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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) 1894-03-01 Volume 4 Issue 10 Pages Page range in volume 357–390 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18940301 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin 1 Che Autbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. IV.—No. 10.] MARCH 1, 1804. [Prick SIXPENCE. CONTENTS. PAGE PAGE Notices and Warnings : nee a ae oes Se wee 359 Russian Newspapers. By Arthur A. Sykes ... Sic os uv 873 From the Committee. By the Secretary wee ese es, Ss wes OGL | ‘The Literary Optimist. By Grace Gilchrist ... ... .. +. 874 Literary Property— Equipment. By S. G. 1.—Hanfstaengl vy. The Empire Palace... oe co --- 861 Correspondence.—l. Methods of Publishing. By ‘‘Clerk.”— 2.—The Law of Libel 363 is 3. The Lit Ae e ray Fen eat ge a ere 368 2. Editors. By Vlaamsch.—3. Greek Novels. By E. Mayhew es ee are oe Books ee Bs ae ae Edmonds.—4. Cataloguing. By Cwmrag Jones.—5. Literary Wanted, a Writer's Handbook. ByIsmay Thorn .. ... «+, 360 eee WS a ste A the Sign of the Sunor's Head tenet ae 879 Notes and News. Bythe Editor... .. .. os + «867 | What the Papers say.—l. R. M. Ballantyne.—2. Constance meen dlictens Fenimore Woolson.—3. Dr. Johnson’s Haunts.—4. Censor- 1.—Another View ay aes ae a on aes Scere ship and Jewish Literature ... aS tis a ape .-. 380 2.—Fable—The Poet and the Tripe Dresser 372 New Books and New Editions .., wee tee see es see 383 PUBLICATIONS OF THE SOCIETY. 1. The Annual Report. That for January 1893 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. Back numbers are offered at the following prices: Vol. I., ros. 6d. (Bound) ; Vols. II. and III., 8s. 6d. each (Bound). 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887. 4, Literature and the Pension List. By W. Morris Couuszs, Barrister-at-Law. (Henry Glaisher, 95, Strand, W.C.) 3s. 5. The History of the Société des Gens de Lettres. By S. Squire Spricerx, 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 Spriaer. In this work, compiled from the papers in the Society’s offices, the various forms of agreements proposed by Publishers to Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements. Henry Glaisher, 95, Strand, W.C. 3s. 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia- ment. With Extracts from the Report of the Commission of 1878, and an Appendix containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Hyre and Spottiswoode. 1s. 6d. 9. The Society of Authors. A Record of its Action from its Foundation. By Watrser Besant (Chairman of Committee, 1888—1892). 15. — 358 ADVERTISEMENTS. The Sociefy of Nufhors (Bncorporated). PRESIDENT. GHORGEH MBEREDITE,. Str Epwin ARNOLD, K.C.LE., C.8.1. ALFRED AUSTIN. J. M. BARRIE. A. W. A BECKETT. Rospert BATEMAN. Sir Henry Berene, K.C.M.G. WALTER BESANT. AUGUSTINE BIRRELL, M.P. Rev. Pror. Bonney, F.R.S. Rieut Hon. James Bryce, M.P. Hatt Carne. Ea@EertTon CAstTue, F.S.A. P. W. CLAYDEN. EDWARD CLODD. W. Morris Couzzs. Hon. JoHn CoLuiER. W. Martin Conway. F. Marion CRAWFORD. OswaLD CRAWFURD, C.M.G. Hon. COUNCIL. THE Ear or DEsart. Austin Dosson. A. Conan Dortz, M.D. A. W. Dusoure. J. Eric Enicusen, F.R.S. Pror. MicHart Foster, F.R.S. Ricut Hon. HERBERT GARDNER, M.P. RicHaRD Garnett, LL.D. Epmunpd Gossk. H. Riper Haaa@arp. Tuomas Harpy. JEROME K. JEROME. RupyarpD KIpPiine. Pror. E. Ray LANKESTER, F.R.S. J. M. Lery. Rev. W. J. Lorris, F.S.A. Pror. Max-MUuuer. Pror. J. M. D. MEIKLEJOHN. HERMAN C. MERIVALE. Counsel — E. M. UNDERDOWN, Rev. C. H. MippLETON-WAKE. Lewis Morris. J. C. PARKINSON. THE Eart or PEMBROKE AND Mont- GOMERY. Sir FrepeErick Pouuock, Bart., LL.D. WaLter HeRRIES PoLLOcK. A. G. Ross. Groree AuaustTus SALA. W. BapristE Scoongs. G. R. Srms. S. Squire Sprica@s. J. J. STEVENSON. Jas. SULLY. Witiiam Moy THomas. H. D. Trait, D.C.L. E. M. UNDERDOWN, Q.C. Baron Henry DEWorMs, M.P.,F.R.S. Epmunp YATES. Q.C. COMMITTEE OF MANAGEMENT. Chairman—S1rz FREDERICK PoLiock, Bart, LL.D. A. W.A Becxert. WALTER BESANT. EGERTON CASTLE. W. Morris CoLyzs. OFFICES : Hon. JoHN COLLIER. W. Martin Conway. EpMUND GossE. H. River Haagaarp. Solicitors—Messrs. Fizup, Roscoz, and Co., Lincoln’s Inn Fields. J. M. Lery. A. G. Ross. S. Squire Sprices. Secretary—G. Herprert Turina, B.A. 4, Portuaau Strext, Lincoun’s Inn Freips, W.C. Windsor House PRINTING WORKS] BREAM’S BUILDINGS, E.C. OFFICES OF “THE FIELD,’’ “THE QUEEN,” “THE LAW TIMES,’’ &C. Mr. HORACE COX, Printer to the Authors’ Society, takes the opportunity of informing Authors that, having a very large office, and an extensive plant of type of every description, he is in a position to EXECUTE any PRINTING they may entrust to his care. ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND. a a a ef aa i 4] The Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. IV.