geometry at the University of Cambridge, took the chair, and was supported by many gentlemen distin- guished in the various branches of literature— in science, in the law, in theology, and im fiction. The following is a full list of the ladies and gentlemen present :—Mrs. Aria, E. A. Armstrong, W. Allingham, A. W. a Beckett, Mrs. A. W. X Beckett, Mr. Justice Gorell Barnes, Sir R. Ball, Lady Ball, The Rev. Prof. T. C. Bonney, Oscar Browning, Walter Besant, Mrs. W. Besant, The Rev. J. Bownes, Mrs. Brightwen, H. J. Bushby, Dr. J. Lauder Brunton, Dudley W. Buxton, Miss M. Belloc, Mackenzie Bell, The Rev. Canon Bell, Mrs. Oscar Beringer, P. Bagenal, Miss M. Blind, The Comtesse de Bremont, A. J. Butler, H. P. Becher, Jas. Baker, J. Bumpus, H. Blackburn, J. D. Campbell, A. Chatto, Miss E. Curtis, Miss Cox and guest, Miss L. Croft, Lady Colin Campbell, Mrs. Cox, Miss CG. Coleridge, Miss Cordeaux and guest, Prof. L. Campbell, W. Cook-Taylor, J. B. Crozier, Horace Cox, Madame J. Couvreur, Miss B. Chambers, W. M. Colles, M. Conway, The Vice-Chancellor of Cambridge, H. P. Cholmeley, P. W. Clayden, Sir W. T. Charley, Lieut.-Col. J. R. Campbell, Gen. Sir George Chesney, J. Coleman, Frank Danby, Austin Dobson, W. C. Dawe, Mrs. Ed- monds, W. Ellis, Mrs. G. Ford, The Rev. R. Free, The Ven. Archdeacon Farrar, A. P. Graves, J. A. Goodchild, Edmund Gosse, Mrs. Gosse, Mrs. Aylmer Gowing, R. Garnett, H. Glaisher, F. Gribble, Major-Gen. Hire, I. Hen- derson, J. W. Hill, Miss B. Harold Harrison and guest, ©. Holland, Miss V. Hunt, Mrs. Hunt, Jerome K. Jerome, Mrs. Jerome, Rev. Prebendary Harry Jones, C. T. C. James, Mr. Justice Kennedy, Lord Kelviny Miss G. Kerr, Mrs. Lynn Linton, Mrs. C. Long, Sidney Lee, WwW. E. H. Lecky, Mrs. Lefroy and guest, J. M. Lely, Sir A. Lyall, Rev. H. Lansdell, George Macmillan, John Murray, A. W. Momerie, Florence Marryat, S. B. McKinney, Henry Morris, Miss H. McKerlie, Fitzgerald Molloy, Mrs. Marks and guest, J. E. Muddock, C. Monk- house, A. Maudsley, A. Nutt, Mrs. Orpen and guest, W. Pole, Sir. F. Pollock, Lady Pollock, Tieut.-Col. S. E. Pratt, J. L. W. Page, Miss E. Pollock, Eden Philpotts, Mrs. A. Phillips, D. H. Parry, A. Paterson, Mrs. Campbell-Praed, H. Campbell-Praed, G. B. Putnam, Gilbert Parker, 42 THE Mrs. Reeves and guest, F. W. Robinson, C. F. Rideal, R. Ross, H. J. Sweet, Sir D. Straight, Dr. R. Sisley. Mrs. V. L. Simmons, Rev. Pro- fessor Skeat, S. S. Sprigge, J. E. Sandys, Mrs. Suisted, Col. Sutherland, A. F, Sieveking, Mark Sale and guest, P. L. Simmonds, J. A. Sterry, Mrs. Spender, J. J. Stevenson, Miss F. C. Steven- son, Douglas Sladen, Miss Stephens, H. M. Stephens, Sir H. Thompson, A. . W. Tuer, H. G. F. Taylor, Miss Traver, A. Tilley, G. H. Thring, Mrs. Thring, Brandon Thomas, Sir R. Temple, W. C. Unwin, Rev. C. Voysey, J. A, Warwick, A. D. Waller, Colonel Winsloe, Theo- dore Watts, Miss B. Whitby, A. Waugh, A. Warren, W. Westall, Marriott Watson, Aa on, Watt. In proposing the health of the Queen, the CHAIRMAN mentioned with regret that she had not joined the Society, which she was certainly entitled to do, not from her position as Queen, but from her position as an authoress of many works. The statement was received with en- thusiasm. The CHarrman then proposed the toast of the evening, “ The Incorporated Society of Authors.” He apologised for not being a member of the Society, but said he would lose no time in joining it, as he was confident of the good work it was doing. He touched shortly and with feeling upon the death of the first President, Lord Tennyson, who, from the outset, had given the scheme his name and his hearty support, and proceeded to dwell upon the present and ever increasing importance of the work before it. The Society, he understood, numbered nearly one thousand, but as there were certainly many more writers in England, he trusted that the rest would come in speedily, as “every man is a debtor to his profession,” and that all writers of the English tongue, in whatever part of the world, would, at no distant date, be counted in its ranks. In coupling the name of the present chairman of the committee with the toast, he referred to his distinguished position as a lawyer and a man of letters, and to his renown as a fencer. Sir Freprerick Potiock*, acknowledging the toast, paid a tribute to the late Lord Tennyson, who was the first president of the Society. They had to regret the absence of Mr. George Meredith, Lord Tennyson’s successor in that post. The Society was not yet in the position of certain Parisian journals, that of having to keep a fighting editor. There was no reason why the * The report of Sir Frederick Pollock’s speech is taken the Times, June 5, and has not been corrected by m. ‘ ' AUTHOR. Society should go about fighting anybody. Its business was simply to defend the interests of its members—interests that might not always coincide with those of other persons, but not on that account to be lost sight of. Least of all was it engaged in a crusade against honourable pub- lishers, of whom half-a-dozen were then present. It was only with a few publishers that the Society came in conflict. When they found it right to take up the interests of particular members of the Society, it might become neces- sary to make some persons feel that their interests had not been promoted. (Cheers and laughter.) Of the publishers present two represented firms who might be little known to the general public, but upon whose productions depended very much of their knowledge of the law of England during recent times. The American Copyright Act of 1891 was not satisfactory in its substance, but they were approaching a better condition of things in this way than had hitherto been possible. The Society was doing a good thing and a safe thing in endeavouring to provide a settiement of all questions that arose between authors and publishers. He proposed the toast of “Literature,” coupling with it the name of Mr. Lecky, who combined a fine style with a large grasp of the phenomena of history, who had forsaken the philosophy of history for the study of history itself, and who had main- tained English literature on the level reached by the great writers of the eighteenth century. (Cheers. ) Mr. Lecxy, in reply, said: I feel much honoured by being asked to speak to-night as the representative of authorship before the Society of Authors. Like most representatives in this democratic age my constituency is a very large one, for whatever other opinion may be formed of our contemporary literature no one at least can dispute its enormous, its redundant activity. There have been years in which more works of fiction have appeared in England than there are days in the year. Biography has been so cultivated that there are few eminent men whose lives have not been written not once but many times, and the fashion has widely spread of writing the lives of those who are still living —a form of vivisection as yet untouched by the law. Nearly all the paths of history have been traversed with the sate assiduity, and in addi- tion to the vast mass of criticism that is poured out by the daily and weekly Press, by monthly and quarterly reviews, there has arisen in our time a great literature of books, which are wholly devoted to commenting on and discussing other books which are often neither very obscure nor very ancient. No oneI think can observe modern  THE AUTHOR. 43 English literature without feeling with some melancholy how much of it is like the turn of the kaleidoscope, merely throwing old familiar facts into new patterns. On the whole we should not, I think, complain of this. Intense activity is at least the sign of intense vitality. It shows that the great work of popularising knowledge and “ teaching our masters ’’ was never so actively pursued. It shows that the taste for reading is spreading through all classes, displacing other tastes which were often more demoralising and less enduring. And, to speak from the special point of view of the Society of Authors, it also shows that while few men rise to wealth by literature, while many take to literature as a profession who would have done much better not to have made it their main or their exclusive dependence, the number is constantly increasing of those who are turning by their pens a narrow competence into an easy competence, and securing for themselves most of the comforts and some of the luxuries of life. There are no doubt shadows in the picture. Books are in general more short-lived than they were, many of them more short-lived than the flies of summer. The tribunal to which an author must appeal, if it is larger and more independent than of old, is probably less instructed and intelligent, certainly less refined and fastidious, and in a greatly overcrowded literature ways of attaining notoriety become popular which are not those of pure art. On the whole the general characteristic of contemporary literature is a high average and an immense pro- duction, but since the death of Tennyson in England and of Renan and Taine in France there are not many great eminences. We may truly say, I think, that our profession is regarded more seriously than it once was, and in this respect the work of the Society of Authors bas been very useful. Few things have done more harm to literature than the notion that genius is naturally allied to Bohe- mianism, and naturally divorced from common sense. Men of letters have been too commonly regarded as a kind of grown-up children, living in an atmosphere of vanity and paradox and un- reasoning emotion, quite incapable either of wisely regulating their own lives or giving any opinion of real value on the practical affairs of the world. Those who are acquainted with literary bio- graphy must, I am afraid, admit that charges of this kind have not always been without some foundation ; but they were always exaggerated, and they are now, I think, becoming less and less true. Men are beginning to see more clearly that judgment and Fintan, a due sense of measure and proportion, a clear insight into the conditions of human life are as important in literature as in any other field. They are per- ceiving, too, that literature is very far from being a mere ornamental appendage to national life On the whole its importance is probably rather increasing than diminishing. In an age when political power is rapidly passing to new and untried classes, when old beliefs and customs and traditions are on all sides crumbling away, it is difficult to overrate the value of a healthy literature in moulding the opinions and characters of the English race. Mr. Epmunp Gossx, proposing the health of the Chairman, said : It is with a rare satisfaction that I rise to propose to you a toast which will be universally welcome, that of our distinguished Chairman. We have had this evening a charming example of his famous eloquence, and we have had proof that a man of genius may spend his life among the s‘ars, and yet be competent to preside with grace at a dinner table. I ask you all to join with me in thanking Sir Robert Ball for the pleasure of his company amongst us to-night. The career of the Chairman is known to all of us in outline, and to many of us in detail. I am not in the secrets of the executive sub- committee to whom we owe the admirable arrangements of this banquet ; but 1 know them to be men of resource, and I cannot believe that their choice of a chairman on this particular occasion was a matter of accident. J am sure that they said to themselves: At a banquet held in the Derby week, on the very evening of the Oaks, we must invite a chairman who has expressed some public opinion about horseflesh. Well, Sir Robert Ball came for the first time prominently before the public as the author of a work called “The Theory of Screws.” (Laughter.) How many young gentlemen who are this evening returning from Epsom with empty pockets and languishing countenances would be in a very different position if they had mastered that important volume! (Laughter.) Then, by one of those enormous curves of action which are familiar in men of ability, we find Sir Robert Ball leaping at once to a totally different sphere. He contributed no more to zoology, he became an astronomer, he became that incarnation of imaginative pre- cision—an Irish astronomer. At that time the surface of Ireland was positively darkened with thick masses of politicians, swaying this way and that, destroying the vegetation, and deafening the ear with their shouts. Mr. Ball, as he then was, lost no time in such discussions. He pushed his telescope up through the crush of Unionists and Home Rulers, and was lost in contemplation 44 of the satellites of Venus. (Laughter.) How eminent he has since become, how multitudinous are his contributions to science, you do not need that I should remind you. Perhaps, as a Society of Authors, we may find one more reason why we are very glad to see Sir Robert Ball amongst us. He is one who has not divorced the matter from the form ; he approaches science with absolute exactitude, but with no scorn for those outward graces which are the very life and breath of literature. At a moment when another and most learned society is proposing, or at least an influential section of it is desiring, to drive the elegances of speech and the arts of literature out of all scientific recog- nition, to treat form as the accursed thing, we may be glad to do special honour to a man of genius whose matter is impeccable and yet his form dignified and melodious. I have the honour, gentlemen and ladies, to propose the health of our Chairman, the Lowndesean Professor of Astronomy at Cambridge, Sir Robert Ball. After the dinner the guests retired to another room, where tea and coffee were provided, and where a soirée was held. This was a new departure, and worked very satisfactorily, as it gave a great many friends who at the dinner were separated by lengths of white cloth and flowers an opportunity for conversation. a ————————— LITERARY PROPERTY. I.—Nortes BY THE Way. I, DO not think Mr. Besant and I really differ about the sale of copyrights in pure literature (p. 22 of Author for June). The case of a popular known author who can calcu- late his returns beforehand with approximate certainty was hardly present to my mind. Such authors are not those who need the Society’s advice. I quite agree that for Mr. Besant or Mr Hardy it is merely a question of convenience whether they choose to take the returns as they come, or dis- count them for an ascertainable present value. 2. Mr. Besant asks (p. 21) why the judges accept knighthood. The answer is that they have no practical choice. It has been expected of them (except those who have a higher rank, e.g., sons of peers) ever since the reign of George ITI., in whose time one judge, John Heath, stood out. As a judge’s official precedence is far higher than a knight’s, the rule is difficult to understand. I may add, however, that the increasing practice of distributing titles of honour without any regard to definite public services THE AUTHOR. (which Iam personally disposed to regret) does in my opinion strengthen Mr. Besant’s case as against the State. 3. In my note on p. 17 the common German word “heutigen” is misprinted ‘“ Leutigen,’ a vor nihili. I suppose it was the fault of a hastily written MS. 4. I earnestly hope that no attempt will be made at the Chicago meeting to revive the pro- ject of perpetual copyright. In my opinion it would be pure waste of time. The abstract jurisprudence of this question was thoroughly discussed in the great case of Jefferys v. Boosey in the House of Lords, in 1854, and there can be nothing new to say about it. 5. I do not think it is generally known that the Swiss Federal Code of Obligations, in force since 1883, contains a chapter on the contract of pub- lishing. This is the only code, so far as I know, that specially deals with the subject. It is easily procurable, and the French, German, and Italian texts are equally authentic. The Author might well print an English version of it some day. F, Pouiock. TI.—Aneto-AustRiaAN CopyrigHT CoNVENTION. Vienna, May 2. A copyright convention has been concluded between Great Britain and Austria-Hungary. It will secure the rights of authors, artists, and composers over their literary or artistic works. The want of such a convention has been keenly felt for many years. English literary and artistic productions have been at the mercy of any publisher or theatrical manager who chose to appropriate them. The manner in which English literary men, artists, and musicians have thus been derived of all profit of their labours as produced in this country has been a long-standing grievance. Several years ago, the question of a copyright convention was raised, but it was only after it was taken vigorously in hand by the present British Ambassador that any progress was made, The Anglo-Austrian Convention substantially provides for the protection of the above-men- tioned rights, and stipulates that there shall be the same legal remedy against all infringements of such rights as if the works themselves had been published in the country where the infringe- ment occurred. Furthermore, as the right of translation forms part of copyright, it is to be oe in the same way.—Our Own Correspon- ent,  THE T1I.—Coryricut IN Braziu. The Journal des Débats of June 6 has a long article on Copyright in Brazil, where, by the old Code, the Brazilian translator of a foreign book became ipso facto the sole pro- prietor, within Brazil, of the translation. The new Code, howeter, promulgated Oct. 11, 1890 (arts. 345 to 350), forbids translation without the authorisation of the author or owner of the copy- right of the original. So far so good; but, on the other hand, the new Brazilian Constitution (paragraph 26 of art. 72) overrules the Code and makes a bondfide residence in Brazil an express condition-precedent to the assertion of any claim to copyright in the country : an obstacle which is of course practically insurmountable. The French Chargé d’Affaires at Rio has been endeavouring for more than two years to nego- tiate a copyright convention of reciprocity, but hitherto without success. po THE PROFESSION OF LETTERS. HE following extract is taken from a paper by Mr. Robert Buchanan in the May number of the Jdler. I entirely agree with Mr. Grant Allen in his recent avowal that literature is the poorest and least satisfactory of all professions ; I will go even further, and affirm that it is one of the least ennobling. With a fairly extensive know- ledge of the writers of my own period, I can honestly say that I have scarcely met one individual who has not dete- riorated morally by the pursuit of literary fame. For com- plete literary success among contemporaries, it is imperative that a man should either have no real opinions, or be able to conceal such as he possesses, that he should have one eye on the market and the other on the public journals, that he should humbug himself into the delusion that book-writing is the highest work in the universe, and that he should regulate his likes and dislikes by one law, that of expe- diency. If his nature is in arms against anything that is rotten in society or in literature itself, he must be silent. Above all, he must lay this solemn truth to heart, that when the world speaks well of him, the world will demand the price of praise, and that price will probably be his living soul. He may tinker, he may trim, he may succeed, he may be buried in Westminster Abbey, he may hear before he dies all the people saying, ‘“‘ How good and great he is! how perfect is his art! how gloriously he embodies the tenden- cies of his time!” but he will know all the same that the price has been paid, and that his living soul has gone to furnish that whitewashed sepulchre, a blameless reputation. For one other thing, also, the Neophyte in Literature had better be prepared. He will never be able to subsist by creative writing unless it so happens that the form of ex- pression he chooses is popular in form (fiction, for example), and even in that ease, the work he does, if he is to live by it, must be in harmony with the social and artistic status quo. Revolt of any kind is always disagreeable. Three- fourths of the success of Lord Tennyson (to take an VOL. IV. AUTHOR. 45 example) was due to the fact that this fine poet regarded life and all its phenomena from the standpoint of the English public school, that he ethically and artistically embodied the sentiment of our excellent middle-class education. His great American contemporary, Whitman, in some respects the most commanding spirit of this gene- ration, gained only a few disciples, and was entirely misunderstood and neglected by-contemporary criticism. Another prosperous writer, to whom I have already alluded, George Eliot, enjoyed enormous popularity in her lifetime, while the most strenuous and passionate novelist of her period, Charles Reade, was entirely distanced by her in the immediate race for fame. In Literature, as in all things, manners and costume are most important; the hall-mark of contemporary success is perfect Kespectability. It is not respectable to be too candid on any subject, religious, moral, or political. It is very respectable to say, or imply, that this country is the best of all possible countries, that War is a noble institution, that the Protestant Religion is grandly liberal, and that social evils are only diversified forms of social good. Above all, to be respectable, one must have “beautiful ideas.” “Beautiful ideas” are the very best stock-in-trade a young writer can begin with. They are indispensable to every complete literary outfit. Without them, the short cut to Parnassus will never be discovered, even though one starts from Rugby. Mr. Buchanan has followed the profession of letters for many years—say thirty. He has written poems, plays, and novels. He has received a pension on the Civil List, granted to him alone of mortals, when he was still quite young, with his career before him. He is, therefore, enabled to live without entire dependence on the commercial success of his books, provided he was content to live simply. If, therefore, he wished at any time to lift a prophetic voice against the evils of his time, he could do so without being starved should the world refuse to listen. Carlyle raised the voice of a prophet, for instance. The world did listen. Nay, the world accorded to Carlyle that praise which, Mr. Buchanan says, is only given to those who pay for it at the price of the living soul. Again, if the hall-mark of contemporary literature is respectability, it is unfortunate that Mr. Buchanan quotes George Eliot as a popular writer, for her whole life was a protest against respectability. Now, it is quite conceivable that there are writers who think of nothing but what will sell—your penny novelette is, I am told, con- structed carefully on that principle; but it is ridiculous to assert that a man or woman who has a message to give—a warning to utter—is not listened to. There is the condition that he must know how to speak. There was once a school of prophets ; but only a dozen or so managed to get a hearing. The unknown and unsuccessful Ezekiels probably sat in their cottages and reviled the age. Mr. Grant Allen is reported to have said—I quote at secondhand—I apologise beforehand for not verifying my reference —I_ hope that he never said such a thing—but he is E 46 reported to have said: “ Don’t take up literature if you have money enough to buy a broom, and sufficient energy to annex a street crossing.” If Mr. Grant Allen really said that, I will myself with pleasure lend him the money to buy that broom, For indeed, a man who thinks in that way about his calling ought to abandon it. My own advice to a young man would be, “‘ Do not attempt to live by literature. Harn a livelihood some other way. Fight Mr. Grant Allen, if necessary, for his pitch and his broom. At all cost—at any cost—be independent of your lite- rary work. There is hardly any kind of work which does not allow a man time for as much literary work and study as is good for him. Look at the men who have been journalists, civil servants, medical men, lawyers—anything. Be independent. Then Mr. Buchanan’s remarks will have nothing to do with you, and you need pay no price at all for the praise of the world, which you will get—if you do get it—at the price of hard work, and study the arts of expression and persuasion in the school of prophets. There is one thing in my own experience—if I may speak of myself in connection with this subject—on which I look back with great satis- faction. It is that I was able to resist the very great temptation to live by writing till such time —about eight years ago—when I thought myself justified in so doing. I then, and not till then, resigned a post which had for twenty years taken the cream of the day, and given me a certain independence. Here, however, is another quotation — also secondhand — yet I copy it without apology, because, from internal evidence, I am sure that it is genuine. The writer is Mr. Hall Caine: Of all the literary cants that I despise and hate, the one I hate and despise the most is that which would have the world believe that greatly gifted men, who have become distinguished in literature, and are earning thousands a year by it, and have no public existence and no apology apart from it, hold it in pity asa profession, and in contempt as anart. For my own part I have found the profession of letters a serious pursuit, of which in no company and in no country have I had need tobe ashamed. It has demanded all my powers, fired all my enthusiasm, developed my sympathies, enlarged my friendships, touched, amused, soothed, and comforted me. Is, then, the pursuit of literature one which degrades or “ least ennobles” its follower? This is a question which cannot be answered on abstract grounds. He who spends his life in meditating things pure and lofty would, one thinks, himself become pure and lofty in mind. But Mr. Buchanan will not allow that the literary man does so occupy his mind; he pictures men who work for money, praise, and contemporary fame. Perhaps so. The experience of men THE AUTHOR. differs; there are levels—planes, grades. Let us, however, pass from generalities to examples. Shelley, Wordsworth, Southey, Emerson, Brown- ing, Tennyson, Longfellow, Lowell, Carlyle, are examples taken at random where the pursuit of literature has conspicuously and without doubt ennobled the man. Let us, however, take other examples. Can we not very truly say that what- ever nobility belongs to the name and remem- brance of Thackeray, Dickens, George Eliot, Charles Reade, Wilkie Collins, Leigh Hunt, Thoreau, Jefferies—names taken at random— has been won by the noble things that they have written, and not by the ignoble things—if they have written any? Or, to go lower down, is there no nobility attaching to the names of men whose lives were not in themselves noble—such, for instance, as Savage, Oliver Goldsmith, Thomson (“The City of Dreadful Night”) and others which will at once suggest themselves? It is possible to create a great estate in literature, without genius, without nobility, solely by dexterity and by “watching the market.” But this is not fame, or praise, or anything but money. Contemporary praise or fame may be excessive; in looking at the living man we magnify his stature; but contemporary praise is never, I believe, bestowed upon such men as Mr. Buchanan, in most unfortunate experience, has detected in that curious barter of a real and living soul for imaginary praise or fame. W. B. ——————— MEMORIAL OF SHELLEY AT UNIVERSITY COLLEGE. N the afternoon of Wednesday, June 13 Jane, Lady Shelley, accomplished the crowning purpose of her life: she is to be congratulated upon a notable triumph. The ceremonial which drew the heads of many of the colleges—or, to use the words of one of the local papers, “all that was best in the University” —and certain prominent Jlittérateurs from all parts of the world, was decidedly an impressive one. As to the memoria], most persons saw the cast of it when it was exhibited at the Royal Academy last year. It is not now my province to praise or blame this work; but it seemed to me that some modification had been made in it, in the direction of simplification ; an impression obviously due to the altered and happier environment. It repre- sents the poet as conceivably he may have lain when washed up by the sea. The figure is appropriately nude; it is chiselled out of a beautiful piece of Connemara marble, and lies on  THE AUTHOR. 