—No. 1o.] MARCH I, 1894. [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. HE 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. Communications and letters are invited by the Editor on all subjects connected with literature, but on no other sub- jects whatever. Articles which cannot be accepted are returned if stamps for the purpose accompany the MSS. ees WARNINGS AND ADVICE. T is 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. EADERS 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. Sperrat Rieuts.—In selling Serial Rights stipulate that you are selling the Serial Right for one paper at a certain time only, otherwise you may find your work serialized for years, to the detriment of your volume form. : 2. Stamp yourR 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 VOL. IV. 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 IT.—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. LirERARY AGENTS.—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 or Propuction.-—Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures. 6. CHOICE OF PUBLISHERS.—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 Worxk.—Never, on any account whatever, bind yourself down for future work to anyone. 8. Royatry.—Never accept any proposal of royalty until you have ascertained what the agreement, worked out on poth a small and a large sale, will give to the author and what to the publisher. g. Persona Risk.—Never accept any pecuniary risk or responsibility whatever without advice. 10. ResyecTED 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 Riauts.—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. 12. CESSION OF CopyricHT.—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. FF2 360 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, PortuGAtL StrEeEt, Lincoun’s Inn Fiexps. pe HOW TO USE THE SOCIETY. 1. VERY member has a right to advice upon his agreements, his choice of a publisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice sought is such as can be given best by a solicitor, the member has a right to an opinion from the Society’s solicitors. If the case is such that Counsel’s opinion is desirable, the Com- mittee 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. ec 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 Syndi- cate, 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 solely out of the commission charged on rights placed through its intervention. Notice is, however, hereby given that in all cases where there is no current account, a vooking fee is charged to cover postage and porterage. THE AUTHOR. 3. That the Authors’ Syndicate works for none but those members of the Society whose work possesses a market value. 4. That the Syndicate can only undertake any negotiation whatever on the distinct understanding that those negotia- tions are placed exclusively in its hands, and that alk communications relating thereto are referred to it. 5. That clients can only be seen by the Editor 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. 6. 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. 7. That the Authors’ Syndicate does not invite MSS. without previous correspondence, and does not hold itself responsible for MSS. forwarded without notice. 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; that a “Transfer Department,’ for the sale and purchase of journals and periodicals, has been opened ; and that a “Register of Wants and Wanted” has been opened. Members anxious to obtain literary or artistic work are invited to communicate with the Manager. 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. Spec 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, 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 P 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 open 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 THE AUTHOR. 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? Those who possess the “Cost of Production” are requested to note that the cost of binding has advanced 15 per cent. This means, for those who do not like the trouble of “doing sums,” the addition of three shillings in the pound on this head. In other words, if the cost of binding is set down in our book at eight pounds, to this must now be added twenty-four shillings more, so that it now stands at £9 4s. The figures in our book are as near the exact truth as can be procured ; but a printer’s, or a binder’s, bill is so elastic a thing that nothing more exact can be arrived at. Some remarks have been made upon the amount charged in the “ Cost of Production” for advertising. Of course, 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. Docs FROM THE COMMITTEE. N a few days the Annual Report of the Com- mittee for the year 1893 will be in the hands of members. A few notes on the proceed- ings of the committee for the last six months may be considered as supplementary to the report. At many meetings the proceedings of the com- mittee are quite formal. The election of members and associates is the first work before them at every meeting. Of the numerous cases taken up by the secretary, very few are brought before the notice of the committee at all, unless for special reasons. Hvery case is considered as confidential between the chairman and secretary on the one hand, and the author concerned on the other. But the secretary is not empowered to undertake legal action, which would involve expenditure, without the authority of the committee, or, if the case presses, that of the chairman. The committee have placed themselves in friendly communication with the newly-founded Society of Authors of Chicago. They have sent the American society all their papers. In accordance with the new articles of associa- tion the election of chairman is now annual. Sir Frederick Pollock, having signified his consent to act for another year, was re-elected. A vote of 361 thanks was passed for his services during the past year, and the committee expressed their gratification at being able to re-elect him. In accordance with the articles of association the following three members of committee retired in order of seniority : Mr. Walter Besant, Mr. J. M. Lely, Mr. Edmund Gosse. The first two were re-elected. Mr. Edmund Gosse did not accept re-election, but remains on the Council. The question of publishing the names of the members of the Society has been before the Committee, and it was resolved that, the Society holding to its members a position somewhat analogous to that of a solicitor to his clients, it would not be desirable to publish the list. A case has been drawn up, and questions rising out of the case, on the subject of secret profits. This case, with its questions, has been submitted to counsel for an opinion. The opinion will be published in the Annual Report. Members are earnestly invited to give it their most serious attention. It has been resolved to compile as exhaustive a list as possible of the writers of 1893. Between Jan. 1 and Feb. 17, forty-two new members and associates have been elected into the Society. G. HerBert THRING. pes LITERARY PROPERTY. I.— Hanrstarnct v. THe Empire PAace LIMITED AND OTHERS. (Before Lorps Justices Linpury, Kay, and A. L. Smrrs.) HIS was an appeal from a decison of Mr. Justice Stirling (reported in our impression of the 17th inst.) It may be remembered that his Lordship refused to grant an interim injunction to restrain the defendant company from exhibiting tableaua vivants, or “living pictures,” at the Empire Palace of Varieties so as to infringe the plaintiff's copyright in five pictures painted by foreign artists. It was now stated that some other pictures, in which the plaintiff had the copyright, were represented at the Empire Palace of Varieties, though they were not within the claim. The titles of the pictures were “ The Three Graces,” ‘‘ First Love,” “Yes or No,” “Charity,” and “Naughty Song.” In some cases the title of the tableaux vivants was varied. The action was founded on the copyright conferred 362 by the Copyright in Fine Arts Act of 1862. The preamble of the Act recited that the authors of paintings, drawings, and photographs had no copyright, and that it was expedient that the law in that respect should be amended. The first part of sect. 1 provide : “The author, being a British subject or resi- dent within the dominions of the Crown, of every original painting, drawing, and photograph which shall be or shall have been made either in the British dominions or elsewhere, and which shall not have been sold or disposed of before the com- mencement of this Act, and his assigns, shall have the sole and exclusive right of copying, engraving, reproducing, and multiplying such painting or drawing, and the design thereof, or such photograph, and the negative thereof, by apy means and of any size, for the term of the natural life of such author, and seven years after his death.” The plaintiff was the owner of the copyright in the five pictures in question, which were all painted by foreign artists. The defen- dants, the Empire Palace Limited, had recently commenced to exhibit in their music-hall a series of tableaua vivants,in which they represented, by means of groups of living persons, various paintings, amongst them being the five pic- tures. The plaintiff, in an affidavit filed by him, said that he was a fine-art publisher carrying on business at Munich, and having business houses in London and New York, and agencies in Paris