47 a slab supported by winged lions, between which is seated an emblematical effigy of the Muse of Poetry. These supports are of bronze. The work is by Mr. Onslow Ford. The chamber, or temple, in which the memorial is placed was designed by Mr. Champneys. It is arched in by a dome-shaped roof on which a_ star-spangled firmament is painted, beneath which certain lines from the “ Adonais” are emblazoned. One approaches the chamber through a grille, which grating is continued round one half of that side of the building which faces the corridor. The guests being assembled, Lady Shelley, who entered the building on the arm of the Master of Balliol, handed a gold key to the Master of University, and proceeded to read her address. She said that for more than forty years she had been a student of Shelley, and, so far as she was able, had striven to give the world a just impres- sion of his character. She spoke feelingly of her association with his wife and son, of the poet’s residence at Oxford, of the beauty and brightness of his life, and of the high sense of duty which both he and Mary entertained. ‘Men of great genius,” said Lady Shelley, “could not always be reduced to rule; they erred sometimes, but they were not therefore to be deprived of the love and admiration of their countrymen.” At this point Lady Shelley was visibly affected, but she strug- gled with her emotion and bravely conquered it. We may be sure she was not the only one present whose feelings were wrought upon acutely ; indeed, Dr. Bright’s reply can only be explained on the assumption that he was carried away by the sensations and sentiments which prevailed. It came as a surprise to everyone ; the most ardent Shelleyan scarcely could have said more. Dr. Bright’s words carried the sense of conviction with them, if we except the pardonable boast that Oxford ‘is the very centre and heart of the growth of Young England.” This is manifestly absurd. But it is impossible to take exception to any other part of the address. It is certain, as the Master said, it is difficult to conceive any truer emblem of the present century than the great poet whose effigy the University has received. Percy Bysshe Shelley was, as Dr. Bright affirmed, “ prophetic in all directions of what had come into the world. The very greatness of the man had rendered him open to the treatment the University of Oxford and the world generally had accorded him,” “Tt was because,” he asserted, “there was in him such a well-spring of hatred of all that was false and all that was oppressive, and because he had so strong a feeling of all that was gloomy and sad in the history of the world and man- kind, that he could not but become a rebel, and VOL, IV, being a rebel, he was treated as a rebel.” But, he begged us to observe, “ that the rebel of eighty years ago was the hero of the present century. In other words, the great aspirations which he nurtured, the fervent love of the human race which he cherished, the intense admiration of all objects that met his eyes in the natural world, the uncom- promising hatred of all that was evil and all that was sad, what were they all but the very things they had been learning for these last eighty years ? When at this time,”’ said the Master, ‘they had constant repetitions of very sad and pessimist views as to what this world was going to become, it was most cheerful to encounter a prophet who prophesied good things, and not bad; and although it probably was true that the great giant lay still chained upon the hill-tops, and although Jupiter, the emblem of what was false and conventional, still in some degree reigned, it must be confessed that the prophecies the poet uttered had been hastening toward their conclusion ; and that in some way or other, though it might not be as Shelley fancied it, the human race was coming, as they all hoped, to something like a condition of happiness in uni- versal and divine equality and love.” So spake the head of the college from which Shelley was ignominiously expelled. The audience wondered; but it applauded. It is an open secret that Lady Shelley’s proposal to give the memorial to Oxford was not received there initially with any great show of enthusiasm; and, although I do not for a moment dispute the sincerity of the official declaration which I have reported, I have no kind of doubt that if a thinker were to appear as far in advance of the normal thought of to-day as Shelley was in advance of the current beliefs of his day, he would fare very much as Shelley fared. Still, Oxford has acquitted itself better than Horsham, which town, I am told, might have acquired this memorial had it shown the slightest interest in the great man who was born a few yards outside its precincts. The reasons of the failure to move Horsham appre- ciably I have explained in this journal, in the St. James’s Gazette, and elsewhere ; but it must be remembered Oxford was not called upon to make any sacrifices, and that Horsham was. The whole expense of the Oxford undertaking fell upon Lady Shelley. For the rest, the gathering at University College was not nearly so representative or important as that which assembled at Horsham on Aug. 4 last. It included, however, the Bishop of Southwark, the Master of University, the Master of Balliol, Sir William Markby, the Warden of All Soul’s, the President of Magdalen, the Warden of Merton, the Rector of —_ E 48 Mr. Edmund Gosse, Mr. Arthur Sidgwick, Mr. Onslow Ford, Canon St. John, Dr. Garnett, Dr. Raleigh, Mr. Hamilton Aidé, and Mr. William Hsdaile (grandson of the poet). Jas. Stanuey Lirrre. WHAT THE PAPERS SAY. I. Locau History. AT, in my opinion, ought to be regarded \ \) as the cardinal principle in writing a local history, is that the town or district chosen should be treated as an entity which is capable of being described from the dim times when chronicle first began right through the period of its growth until the day in which we live. The too common fault of the antiquarian is that he merely loved the antique, and that when he has passed the dissolution of the monasteries or at latest the Great Rebellion, he loses interest, dismisses subsequent events as of no moment, and appears to consider that a town’s history ended when newspapers were about to begin. Into the service I would press the researches of genealogy, of heraldry, and of bibliography, finding for each student, however humble or however learned, a place in which to help. Insisting upon absolute accuracy, and welcoming every additional fact, the local historian should seek to make his work not a mere collection of isolated incidents and unex- plained names, and should endeavour so to collate his information as to give us not a heap of un- smelced ore but a finished mass of polished metal. The subject is almost an eshaustless one: Macaulay has shown and Professor Gardiner has indicated how much local research can aid the natural historian; and one means of stimulating the study which has been too long neglected is by adding it to the curriculum of our schools. What boy would not be the more keenly interested in the Conqueror if he were taught what Domes- day Book had to say of his own town? The story of the Great Charter would be brought the nearer to him if he knew that on the field of Runnymede, while the wax which sealed Magna Charta was still warm, John signed an_ order affecting the place in which he lives. The great personalities of the Black Prince, of Thomas and Oliver Cromwell, and of the first Charles would become real to him if he had the knowledge how closely they had in various ways been connected with the borough in which he was born. Every old street name should be caused to tell its story ; THE AUTHOR. the very dates of the fairs should serve to recall those dim monastic times when our little towns were filled with chapels, and the fairs were held on the days of the saints to whom those edifices were dedicated. By making local history real, we could make national history more than book learning ; and it is because I believe that much can be done to systematise the conception and to elevate the writing of that local history, that these suggestions are laid before the readers of a magazine which has helped so greatly all who study the chronicles of the West.—From the “ Writing of Local History,” by A. F. Robbins. II. Tur Human EvEMent OF CRITICISM. One takes up the review of a new book now- adays, and especially in America, with the almost absolute certainty that it will be wholly lacking in the human element—that it will be analy- tical, impersonal, reserved, and without the touch of emotion. The critic, so to speak, unbinds and unstitches his book, separates the leaves, weighs them individually and _ collec- tively, and arrives at an exact and conventionally correct, but more or less inadequate, estimate of the work before him. The great mass of book reviewing at the present time is a highly-refined machine-criticism. It is cold, exact, and, one may say, as far as it goes, fair. But it does not go far enough to reach the standard of the best criticism. The best criticism is not- altogether conven- tional and not altogether analytical. It finds room for personality, and makes some departures from the established customs of probing and dissecting. It does not leave a book or an author, as the saying is, “struck all of a heap.” If it becomes necessary to make fragmentary disposition of a writer, the better critic will at least restore him to his. complete and organic uncomeliness, and, like the accomplished juggler, with a kindly sweep of the hand over shattered wheels and springs, will say :—‘ Here, sir, is your watch, just as you gaveitme. It has not even lost a second.” When a critic admits synthesis, constructive- ness, and personality into his work, that work begins to display the true human element. It is evident that this element cannot be fully defined by the word kindliness. That is one of the humanities of the best criticism, but it is not the only one. There must be also breadth, tolerance, sympathy, freedom, and sincerity. The critic is a man dealing with a man. He is not, or should not be, a man dealing merely with a book. So far as a book stands for anything more than a  THE AUTHOR. stick or a stone, it does so by virtue of the per- sonalty with which it is suffused. If publishers would issue elaborate volumes of what printers call “ pi,” there would be a book for the critic to deal with simply as a thing. There would be no man behind it, no subtle personality pervading its whole texture. But wherever there is cohe- rence there is thought, and wherever there is thought there is personality. So I say that a critic, who is a man, dealing with a writer, who is also a man, certainly ought not to neglect the human element in criticism. He should synthe- sise as well as analyse; he should bind as well as sever; he should be able to stand in another’s place as well as in his own; he should be a helper as well as a censor; he should yield as well as crowd; he should be tender as well as keen, candid as well as brilliant. Howsoever inky his doublet, a warm heart should beat beneath it; and he should havea hand that no writer’s cramp could deprive of its power to give or return a human grasp. This is humanity in criticism; this is love in judgment. How many literary critics think of the man whom they are vivisecting? They are less humane than experimentalists in biology, for they give their victims no anesthetics. ‘“ Here is a book—what’s init?” The weights and the screws determine that, and Lord help the author if there be much of him in his book! I plead for the human element in criticism :— more elbow room, if the critics will, to turn them- selves about in; then they will not be so narrow and unceremonious. What of personality can you transfuse into a single paragraph? ‘True ; do not criticise by paragraphs. Call them rather, what they will verily be, “ notices.” I plead for amore generous recognition of what authors put into books, as well as what they leave out. Writers always—the least admirable of them— put a vast deal of personality into their work. What critic pays adequate attention to this? Many a book throbs like a human heart ; but the critic counts only the dropped beats in the systole and diastole of its rhetoric. I plead for more of the genial smile in criticism, less of the chilling sneer. ‘There is sunshine in a smile, even when it wins you from a fault. But the sneer is like lightning in the night. Everything in its glare is hideous and hopeless. James BuckHam. New York Critic. 49 III. Dante EXHIBITION. We are glad to be able to announce that the Dante Exhibition was successful beyond all anticipations. About a thousand persons visited it, and the entrance fees will cover expenses and leave a small balance, which will be devoted to the social branches of the work of University Hall. The general public and the general Press failed, it is feared, to catch the idea of the collection, and found it scrappy and dull. But Dante students, who visited the hall in consider- able numbers, saw that the illustration of the central conceptions of Dante’s scheme of things in their contrast alike with classical and modern ideas, and the universal scope of his studies within the framework of that scheme, gave the exhibition an organic character not obvious to the casual visitor.