and Berlin. All the pictures in question were first published in Munich, and were entitled to copyright in Germany, and, by virtue of the International Copyright Act, in the United Kingdom also. The unauthorised reproduction of the said pictures as part of a music-hall variety entertainment would considerably lessen the value of the copyright therein, the tendency of such representations, preceded and followed as they were by performances of the usual music-hall type, being to vulgarise the subjects and make them less valuable as works of art. He further said that he had witnessed the representations at the defendants’ music-hall, and observed that the details of his pictures were “ reproduced exactly, and the illusion was so perfect that a complete copy of the said pictures with the background was produced as in a stereoscope, so that a living canvas was, asit were, presented to the audience.” The defendants denied that they were exhibiting as part of their Living Pictures exact copies or imitations of the plaintiff’s pictures, or that living persons were posed, made up, and attired so as to represent as nearly as possible the figures in the pictures, in their original attitudes and draperies. They said that the arrangements made for their scenic representations consisted of THE AUTHOR. a separate and distinct proscenium erected upon the stage of the theatre, with painted canvas backgrounds, wings, and curtains, and various properties, such as flowerstands. They further said that there were many differences between the stage pictures and the photographs of the plain- tiff’s pictures from which they admitted they had taken the idea of their representations. The plaintiff also claimed an injunction against the proprietors of the Daily Graphic newspaper, who appeared to have published in their paper wood- cuts of some of the Living Pictures as seen at the Empire, but the case against them was, on the application of their counsel, adjourned. At the hearing of the motion before Mr. Justice Stirling the application stood over so far as it related to the Daily Graphic newspaper. The case also stood over as regards the background, on an undertaking by the defendant company to take photographs and keep an account. His Lordship refused an injunction as to the living figures. The plaintiffs appealed. Mr. Graham Hastings, Q.C., Sir Richard Webster, Q.C., Mr. T. E. Scrutton, and Mr. A. H. Jessel appeared in support of the appeal; Mr. Buckley, Q.C., and Mr. Roger Wallace, for the defendant company were not called upon; Mr. H. A. Forman watched the appeal for the Dazly Graphic. Lord Justice LinpiEy said this was a very important question and a new one. They were asked to put a construction on the Act never contemplated when it was passed, and which it did not bear. The plaintiff based his case on the Actof 1862. That Act was one of the Copyright Acts, which were grouped into series; there was one series relating to engravings, another to pictures and works of art, another to dra- matic authorship, and he thought there was a separate legislation as to sculpture. When the Act was passed engravings were protected, but pictures were not. The object of the Act was to put painters more or less in the position en- gravers were in with respect to the work of which they were the authors, or tu give artists a com- mercial property ; the object was to protect them from piracy by copying or engraving or photo- graphing, or any new way that might be found of multiplying or reproducing by making some- thing of the same class. But the object was not to restrain the producing a totally different class of thing; it was not intended to put a limit on the scope of a sculptor’s business or of the busi- ness of dramatic performance ; but the Act was aimed at reproductions by any means similar to the thing originally produced. His Lordship examined the language of sect. 1 of the Act, pointing out that the words used were different THE AUTHOR. from those used in enactments dramatic authorship. The language, he said, seemed to him incapable fairly of being strained to include such a representation as was complained of. Light was thrown on the con- struction of sect. 1 when the subsequent sections were looked at, for they provided remedies in- capable of being applied in a case of represen- tation of a picture by human beings. He did not rely so much on those sections relating to the remedies as on the object of the Act and the words of the first section. If he went outside the Act, he thought light was thrown upon it by the case of Dicks v. Brooks (15 Ch. Diy. 22), where the Court of Appeal held that a pattern for worsted work was not an infringement of the copyright in an engraving. In his Lord- ship’s opinion the appeal