— Westminster Gazette. IV. A QUESTION OF PROPRIETY. My attention has been called to a communica- tion in The Nation of April 20, holding up the following sentence from my recent article “A Trio of Notable Women,” as an awful example of impropriety: “‘ Under her hospitable mahogany were frequently stretched the eminent legs of Mrs. Barbauld, Sir James Mackintosh, Dr. Southey,” &c. It may be worth while to say, for the benefit of the worried objector, that the play- ful expression objected to is an old one, well seasoned, and justified by good usage. Thackeray was partial to it, and rang many changes on it. You may find an instance in chapter IX. of ‘The Great Hoggarty Diamond.” —H.G. J. in the Chicago Dial. THE PRETERNATURAL STORY. MONGST the various forms of fiction the tale with a preternatural element has always maintained a prominent place. The few Greek and Roman romances and frag- ments of romances that have survived, all present an abundance of preternatural incidents. Motifs of preternatural kinds form the basis of some of the most striking Italian novelle, the Spanish “ books of chivalry” that turned the head of the Knight of La Mancha contained little else, and, at the present date, in England, tales of a preter- natural character have become so much the vogue 50 THE AUTHOR. that not long since a London publisher, who issues about as many novels as any one, declared that people had got tired of romance, and cared for nothing but fairy-tales. Under such circumstances the preternatural story can hardly fail to present points of interest both to the student of fiction, and to those whose pens are engaged in meeting the ceaseless public demand for tales containing something “ up to date.” In point of fact the close observer will find in this particular kind of romance a great deal that may arrest attention, and suggest reflec- tion. A little investigation reveals, what few suspect, that, though preternatural stories seem at first sight much of the same kind, they are really divided in several distinct and widely different species ; whilst by no means the least singular phenomenon connected with compositions of this sort is that the extreme contrasts of taste and distaste for them on the part of different readers (which every one will have observed) is based, incredible as that may appear, upon an appetite for truth. On approaching the subject of preternatural fiction the student is, at the very outset, con- fronted by the rather unanswerable question, “What is the preternatural?” On account of the difficulty of finding an absolutely satisfactory reply to this question, and in order that a number of stories, which certainly should be included in any consideration of this kind of tale, may not be set aside by a mere definition, any story may for the present purpose be held to be of the preternatural sort which contains incidents appa- rently not to be explained by the familiar laws of nature. To have some sort of definition of the preter- natural is, however, still necessary; for it will presently appear that upon this definition must depend a very great distinction between various tales of the kind under consideration. Of course, to define the preternatural * is very nearly the same thing as to define the miraculous, and this leads at once into the province of the theologians. Nor is that singular. It is into this province that more than one preternatural novel of the present day purposely penetrates. A word about the theologians, lest any readers of these lines should suspect them of the error of a theological bias, which would in the pages of the Author be egregiously out of place. Theology and belles lettres, have, it is true, been as often *Some writers use preternatural and supernatural as almost equivalent terms. Others, drawing an important distinction, confine the latter to cases of intervention of the Deity. See Fleming, “ Vocabulary of Philosophy.” The term preternatural alone is used throughout this paper purposely, - hostile camps as the contrary. But it must never be forgotten that the theologians, every one of them to a man, belong to the wide republic of letters. As authors they laboured at their desks, threw their hearts and lives into their books, desired through them to speak to the world, and were deeply concerned in their success and in- fluence, like everyone else who writes. Creeds apart, their dicta are all the dicta of literary men. Proceeding, then, to borrow a definition of the miraculous (and this definition will be necessary presently) from one of them, it will be admitted by all that the guidance of Coleridge may be safely followed. Coleridge’s success with the preternatural was itself a marvel. Archbishop Trench mentions that he had heard Coleridge exalt the greatness and depth of the remarks of Aquinas on the subject of miracles. Trench, Coleridge, Thomas of Aquino, are all great lite- rary names, and the definition Aquinas offers runs thus :— “Tlla proprie miracula dicenda sunt que divi- nitus fiunt preeter ordinem communiter observa- tum in rebus.” + Any tale, then, that relates preternatural incidents of a distinctly miraculous nature, in point of fact introduces some special intervention of the Deity, and so becomes a religious tale. “ A Beleaguered City” is a tale of this sort, and a fine one. Anyone who will think of it, and of Prosper Mérimée’s “La Venus d Tile,” also a very fine story, will now perceive at once to what vastly different categories the different species of preternatural tales belong. Having quoted a great Catholic divine, it is only right to state equally clearly the opposite view of miracles. Hume says, in his “ Essay on Miracles: ” “A miracle is a violation of the laws of nature; and as a firm and unalterable expe- rience has established these laws, the proof against a miracle, from the very nature of the fact, is as complete as any argument from experience can possibly be imagined.”’ ; And this viewis very important. Because if either author or reader of a preternatural story hold it, he is compelled to take his choice between two alternatives. Either what is related must be merely one of those rare phenomena of nature which are still imperfectly understood, or not observed by the vulgar, or it must be false. Here it is worth while to remark that the character of “preternatural’’ would certainly, and it seems justly, be denied by many to incidents that were merely of a rare or imperfectly comprehended kind. Further, it will presently appear that the + 8. Thomas Aquinas, “ Contra Gentiles II.,” 102.  4 : 4 THE AUTHOR. 51 honest lie, pure and simple, is by no means excluded from the domain of preternatural fiction. To many, however, the views both of Aquinas and of Hume will seem much more stiff and defi- nite than either author or reader need desire. A tertium quid is postulated, neither “ miraculous ” on the one hand, nor in accordance with “ natural laws imperfectly understood” on the other. It is, however, fair to remark that it is not at all clear what this “‘ border land,” as it is sometimes called, is supposed to be ; and to add that, to the logically minded, it is not a very attractive region. Plentiful vagueness of view and meaning can, of course, be easily wrapped up in the familar “There are more things in Heaven and earth, &c.;” but the thoughtful explorer of the domi- nions of preternatural romance, will certainly find this easy evasion of an explanation of what is really meant, a good deal out of taste in the case of stories which bear on the face of them some evidences of having been written with a very dis- tinct purpose of insisting upon something or another. Indistinctness may furnish amuse- ment; it can even awaken awe. But it cannot instruct.* All that belongs to “the border- land” should be able to be divided between the really miraculous, and the strange but natural phenomenon. The whole range of preternatural romance is thus divisible into the really miraculous, the rare or imperfectly understood natural phenomenon, and — lies. The last province is a large one with no particularly definite boundaries; but a more important one than at first appears. Pro- bably the author in nine cases out of ten, and the reader in ninety-nine out of a hundred, bestows little thought upon determining to which province the tale belongs. But that is not always the case. The author’s intention is in some instances evident enough. Everyone will observe that, strictly speaking, thename of preternatural fiction might with much reason be confined to tales of the really miraculous. Tf the attention be next turned from the provinces of preternatural romance to the stories themselves, all can be immediately drawn into three classes. a. The story in which the narrator relates the preternatural incident as absolutely true. b. The story in which the narrator relates the *It is worth while to observe that the mediwval theolo- gians, who firmly believed in magic and devilries of every description, considered them as merely ingenious results of the employment of natural agencies not understood by man. “Piunt -virtute causarum naturalium,” says Aquinas. Summa, 2, 2, 178, 1. preternatural incident as absolutely false; of this sort there are two kinds. c. The story in which the narrator uses preter- natural incidents as mere figures of speech. Three very great names might be appropriately attached to these three kinds of tale. Homer relates the preternatural as true. Lucian excels in the art of compounding a farrago of lies. Rabelais wraps truth in a cloak of preternatural fable. The literary student who would see the pre- ternatural (the miraculous preternatural) related as truth in its highest form, had better go straight to the pages of Homer. The superlative charac- teristic of the Homeric preternatural incidents is that the poct himself believes in them. He believes in them so absolutely, and relates them with so absolute a certainty of their commanding the hearer’s belief also, that they almost lose their preternatural character, and glide back into the natural and ordinary, by being as integral a part of the poet’s cosmogony as are the rising of the sun, and the opening of the flowers. Homer narrates without ashade of difference the simplest human incident, such as Nausicaa’s game of ball with her maidens; a magical one, such as the healing of Ulysses’ wound by the singing of a spell; and one of divine intervention, such as when Sleep and Death, at the command of Apollo, in answer to a prayer, bear Sarpedon’s dead body to Lycia and bury it there. All represent to the poet’s mind things equally in the course of nature, and the preter ordinem com- muniter observatum has no place in his imagina- tion, This is what gives Homer’s preternatural incidents their inimitable reality. If any one wishes to see how inimitably real they are, he has only to compare them with similar episodes in Virgil. Virgil is more than careful about the introduction of each preternatural incident. He never violates the rule, Nec deus intersit nisi dignus vindice nodus: and he treats all his miracles with great artistic skill. But they are hopelessly hollow. Homer dares everything. And the more he dares the more realistic he becomes, and the more audaci- ously he treats the preternatural like the merest ordinary commonplace the more powerful is the effect he produces. Ares, wounded by Diomede with the assistance of Athena, bounds up to heaven with a howl like that of ten thousand mev, Pallas flies down, to lend Achilles divine strength, in the shape of an osprey. She actually ig an heron that meets Diomede and Ulysses by the wayside at night, and the latter recognises the goddess by the bird’s cry. She and Apollo meet on the road “ by the fig-tree” outside Troy. 52 THE AUTHOR. The gods drink, and squabble, and cheat each other, and worse : ~ « , , Tdvra Oeots avéOnxav “Opnpos “Hoiodds re A \ , \ "Ocoa rap’ dvOpwroiow dveidea Kal Woyos éoriv, , , Kérrew, porxevew te, Kal dAAjAovs arrarevev * But Homer recks nothing, and—here is the wonder—forces conviction all the time. Perhaps no other author ever wrote with such power to carry irresistible conviction in_ telling the impossible. But then he himself believed all he related. There is something of the same spell in the “ Nibelungenlied,” and the ‘‘ Thousand and one Arabian Nights” come still nearer to it. But the present lovers of preternatural romance do not (alas!) read Homer; nor “The thousand nights and a night.” If asked ‘‘Why not ?” their answer would be ready. They cannot believe such stories. Here, then, is the secret of the preternatural tale which the author offers, and the reader acceptsas true. It may be written in one word—conviction. And if it be asked what pleasure do people find in being convinced of the truth of quaint preter- natural incidents, the reply seems to be first, that man’s natural love of the marvellous is pleased, and also something deeper gratified, which lies behind the love of the marvellous, an ever restless craving for wider and wider existence, and in existence for wider and wider possibilities. The young love these tales for this reason: because they still believe in possibilities for which their elders have ceased to hope. Besides, if the truth could be ascertained, it would be found that in every case the zealous readers of histories of ghosts, and astral influences, and what not else do secretly cherish a dim persuasion that they may themselves some day perchance have the luck to meet with a small preternatural adventure: which is only the old story of Don Grazia, who, Un braccio, un piede, un occhio avria pagato Per fare anch’egli un sol miracoletto. Consequently, those who can be convinced by the stories of the supernatural find in them some fascination which nothing else can equal. To others, unable to arrive at this degree of con- viction, these tales are as insufferable as the “ Arabian Nights” to the admirers of , the reader may supply any one he pleases of half a dozen names. When the power of convincing exists, it would seem, judging from Homer, that the more daring the realism, the more completely absent any art of supernatural presentation, the more powerful will the effect become. And it may be that those authors will win the largest audience who can best succeed in persuading * Xenophanes Colophonius. their readers that something preternatural may some day befall themselves. The essence of the first sort of preternatural story is, then, that it seems true. The charac- teristic of the second is that it is avowedly false. Here Lucian excels. His “true history ”’ has been a model for imitation for ages; and he him- self, in the preface to that queer story, admirably describes the sort of work it is, and its intention —to offer a light entertainment, by the relation of various falsehoods credibly and vivaciously narrated, hinting too in a comic manner at certain passages in authors who have written about wonderful and mythical things. This is plainly playing with the preter- natural. Nothing is farther from the author’s intention than to convince. His only aim is to entertain—and to ridicule the preternatural tale. In Lucian’s hands this kind of story becomes a burlesque with occasional serious import. The nearest thing to it in our own literature is ‘The Travels of Baron Mun- chausen,” that book of lies beyond all imagina- tion. But to this second kind of preternatural tale, the preternatural tale that lays no claim to truth, belong, in modern literature, many stories constructed with preternatural elements of purely graceful fancy. Here may be classed all artificial “ fairy-tales,” written to amuse small folk; not, however, real folk-lore; there the preternatural element is generally of the Homeric order. What fine work the artificial fairy-tale can be is proved by ‘‘ Alice in Wonderland.” Also, how inept it can be everyone knows. In this class must a'so be placed all those stories in which fine imagina- tion has created other beings not unacquainted with man’s passions, and other worlds not quite unlike his world—the literature of man’s wishes, and misgivings and dreams. It is hazardous to quote any work as the masterpiece of this or that sort of literature, but of this kind “ Undine,” if not the best, must come very near being so. And a study of “‘ Undine” reveals that in this sort of tale the method of the successful author is the precise contrary of that of Homer. Homer succeeds where Virgil fails, because Virgil uses art and Homer does not. A comparison of De la Motte Fouqué with any of his many unsuccessful imi- tators shows that Fouqué’s triumph is a triumph of most consummate art; art in the selection of every detail; art in the proportion and presenta- tion of every incident, in the management of every particular, and in the composition of the whole. In this kind of preternatural story, which is a pure jeu d’esprit, art is everything. The result is an appearance of truth which renders the reader oblivious of the fact that he has neither been  THE asked to give, nor is giving credence to a single word. What he feels is that, if such things could be, this is how they would happen. Thus, then, of the preternatural story that makes no pretence of being true there are two sorts. One is a farrago of audacious falsehoods, and the bigger the lies the better the story. The other is a dream, and the nearer the dream approaches a vision, the finer its illusion becomes. Both demand consummate art. In the third kind of preternatural tale Rabelais excelled. Here all is parable, and the pretence of preternatural incident either thinly covers something the author has not dared to say openly, or is used to give stronger point to truths which, if plainly stated, touch the imagina- tion less forcibly than they should. In these stories everything is true and nothing true at the same time; and the reader must discover, “ par curieuse lecon et meditation frequente, rompre Vos, et sugcer la substantificque mouelle.” Of this kind are “ Gulliver’s Travels,” imitated of course from Gargantua’s voyages, as they in turn had been, partly, suggested by Lucian. Probably no fiction of any kind demands gifts so great. Its earliest form is the Msopic fable of talking beasts. And now appears what the writers of preter- natural tales seem often to overlook, that the essential characteristic of all preternatural romance is—truth. For the intrinsic quality of the Homeric story is conviction. The tale of lies is admired because it ridicules the incredible. The story of the Undine type depends for success upon its appearance of truthfulness, and the Rabelaisian parable, is merely truth told in figurative speech. Tales such as “Undine” and “Gulliver’s Travels” will be appreciated by all possessed of cultivated imagination and philosophic thought. The tales, however, that ask to be believed, and those which ridicule the marvellous, have narrower audiences. The latter are far too difficult of composition for many to attempt them. Of the former there are just at present plenty. Those who write them must probably make up their minds to please a certain section of the reading public, at the price of being carefully eschewed by others. But that, in a greater or less degree, is the fate of all authors. That preternatural stories demanding credence should be the fashion, may be considered one of the social phenomena of the day. Literature takes its colour from its age. A Hellenic world profoundly religious, and simultaneously materi- alistie to profanity, great-minded, and equally simple-minded, listened to the rhapsodies of Homer, whose poem has nota trace of the empire- VOL. Iv. AUTHOR. 53 building spirit of the Epic of Virgil. Ariosto’s theme was another, Le donne, i cavalier, l’arme, gli amori, Le cortesie, l’audaci imprese io canto. The romances of knight errantry reflected the humour of their day as completely as ‘‘ The Senti- mental Journey” and “The Man of Feeling ” that of the sentimentalists of the latter half of the last century. Whatthe popularity of the preter- natural novel indicates it would perhaps be rash to say. This however, is certain in literature : everything very pronounced portends a reaction. Henry CRESSWELL. Sec ——— OMNIUM GATHERUM FOR JULY. — Subjects for Books or Articles.—A definition of “religious education” ; a comparison of Pusey’s and Stanley’s treatment of scepticism, as detailed in “ Through Storm to Peace” ; the amenities of the English, Scotch, and Irish Lakes; Second Marriages ; an English translation of La Bruyére ; Quarantine; the substitution of Roman for German and Greek characters in the printing of German and Greek; Prorogation, Adjournment, or Dissolution of the present Parliament? with a few words on the more celebrated dissolutions of the present century. Giving away Books.—Surely in no case should an author give away a copy of his book to a stranger on asking for it, and even unsolicited presentation copies should be very sparingly distributed. The Coining of Words.—Mr. W. H. Shee, in his pleasing “ My Contemporaries,” complains (in 1870) of “colliding” and “stores” and other then new expressions. I must respectfully differ from him. Fingere cinctutis, &c. Why not,e.g., “irregulate,” “ polyglottist,”” and for “Hadn’t I better?” “ Bett’n’t 1?”? And why not ‘“ Ameri- canisms,” if they express something, as “ fall” for autumn, better than we can? Biographies.—Perhaps the best modern field for literature is biography, but the subject should be interesting, the biographed should have been dead some ten years, the biographer should have known him well, but not be either his wife or child, the biography should disclose some new facts, the whole truth should be told, and scarcely a letter should be printed at length. The best modera biography I know is that of Miss Austen, by a nephew; and that of Macaulay by Sir George Trevelyan—again a nephew—ranks very high. F 54 THE AUTHOR. The best thing in Literature—Carlyle twice committed himself to naming the best thing in all literature, naming, oddly enough, a different thing each time. His selections were, first, the Francesca narrative in the “Inferno” (how mangled by Cary !) ; secondly, without any refer- ence to his first selection, the description of the war-horse in Job. Had he attempted the impossible? Or is the Nausicaa episode in the Odyssey better than either of Carlyle’s selections ? Title —There is very much in a title, and titles have been frequently changed before publication. There is no copyright in a title, as was shown by the “Splendid Misery” case. Should there not be? The Second Mrs. Tanqueray.—It is impossible for dramatic art to treat this subject more finely than Mr. Pinero and Mrs. Patrick Campbell have treated it. But it may, perhaps, be hoped that the subject will in this country be relegated to the pages of the philosophical historian (see, e.7., the eloquent words of Mr. Lecky, in the “ History of European Morals,’ vol. ii., at p. 299) :—tkat Niniche, with or without variation, is not about to invade our stage :—and that the genius of Mrs. Campbell will soon be displayed in another play as “strong” as that which has made her name famous, but less unpleasing. A two-page Preface.—I have to thank my learned friend Sir Frederick Pollock for pulling me up in the last number of the Author. No loubt I put my case too high in the May number. Brevis esse laboro, &c. Howbeit, Savigny’s “Vorrede’” in its two last pages contains all the essentials of a preface, and both Mr. Hunter and Mr. Sandars are two-page men. J. M. Leuy. NOTES FROM PARIS. Paris, June 23, 1893. HE hot weather, a certain amount of laziness, and a periodical fit of discouragement have kept me away from the Author for two months past. As to the discouragement, it is what I suppose everybody connected with the noble profession of letters is more or less accustomed to. I hope, however, that few of my readers are ever exposed to such a number of tuiles, as the French call them, as have been falling of late on my devoted head. Entin . I had heard a good deal about the sweating to which translators were subjected, but I did not know that things were as bad as they appear to be. A day or two ago I received a letter from a French publisher who is about to produce in England, at his own expense, and published on commission, a translation of a successful French novel of a highly moral order, and in which he informed me that my name had been mentioned to him by the Paris agent of the house which is to publish the book in London as a possible translator of the work. I saw the agent in question, and he informed me that the publisher intended to produce a first edition of two thousand copies at six shillings each, which, allowing for expenses and author’s fee, would put from one hundred to one hundred and thirty pounds in his pocket. I then called on the publisher and was shown the book. It was a volume of about three hundred and twenty pages, of close type, amounting altogether, I should say, to close upon ninety thousand words. He said that he should like to have the translation in hand towards the end of July. He then explained that this was an experiment, and that he was obliged to be very economical, and could not spend much money on the translation, I then asked him what he pro- posed to pay for a literary translation of this ninety thousand word novel. He said ten pounds, but then corrected himself and said that he would pay twelve pounds. I did not say anything except to wish him good morning. I suppose, though, that there are plenty of poor people who would be glad to accept these terms of one farthing a line for a literary translation of a difficult French novel. I am very sorry for them. I was delighted with the déjeziner that Messrs. Charpentier and Fasquelle gave to artistic and literary Paris on Wednesday last in celebration of the conclusion of Zola’s Rougon-Macquart series. There were about two hundred guests, and the déjeiner was held on one of the islands in the lake of the Bois de Boulogne. Zola looked very spruce ina black frock coat, light grey trousers, and a pair of varnished boots. I sat just behind him, next to Jules Jouy, the chansonnier, and opposite to Yvette Guilbert, who, during Char- pentier’s speech, where reference was made to the days of misery which Zola and Madame Zola had passed through, burst into very genuine tears. Zola’s speech in answer to Charpentier was a very touching one. He called his publisher “my old friend,” and said, “if I have not ceased writing you have not ceased publishing,” so that, in sort, as much of the honour was due to the publisher. It was a pleasant sight to see author and publisher sitting side by side united by such bonds of affec- tion. Catulle Mendés made a_ very literary  @ 2 i of the most illustrious glories of France. THE AUTHOR. 55 speech, in which he complimented Zola on his triumph and glory, referred briefly to the old quarrel between the Parnassiens and the Réalistes, and concluded by saying that, whilst he must be allowed to consider poetry as “ wonder- fully superior” to any other form of literature, he was the first to acknowledge that Zola was one Other speeches followed, Zola replying each time. He insisted on the necessity of work, repeating what Balzac wrote in “La Cousine Bette” on the sub- ject of “le travail constant.” The lunch was followed by an open-air concert, at which Jules Jouy, Yvette Guilbert, and Kamhill performed. Clovis Hugues, in conclusion, recited some very sonorous verses in honour of the hero of the day. It was a very Parisian féte, and one was glad to have been present. Zola seemed in fine form, and to be full of work. Still, I thought that one of the orators went rather far in saying that in days to come the production of the Rougon- Macquart pyramid would appear but a charming episode in the author’s career, in face of all the other books that he would eventually produce. I should like to introduce to the notice of English authors who may be desirous of having their works produced in America, the name of a publishing firm, which has only recently started, but which is working on principles which should recommend it to every author’s heart. This is the Cleveland Publishing Company, of 19, Union-square, New York. The principal member of this firm is a lady named Mrs. Cremers, who desires to bring about a revolution in the arrange- ments existing between authors and publishers. The firm pays the highest royalties paid by any firm in America, and has arranged for monthly payments of accounts instead of quarterly or half-yearly settlements. I saw a nasty attack made against this firm in a Scotch evening paper, under the following cir- cumstances. In sending over copies of a book which the firm wished to be reviewed in the English press, a letter was addressed to the editor of each paper to which a book was sent, asking that it might be handed to the critic. This was done because it was thought that the book coming from abroad—it not being tle practice of American firms to send books to English papers for review—it might be overlooked. Nothing, of course, was said in any of these letters to imply that a favourable notice was hoped for. It seemed to me, therefore, very unjust on the part of the correspondent of the paper referred to to qualify a simple act of courtesy on the part of the American firm as “ confounded impudence,” “sharp practice,” “a stale trick to try and obtain favourable notices,’ &c. This was all the more untrue and unjust that the book in question is not for sale in England, and will not be. The next number of La Plume is to be entirely devoted to Victor Hugo, on the occasion of the publication of that magnificent volume of poems, “Toute La Lyre,” which has recently been issued by his literary executors, and in honour of which a banquet was given the other day at Lamardelay’s restaurant. The following number will be devoted to Jules Chéret, the designer of those artistic posters which make the hoardings of Paris the delight of all artists and the envy of the world. I don’t think that a novelist can make a greater mistake than to live out of his country ; and the writers of fiction who do live away from home and who succeed, are most certainly very rare exceptions. To interest one’s public, one must be in touch with their way of thinking, must be able to write of the things and the people that interest them, and to describe the scenes that they wish to hear of. A writer living in a foreign country cannot do this. He is out of sympathy with the people whom he would interest. It is true that he can write about the people in the country which he inhabits, but how very little do foreigners and their ways interest the large public of another country. Ask the average English- man to whom he would rather be introduced, a nice French family or an equally nice English family, and in nine cases out of ten he will vote for his countrymen. It is quite natural. R. H. SHERARD. >< ———__————- TO ARRIGO BOITO. O poet among poets, from a land Where poetry and music take their birth, I, but a humble minstrel, kiss thy hand To greet thee as a king in bardic worth. Thou whose great name, in music and in verse, Is wedded to the greatest names we know, By inspirations lofty, noble, terse, Through which the flashes of thy genius glow. Thou, who hast given Goethe’s soul to song And roused great Verdi to sublimer youth, Shalt fine a royal welcome to prolong Thy praise in peans of surpassing truth. Among the triumphs by thy genius wrought, One here shall chiefly to thy fame be sung, For thou hast clothed our Shakespeare’s wondrous thought In Dante’s musical and magic tongue. Mowsray MARRAS. <6 THE NOTES AND NEWS. Sprigge, the delegates of the Society, sailed in the Etruria on June 10, and arrived off Sandy Hook June 18. It is announced that the Etruria was placed in quarantine. No communications have been received. \ R. WALTER BESANT and Mr. S. S&. _— IT wonder that no enemy of our Society—if our Society can have an enemy outside of Newgate—has pointed out a certain famous Association apparently, but not really, similar to our own, founded, but not firmly established, by Uncle Jack in “ The Caxtons”’ : “From time immemorial,” said Uncle Jack, ‘‘ authors have been the prey of publishers. Sir, authors have lived in garrets; nay, have been choked in the street, by an unex- pected crumb of bread, like the man who wrote the play, poor fellow!” “ Otway,” said my father, “the story is not true—no matter.” “ Milton, sir, as everybody knows, sold ‘ Paradise Lost’ for ten pounds —ten pounds, sir. But the booksellers can live in houses—they roll in seas of gold. They subsist upon authors as vampires upon little children. But at last endurance has reached its limit—the fiat has gone forth— —the toesin of liberty has resounded—authors have burst their fetters. And we have just inaugurated the institu- tion of ‘THe Granp ANTI-PUBLISHER CONFEDERATE Autuors’ Socimty,’ by which, mark you, every author is to be his own publisher ; that is, every author who joins the society. The author brings his book to a select committee appointed for the purpose. They read it; the society publish, and after a modest deduction which goes towards the funds of the society, the treasurer hands over the profits to the author.” In the discussion which follows, all three dis- putants show themselves totally ignorant of the real points at issue. The Society issues a list, and, as everybody remembers, after a_ brief existence, collapses altogether. Lytton may have taken this idea—for it was before the days when Respectability—to use a Lyttonian capital — believed in Co-operation— from the Society of British Authors of the year 1843. Of this miserably abortive attempt Lytton, with. Dickens, Thackeray, Miss Martineau, and other excellent writers, was an original member. But as the measures proposed by the committee were ludicrous in their uselessness they all with- drew. The society never attempted an ‘ Anti- Publishers Confederate Authors’ Society.”” They never even got so far as to inquire into the cost of production, nor to ask whether an author should dare to approach a publisher except as a mendicant. It is quite possible, however, that there was a good deal of wild talk about what AUTHOR. authors could do and should do, but no one ventured to formulate the real grievances of the situation. In less than a year the society ceased to exist. ——— Next, one would like to ask, how far. Bulwer Lytton continues to be popular? I do not suggest, or wish to suggest, that his works are not still popular. But this question is part of a much larger one, viz., how far the changes in ideas and views of things affect the popular novelist in the one or two generations which come after him? Many changes, for instance, have taken place in social matters since Lytton wrote “The Caxtons.’ Things are done and tolerated which were not then permitted—the word “ society,” except in certain circles of which the world knows little, has become greatly en- larged in meaning; the use of the dress coat has been largely extended, as may be seen any evening by a visit to the Empire Theatre; retail trade does no longer, in the eves of some, derogate from gentility. One has only to turn over the leaves of such a social novel as “The Caxtons’’ to become aware of a distinct change in the atmo- sphere. Those of us whoremember that atmosphere are not displeased to be taken back to it. Those who cannot remember it are perhaps irritated by it. Tn the same way and for the same reasons Dickens is said to be losing his hold on the younger gene- ration. One can understand that a novelist may be very popular in his own generation, may lose most of the popularity when the next two genera- tions consider his views old-fashioned, and may recover some of it when they have become historical. There is also, besides the change of manners, a certain staginess about some of the work of the forties and fifties; and there is an affectation of virtue about some of them which, to those who know the life and conversation of the time, is either amusing or irritating. For instance, who in these days—particularly, what man who reads French novels—could write the following ? “Oh,” said Vivian carelessly, “French novels; I don’t wonder you stayed so long. I can’t read your English novels—flat and insipid; there are truth and life here.” “ Truth and life!” cried I, every hair on my head erect with astonishment, ‘then hurrah for falsehood and death !” This brought down the gallery formerly— would it now? Would any young man now pre- tend that his hair was erect with astonishment at such words? In the name of Mr. Burchell, “Fudge!” But as an attempttowards the solution of this question, it would be well to inquire what is the present demand in libraries, compared with that twenty years ago, of the following writers : a = 4 THE AUTHOR. 57 Scott, Marryatt, Lytton, Dickens, Thackeray, Kingsley, Ainsworth, and George Eliot? Not many English readers know of Lucy Larcom, American poet. She died on the 17th of April last at the age of sixty-eight having been born in the year 1825. She was a native of Beverley, Mass., and began life as a mill hand at Lowell. It will be remembered that Charles Dickens spoke with admiration of the activity and courage of the Lowell girls, who, after a day of twelve hours in the mills, could sit down in the evening to study and to write. These girls ran a magazine of their own, to which Lucy Larcom contributed. The Lowell Offering con- tinued for many years. Charles Knight pub- lished a volume of selections from it called “ Mind among the Spindles.” Encouraged by Whittier the girl gave up the mill and taught in a school. Nota great writer, her verses are full of sweetness and delicacy. Here is an extract from “The Prairie Nest: ” Nature, so full of secrets coy, Wrote out the mystery of her joy On those broad swells of Ilinois. Her virgin heart to Heaven was true ; We trusted Heaven and her, and knew The grass was green, the skies were blue. And life was sweet! What find we more In wearying quest from shore to shore ? Ah, gracious memory! to restore Our golden West, its sun, it showers, And that gay little nest of our, Dropped down among the prairie flowers! —=<=—=— The most valuable possession of publishers is the Past. All the old books belong to them. Their authors, from Homer down to Dickens, have no claim or rights in the property they have created. No jealousies are caused by their suc- cessful manipulation of dead and gone authors ; they are only rivals with each other in the exploita- tion of this property ; but the world takes no heed of trade rivalry ; all we are concerned with is the presentation of the property for sale. After this preliminary of commonplace, it is pleasant to recommend altogether the reproduction by J. M. Dent and Co. of “Some Famous Novelists of Bygone Years.” The works of Jane Austen and Thomas Love Peacock are already before the public. They are to be followed by those of the Brontés, Maria Edgeworth, Fielding, Fanny Burney, and Oliver Goldsmith. Miss Edgeworth tells us that her father’s most regular correspondence was with the late excel- lent Joseph Johnson, the bookseller—the man of whom the poet Cowper speaks so frequently in his letters with strong regard. It is worth while to quote a short paragraph from the letter of Johnson’s nephew, announcing his uncle’s death to Mr. Edgeworth: “A short time before he died, he dictated the following words, and soon after expired: My uncle is so afflicted with the spasms and asthma, that he has desired me to write to you, to say, that he should ill deserve your confidence, if he were rigidly to adhere to the contract, which he made for the last work ; the sale of which has enabled him to double the original purchase-money, and to place the sum to the credit of your account.” After Johnson’s death, his nephews sent Edgeworth a copy of his portrait, and Edgeworth wrote these lines under the print : ‘ Wretches there are, their lucky stars who bless Whene’er they find a genius in distress: Who starve the bard, and stunt his growing fame Lest they should pay the value for his name. But Johnson raised the drooping bard from earth. And fostered rising genius from its birth ; His liberal spirit a profession made Of what with vulgar souls, is vulgar trade.” IT have to thank Mr. Alfred F. Robbins for a copy of his article on the “ Writing of Local History,” contributed to the Western Antiquary. In another part of this paper (p. 48) will be found his concluding remarks. Local histories should be multiplied, if they can be written by scholars and antiquaries. Most local histories are perfectly usele-s for any antiquarian or historical purposes. Mr. Robbins points out that there are immense collections of documents hitherto almost untouched. Where they have been only partly examined, as by Prof. Freeman or by Ryley, the past becomes at once changed— changed and glorified. For instance, who has ever examined the Episcopal Registers, the Registers of the Consistory Courts, the wills deposited in the county towns, the Manor Court Rolls? Then there are the MSS. in the Bodleian, in the Record Office, the Domestic State Papers, the masses of private letters, and many other collections at present almost un- known. These all remain practically untouched ; and in them lies the real history of our country. Of one thing we may be quite sure—that the most important branch of literature of the future, from my point of view, will be that of history, for the whole of history will be entirely re-written when these documents have been read, —— The New York Critic has been taking a vote on the ten best American books. The following is  58 the list, with the number of votes which each book attained : Emerson’s Essays, 512 Irving’s Sketchbook, 307 votes votes Hawthorne’s ‘“ Scarlet Lowell’s Poems, 269 votes Letter,” 493 votes Whittier’s Poems, 256 votes Longfellow’s Poems, 444 Wallace’s“ Ben Hur,” 250 votes votes “Uncle Tom’s Cabin,” 434 Motley’s “Rise of the votes Dutch Republic,’ 246 Holmes’s “ Autocrat,” 388 votes. votes — ret CORRESPONDENCE. I. Tur Srock-1n-TRADE OF CRITICS. | | NDER the heading, “‘ Attack and Defence,” in the issue of the Author for May, “©. L.” complains with truth of the careless fashion in which so-called reviewers accomplish their duties. In confirmation, he quotes examples of personal injustice which verify his contentions beyond dispute. I have at my elbow scores of notices—by no stretch of leniency can they be called criticisms or reviews—fully bearing out ‘“‘C. L.’s” expe- riences. Without being unduly sensitive, most scribes would, I apprehend, smart under such blows dealt across their long-suffering backs. My literary skin is somewhat tender after much of this anonymous chastisement. I am not, by nature, vindictive; but I do yearn for a tilt against these cruel assailants. Will you open your arena to me fora space? I promise that my thrusts shall be prompt—if possible, deadly. Should they only succeed in knocking up the visors of my opponents, the encounter will not have been without profit. Now, examiners of fiction persistently sneer at the stock-in-trade of us poor novelists. That is the very weapon I would seek to turn against themselves. Does it never occur to these irre- sponsible censors that their own range of style and vocabulary is not immaculate? But for their serious results, the exhibition of slipshod English, tautology, and attempted facetiousness, which trip each other up with quite rollicking inconsistency, would be distinctly humorous. As for cacophony, one’s teeth are set on edge by sentences which would disgrace the constructive abilities of a charwoman. Here are a few examples of the stock-in-trade of critics, taken at random, with which I throw down the gauntlet :— _ “Neither better nor worse than the majority of its competitors;” “A wholesale slaughter of adjectives ;” ‘ Perfectly innocuous;” “A novel THE AUTHOR. with a purpose;” “An insipid production ;” “Nothing, if not conventional ;” ‘Trash ;”’— what would the fault-finders do without that word !—* Padding ;” “ Lack of interest ;”” “‘ Most of the characters are too good to live;” “No concensus ef opinion ever did, or will, put down a good book;” “To gratify the author's vanity,” and so on ad nauseam. : The scorpion’s sting can scarcely be more venomous than this last unkindly gibe. Is not the “vanity” of wishing to see one’s work go forth pardonable when brains, time—alas! some- times money—have been expended in the, at least, praiseworthy endeavour to produce a read- able volume ? What if a novel pleases, Mes- sieurs Snarl? We are not all fashioned in the same mould of criticalacumen. Somebody once genially remarked of one of my efforts, that it might prove an acceptable book to read, though not to criticise. That is the sort of prophecy I like. The great, seldom-at-fault Public is, after all, the true discriminator. Permit me to give a parting lunge of a per- sonal character at an irritating mistake made by many critics. I happen to possess a Christian name which is occasionally, but most rarely, in this form of spelling, common to both sexes. Why, therefore, am I the victim of a foolish blunder which constantly attributes my work to female origin ? That seems to mea genuine author’s grievance which I trust your friendly columns will allow me to ventilate. Crecin CLARKE. Authors’ Club, Whitehall-court. May 17, 1893. Il. THREE CRITICISMS. The editor of a provincial paper writes: “T have successfully written stories for and con- ducted a paper which has become a property. A long story of mine was published in book form, and sold sufficiently well from a second-rate pub- lishing house to pay all expenses and leave a margin of profit during the first twelve months. Here are three specimens of the reviewer's art as published in four leading London papers: The story is garrulous and Here we have a story of jejwne. good rank. It is sufficiently sensational to sustain inte- Murder, madness, and rest, though the author has treachery of all kinds are rampant in the story, and if Mr. Blank would curtail his dialogue and story altogether by one-half, his readers would be more likely to reach the end. not fallen into the error of sacrificing literary and artistic dignity to a desire to be thrilling. The plot is good, the narrative uniformly pleasing and _ occasionally very admirable, and the sketches of character are in every case excellent. Lt THE AUTHOR. 59 By many papers the tale was so unmercifully slated that I wondered how I could keep an ex- pensive family for ten years upon money earned by my pen; buta larger number of reviewers praised the story, and so I was consoled. My next MS. was submitted to the unknown critic of our Society of Authors, and secured the “ slating” prior to publication, with a satisfactory result. That criticism, however, was only educational. I would suggest that the Society’s opinion as to the commercial value of a story should be given in cases where the educational criticism is fairly good. Writing with most of us is a business, and the council of the Society of Authors would do well to recognise this.” IIT. Macponatp v. “ Natrionan Review.” Some of the dailies, in commenting upon the recent suit of Author v. Editor—Macdonald v. New Review—prophesy that publishers will have to come to the American system of paying for manuscripts upon acceptance. Allow me to say, as a contributor to American periodicals, that this payment upon acceptance is by no means the invariable case. The American publishers who pay before publication are the very élite of their profession, and in high honour among contributors. The Century, Harper's, North American Review, Scribner's, the Indepen- dent, and Youths’ Companion, not only pay upon acceptance, but accept (or decline) within two months of receiving a MS. The Atlantic, New England) Magazine, Outing, Frank Leslie’s, Chantangnan, Home Maker, &c., pay upon pub- lication. It is to be said, however, that even in America certain publications are a snare and a delusion to the inexperienced. A “religious” paper in New York accepts MSS., and never pays for them. A periodical in San Francisco, with every pretence of respectability, does not “accept” or yet decline S., but often publishes after many years, and pays—Heaven only knows when ! As an offset to this, let me name the New York Art Interchange (edited and managed by a woman), which every Christmas sends its regular contributors a little “box” of ten dollars. Ishould like to know if there is another such periodical in the world? Certainly La Nouvelle Revue (also managed by a woman) is unlike it. Madame Adam pays five francs the page, and has no knowledge of Christmas-boxes. —Yours truly, Marearer B. Wriaur. IV. REVIEWING. Mr. Halcombe’s letter in the June number of the Author sets one a-thinking about criticism. Is there such a thing as a standard of criticism ? Mr. Halcombe’s experience is, I imagine, that of most authors. Some reviews are favourable, others the reverse. Is criticism a matter of taste or judgment—is it always exercised as a medium for a true opinion, or is it sometimes regarded as an occasion for sarcasm—for a flippant or a well-weighed verdict? Criticism, it appears to me, should be deemed a work of responsibility in which a just judgment should be pronounced, not only in the interests of the author and pub- lisher, but also in the interests of the reading public, It seems strange that if there be a true standard of criticism that a book should be noticed favourably by one critic and unfavourably by another—the favourable and the unfavourable criticism cannot both be in accordance with truth. I speak feelingly, for a volume of poems of mine recently published (“ Poems Old and New”’), reviewed at some length with appreciation in the Atheneum, the Record, and the Globe, &e., 18 very superficially, hastily, and curtly noticed in a late number of the British Weekly. “The poems are imitative,” says this latter publication, “but not unpleasant” (how flattering!), and in proof of his dictum the critic quotes one stanza from a poem called “ Hie.’ (Chis. he says, “is a reminiscence of ‘ Bertha in the Lane,’ the well-known poem by Mrs. Browning.” Now, the only resemblance between the two poems is in the metre. Mrs. Browning’s poem is the pathetic story of the sacrifice made by one sister to secure the happiness of another, told with all the power of the authoress, whereas “Effie” is simply the lament of a father on the death of a child. Can the adop- tion of a certain metre be called “imitative”? Then what poet may not be accused of “imita- tion”? Was Tennyson “imitative” when he used in “In Memoriam” the metre that Rosetti had employed before him in “My Sister’s Sleep”? Is such a criticism in the British Weekly fair or true, and is it not calculated to damage the book, which is thus almost contemptuously noticed, in the eyes of the reader? Hoping that you will permit me to give in the pages of the Author what Mr. Halcombe calls “a downright hearty growl.” CGuarues D, Brix, D.D. Vv. An EXPLANATION. I shall be glad to correct a misapprehension to which my letter in your last issue appears to lend itself. The question between Professor Sanday and myself is not, in its primary aspect, one of theology at all. It is simply one of law. The views which Professor Sanday champions, however generally held, confessedly leave the Gospels, so far as their historical authority is concerned, ‘‘ wounded and half dead.’ On behalf of the Gospels, it is urged that a hearing for the views by which they have been thus discredited, has only been gained by their advo- cates excluding from court the one witness capable of bearing overwhe’ming evidence in their favour. Thus the question is—not as to the character of the results which might follow from the admission of St. John’s evidence, but —whether what is alleged to be such over- whelmingly important evidence can be lawfully excluded, and whether in the meantime accusa- tions against the Gospels—nineteen out of twenty of which must, from the nature of the case, be erroneous—are entitled to the collective value which at present attaches to them. On this point I have no need to seek the appointment of a referee. Already, at length, and under their own names, four persons, as capable and inde- pendent as any referee who could be named, have recorded their verdict on the subject in the pages of one of the first critical journals of the day. I need hardly point out that this is pre- eminently a case in which the opinion of a single competent critic who has taken the trouble to go into the facts of the case, may well outweigh the opinions of a whole theatre of others, who have not cared to resist the vis inertie of a not unnatural incredulity. I submit, then, that whilst it is perfectly open to Professor Sanday to resign the position of a specially retained defender of the Gospels, it is not open to him to retain that position, and yet so to yield to his own theological pessimism as, in spite of all remon- strance, to refuse to them a measure of justice which the law of the land would compel him to accord to the humblest person living under its protection, J. J. Hatcomss, VI. “Tn Puan Fiauregs.” It would be of great convenience to those who purchase books if the price could be marked, as well as the publisher’s and author’s names; and especially to those part of whose duty it is to re- commend books. It is a matter of frequent THE AUTHOR. occurrence to read the review of a book, or even the book itself, and to have no idea of what the price is. It is not likely that booksellers will put up with frequent inquiries on the subject of prices without frequent purchases, succeeding as as agreeable corrective ; nor, in fact, can provin- cial booksellers always answer such inquiries. The method of resorting to postcards and impor- tuning the publishers is open to many objections. If “literary property resembles all other pro- perty,’”’ it has the best chance of a market when its price is put in plain figures. While on this subject, the question of discount is one that authors should enter into; at present it varies rather more than the bank-rate, and not with the market, but with the experience of the pur- chasers. How many who buy books know of dis- count; how many are told, “ We can’t give dis- count on this series’? Writing in one of the biggest libraries in England, established for nearly a century, I believe they still only get 2d. in 1s, discount. Cannot authors mark their books, “ Credit price, 2s.6d.; Discount price, 1s. 11d.” ? Where profits are cut so very fine, booksellers as well as publishers should be dealt with on busi- ness principles. Keneum D. Cores. VII. “ Art THE Epes Git, PLEASE.” The taste for claret, tobacco, olives, caviar— and it would appear for books with rough edges— has to be acquired. When ‘ London City” was published quite a number of letters, couched in language curiously alike, were received from indignant subscribers, complaining that the binding was unfinished, the top edge only being smooth and gilt, while the other edges were in a disgracefully rough state, in fact, quite un- finished. Thad almost forgotten this amusingly irritating correspondence until the other day, when the launching of the companion volume, ‘“ London City Suburbs,” brought in its wake similar complaints, involving elaborate explanations which I felt might be neither understood nor believed. The Leadenhall Press. ANDREW W. TUER. VIII. Tue Ricut oF TRANSLATION. I am much obliged to “H. G. B.” for his explanation of the discrepancy between Article V. of the Berne Convention and Clause 5 of the International Copyright Act, 1886, but am still in doubt and difficulty. The latter clause makes  100% Aah THE AUTHOR. 61 the right of forbidding unauthorised translations co-extensive with copyright in the original work ; but the Order in Council (Nov. 28, 1887) provides that an author shall enjoy no longer term of copyright than he enjoys in the country in which the work is first produced, or in that one of the countries in which it is simultaneously produced wherein the term is shortest. I should be glad to know, under these circumstances, what the boon conferred by the Act in the matter of translations amountsto. Of course, our Act can- not confer on me rights abroad without the con- sent of foreign nations. If I publish an English book in England, have I the right, for at least forty-two years, to forbid the publication here, or - the importation into this country of any transla- tion? Is this right limited by the obligation to produce an authorised translation within ten years? If so, where must I produce it? Further, will my right after ten years to forbid a French translation depend on my having published a French translation? My right to forbid a Dutch translation on my having pub- lished a Dutch translation, and so on? And, if it does, what English author, I should like to know, ever desires, or ever will desire, to produce a translation of his work for circulation in England only? The whole thing seems nonsen- sical. It is astonishing that solemn legislative documents should be drawn so vaguely. F. T. eas “AT THE SIGN OF THE AUTHOR'S HEAD.” T the monthly meeting of the Association A of American Authors, held on May 10, the matter of holding a special meeting to welcome Mr. Walter Besant to America was considered, and was eventually left to the Board of Managers. On June 13 a new literary society was born; a society for the publication of manuscripts and rare old works relating to the navy. A provi- sional committee was appointed to consider what name should be given to the bantling, and to draw up rules for its conduct. They are to report to a general meeting at the Royal United Service Institution, on Tuesday, July 4,at5 p.m. The provisional secretary is Professor J. K. Laughton, who will be glad to give further information to anyone interested in our old naval literature. His address is Catesby House, Manor-road, Barnet. “Lyrics” is the title of a little volume of poems by J. A. Goodchild, which has just been published by Horace Cox. Dr. Goodchild’s verses are distinguished by fluency and grace beyond the majority of modern verses. His rhythms are very varied, and his rhymes ad- mirably accurate. Perhaps the thought is not always entirely worthy of the polished setting. But, now and again, the author strikes a note of strong and definite individuality, as in the following lampoon in the form of a sonnet, upon the vivisectionists : An age of doubt and cavil seeks a sign, Oh! toiler for mankind look back and see Where down the barren slopes of Galilee Soars black the shrieking cataract of swine. Forth from those summits shines the Man Divine, The healed demoniac crouches at his knee. This sign is given to thy day and thee, And Christ performed that duty which is thine. Also, thou hast thy further help ’gainst hate, And fear, andignorance. Watch still that scene. The swine and herds flee, the crowd pours from the gate. The man is naught beside their beasts unclean. Christ is thrust forth. Be not intimidate For any terror of the Gadarene. Another piece worthy of attention is ‘A Deathbed,” in which Dr. Goodchild dramatises a simple scene of unfailing human interest with much simple force. “The Prospects of Irish Literature for the People,” an address delivered before the Irish Literary Society of London, by the Hon. Sir Chas. Gavan Duffy, K.C., M.G., has been reprinted. Mrs. Trench Gascoigne, the author of “La Fenton,” has just completed a new three-volume story, which, under the title of “A Step Aside,” will shortly be published by Horace Cox. “Qyprian Cope,” the author of “Grey of Greysbury,” “ Mad,” “A Traveller’s Notes in the Salzkammersgut,” has written a new novel, which will bear the title of “ At Century’s Ebb,” and will also be published by Horace Cox. Mr. Poultney Bigelow, who has recently made a most successful voyage in his famous canoe, Caribée, down the Moldau, which he joined at Budweis, has been staying at Belleville for the last few weeks. He has proceeded to Gmunden, where he will make a stay of some months. Mr. Bigelow has undertaken to write a sketch of a canoe cruise about Berlin for the Pall Mall Magazine. “A Colony of Mercy; or, Social Christianity at Work,” has just been published by Hodder and Stoughton (crown 8vo., 6s., cloth). The authoress is Miss Julie Sutter. The book has been well received, having had some favourable criticisms in the daily papers. It deals with some of the burning questions of the day.  62 “Mona Maclean, Medical Student,” by Graham Travers (Messrs. W. Blackwood and Son, Edin- burgh), is now in its sixth edition. It is a novel of distinct merit, and should appeal, not only to the ordinary novel reader, but to the thinking public generally. The heroine is a delight ful character, and a thorough gentlewoman. Mr. F. H. Cliffe has a play accepted which will be produced in the autumn at a West End theatre. Another play by the same author will shortly be touring in the provinces. A new volume of verse, by Mr. F. B. Doveton, is in the press, and will shortly be published by Horace Cox. We have to announce the publication at Cheltenham of the “ Portraits of the People,” by J.J. Nunn. The book is nicely printed on good paper, and is altogether a creditable perform- ance. The printer and publisher is Horace Edwards, of High-street, Cheltenham. Annabel Gray has received the following from Mr. Balfour: “Mr. Balfour presents his compliments to Annabel Gray, and begs to thank her. for the article which she has been good enough to send him and which he has read with interest.” The article alluded to is the “ Genius of Wisdom,” which appeared in the Professional World for June. Florence Marryat’s new book, “ Parson Jones,” which Griffith, Farran, and Co. have just published, is the sixtieth work of fiction which she has written since she began in 1865 —twenty-eight years ago. Considering the fact that, during these twenty-eight years, Miss Marryat has been on the stage and on the plat- form, both in England and America, and has done a great deal of work on the press, this is not a bad record of a busy life. Mr. C. Adley, the author of “ Lovely Homes,” &c., has in the press a new poem, “The Einherjai,” which will shortly be published. Miss Jean Middlemass is bringing out a serial story, entitled “In the Shadow of Crime,” in a syndicate of press papers. Dick Donovan, of detective fame, has written a serial for George Newnes, Limited, entitled “Hugtne Vidocq: Tramp, Thief, Adventurer, Galley Slave, Detective.’ It deals with the life and sensational adventures of the notorious Frenchman, who, beginning his career as a thief, became one of the most noted detectives of his day. He subsequently turned lecturer, and there are those still living who will remember the sensation he caused at the London Cosmorama, where thousands flocked to see him. He died as THE AUTHOR. recently as 1857, at the age of eighty-two. We understand that Mr. Donovan has had access to special sources of information. The story will commence publication almost immediately in Tit-Bits, and will be subsequently issued in book form -by George Newnes in this country, and by Harper Bros. in America. Mr. J. E. Muddock is engaged on a new novel, entitled ‘“Hester’s Triumph,” the scenes of which are laid in India during the Mutiny, and deal with some of the most exciting episodes of that terrible period. The author writes from personal experience, as he was stationed in India as a cadet during the Mutiny years. The work will appear first of all in a number of weekly newspapers. Mrs. Stevenson has written a three-volume novel, entitled “Mrs. Elphinstone of Drum,” which has just been published in three-volume form by Messrs. Richard Bentley and Sons. Mr. William Tirebuck, the author of “ Dorrie,” has written a story entitled “ Sweetheart Gwen,” which has just been published by Messrs. Long- mans. “Sweetheart Gwen,” is a Welsh idyll in prose, highly delicate and graceful. Mrs. V. S.Simmons, who, under the pseudonym of V. Schallenberger, wrote the very successful story, “Green Tea,” has just published, through Messrs. Osgood, McIlvaine and Co., a new novel, entitled ‘‘Men and Men.” oct Errata. On page 442 in the Author for May the following errata occurred: No. 12, the helpful “live” for “love” in the present; No. 238, “mystical” for “mythical;” No. 28, ‘Silent ” for “silently; No. 32, Science “saves” for “ serves.” In the last line of stanza one of Mr. Doveton’s “The Theft” in the Author for May, the word “summer ” should have been deleted. oo NEW BOOKS AND NEW EDITIONS. Theology. Home devotions, or praise and Compiled by. Sunday Bartram, RIcHARD. Prayer for use in families. School Association. 2s. Benson, Rev. R. 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Exceptional, if not unique, is the ‘ nice little college’ of St. Neot’s. Cambridge men will have little difficulty in recognising this snug refuge of the ‘ploughed.’ . . . An ingenious plot, clever characters, and, above all, a plentiful seasoning of genial wit. . The uxorious master of St. Neot’s is charmingly conceived. If onlyfor his reminiscences of his deceased wives, ‘A Stumble on the Threshold’ deserves to be treasured. . . . We turn over Mr. Payn’s delightful pages, so full of surprises and whimsical dialogue. . . .” Daly NEws: “The dramatic story is told with an excellent wit. It abounds in lively presentation of character and in shrewd sayings concerning life and manners. ‘That study of mankind which is ‘man’ has furnished a liberal educa- tion to this genial humorist. The men and women he pourtrays move before us, as do our friends and acquaintances, distinct individualities, yet each possessed of that reserve of mystery a touch of which in the delineation of human nature, is more convincing than pages of analysis. Needham, Fellow of St. Neot’s, Cambridge—simple, loyal, gently independent—is a beautiful study. The story alternates in its setting between Bournemouth, Cambridge, and some charming spots near the Thames. The description of life in the Alma Mater on the banks of the Cam gives Mr. Payn opportunities for humorous sketches of professors and students, and he shows himself in the light of an excellent raconteur. This part of the narrative furnishes some delightful reading; we seem to be listening to the best talk, incisive, racy, and to the point. Space will not allow us to quote some of the wise and witty sayings, tinged it may be with cynicism, which are the outcome of Mr. Payn’s philosophy of life, and which are not the least entertaining part of this attractive novel.” DAILY CHRONICLE: ‘‘Mr. James Payn is here quite at his usual level all through, and that level is quite high enough to please most people. . . . The character drawing is good. The story of the master sounds strangely like truth. . .« A book to read distinctly.” DAILY GRAPHIC. ‘ . , . The dramatic unity of time, place, and cir- cumstance has never had a more novel setting. . . .” SATURDAY REVIEW: “A very interesting story, and one that excels in clever contrast of character and close study of individualism. . The characters make the impression of reality on the reader. Extremely pleasant are the sketches of University life.” THE WORLD: “The most sensational story which the author has written since his capital novel, ‘By Proxy.’ . - Never flags for a moment.” BLACK AND WHITE. ‘© |, , Ingenious and Original. Mr. Payn knows how to invent and lead up to a mystery.” LEEDS MERCURY: ‘Three more distinctive characters have, perhaps, never been drawn by Mr. James Payn than in Walter Blythe, Robert Grey, and George Needham, Cambridge undergraduates, who figure prominently in ‘A Stumble on the Threshold.’” GLaAsGgow HERALD: “, . , . Mr. Payn’s latest invention in sensational episode; but wild horses will not drag from us a statement of the mystery. It is new and thoroughly original, and worthy of the ingenuity of the loser of Sir Massingberd.” BATLEY REPORTER: “, , . . Is most attractive reading.” HAMPSHIRE TELEGRAPH AND CHRONICLE: ‘‘Mr. James Payn’s latest story, ‘A Stumble on the Threshold,’ which has been the chief attraction in the ‘ Queen’ during the last few months—where, by the way, it was most admirably illustrated—has just been issued in two handsome vols. by Mr. Horace Cox. The story is written in Mr. Payn’s happiest vein; it sparkles with wit, the characters are most unconventional, and the old, old theme is worked out on quite novel lines.” HEREFORD TIMES ‘*‘ With all their sparkle and gaiety, Mr. Payn’s novels would not be complete without the dread Nemesis, mysterious in operation, and casting suspicion for a time on every side but the right one. The novel is thoroughly attractive, and a credit to the practised hand which penned it.” THE OBSERVER: “, . . . Is a characteristic story, remarkably quietly told, always pleasing and satisfying, and pro- viding a startling incident at a moment when everything seems serene.” London: HORACE COX, Windsor House, Bream’s Buildings, H.C. ESR | i a : i jopiecanecor arn 1 72 ADVERTISEMENTS. MESDAMES BRETT & BOWSER, TYPISTS, SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR. Authors’ MSS. carefully and expeditiously copied, from Is. per 1000 words. Extra carbon copies half price. Refer- ences kindly permitted to Augustine Birrell, Esq., M.P. THE AUTHOR’S HAIRLESS PAPER-PAD. (Tue Leapenuatt Press Lrp., H.C.) ee Contains hairless paper, over which the pen slips with perfect freedom. Siepence each: 58. per dozen, ruled or plain. MIss R. V. GILE, TYPE-WRITING OFFICES, 6, Adam-street, Strand, W.C. $$$» es ———__—_ Authors’ and dramatists’ Work a Speciality. All kinds of MSS. copied with care. Extra attention given to difficult hand-writing and to papers or lectures on scientific subjects. Type-writing from dictation. Shorthand Notes taken and transcribed. FURTHER PARTICULARS ON APPLICATION. MRS. GiLegE, TYPE-WRITING OFFICE, 35, LUDGATE HILL, E.C. (ESTABLISHED 1883.) Authors’ MSS. carefully copied from 1s. per 1000 words. Plays, &c., 1s. 8d. per 1000 words. Extra copies (carbon) supplied at the rate of 4d, and 8d. per 1000 words. Type-writing from dictation 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq. Miss PATTEN, TYPIST, 44, Oakley Street Flats, Chelsea, S.W. Authors’ MSS. carefully transcribed. References kindly permitted to George Augustus Sala, Esq., Justin Huntly McCarthy, Esq., and many other well-known Authors. Hire- Proof Safe for MSS. Particulars on Application. TICKPHAST- BUY, BEG, } PASTE. 6d. and 1s. BORROW, or STEAL. LITERARY PRODUCTIONS OF EVERY DESCRIPTION AREFULLY REVISED and CORRECTED on Mode- rate Terms by the Author of ‘‘ The Queen’s English up to Date” (see Press Opinions), price 2s. Address ‘“ Anglophil,’ Literary Revision Office, 342, Strand, W.C. TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free. CROCKFORD'S CLERICAL DIRECTORY E'OFe Being a Statistical Book of Reference for Facts relating to the Clergy in England, Wales, Scotland, Ireland, and the Colonies, WITH A FULLER INDEX RELATING TO PARISHES AND BENEFICES THAN ANY- EVER YET ‘ GIVEN TO THE PUBLIC. 1893. LONDON HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C. “? COX’s ARTS OF READING, WRITING, AND SPEAKING. LETTERS TO A LAW STUDENT. Byr THE DATS MR. SHRIBANT COX. RE-ISSUE (SIXTH THOUSAND). PRICE 7s. 6d. LONDON: HORACE COX, ‘LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C. Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 04 Issue 02 (July 1893) Subject The topic of the resource <em>The Author</em>, Vol. 04 Issue 02 (July 1893) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1893-07-01-The-Author-4-2 publications The Author