must be dismissed with costs. Lord Justice Kay was entirely of the same opinion. The plaintiff, by virtue of the Inter- national Copyright Act and an order made under that Act, was in the position of a British artist as to his rights to protection against infringe- ment. His Lordship stated the facts, and said the question was whether that kind of thing, putting the background out of the question, was within the meaning of the Act; if it was, of course the right to an injunction was clear. The case was rather put upon the word “reproduc- tion’”’—that was, producing again. It seemed to him that the reproduction must be something which could properly be described as a picture. He should have to come to the conclusion that this dramatic representation, or so-called picture, part of which consisted of human figures dressed, as he presumed, exactly like the figures in the plaintift’s pictures, was not within the words giving the author a sole right of copying and re- producing his pictures. This construction he thought confirmed by looking at the subsequent parts of the Act, which provided remedies inapplicable to representation such as was com- plained of. It came to this, he said—that if the plaintiffs construction was right, a man could be prevented from having in his own private draw- ing-room a tableau vivant representing a picture, for nothing was said as to reproduction for profit. Putting the case of the background out of the question, he came to the conclusion that the case was not within the Act, and the appeal failed. Lord Justice A. L. Smrrx. concurred. The Act, he said, must be construed as a whole. He referred to the preamble to show the nature of the imitation against which an author of paint- ings, drawings, and photographs was intended to be protected. His Lordship discussed the provisions of section 6, which enables the author referring to 363 or his assign to sue for damages, and section 11, which provides for penalties, in both of which sections are enactments for the forfeiture or delivery up of infringing articles, provisions not applicable to human beings. Taking these things into consideration, on the construction of section (1) he was of opinion that the thing offending against the statute must be something in the nature and character of a picture, which a tableau vivant was not. He concurred in dis- missing the appeal with costs —TZ%smes, Feb. 22. Il.—Tue Law or Lise. The following case is put by one of the literary craft :—‘‘ I conduct ‘ Answers to Correspondents ’ for a certain weekly magazine. Among the questions put are often those to which a direct answer would be libellous; for instance, if the person who trades under the style of Fur and Mendax is honest and trustworthy ; whether an author should send them a MS. I know certain damning facts about them. What am I to do?” The writer must remember that an action for libel may be brought against the editor, the pro- prietor, or the contributor. He must, therefore, word his answer so that no action should be possible. For instance, in such a case would it not be possible for the answer to warn the questioner in general terms never to send MSS. to any publisher of whom he cannot get trust- worthy information? That is a good, safe rule, and, in these days of universal writing, a rule which can always be acted upon, for everybody knows some one who writes. Ii..—Tue Lirerary AGENT. The following appeared in the Athenxum of Feb. 24 :— New York, Jan. 30, 1894. There are one or two points in connection with the lite- rary agent, or middleman between author and publisher, which I think have been missed by your previous corre- spondents, possibly because they are more particularly applicable to the American than to the English publishing business. The most important point, as far as the author is con- cerned, is that the employment of a literary agent is likely to lead to the distribution of his books among a number of publishers. Now in this country the influence of adver- tising on the sale of books is chiefly a cumulative one, and a publisher spends his money not so much in advertising a particular book as in keeping the name of an author by -vhom he is employed constantly before the public. He will naturally do this more vigorously for an author all of whose books he controls than for a writer in the sale of whose works he is only partially interested; and an author who has employed two or three different publishers may be annoyed, but must not be surprised, if he finds that his books do not figure conspicuously in the advertising lists of any one of them. 364 T could give you examples from my own experience of the disadvantage of this distribution of interests. A recent case is that of a writer whose books, saleable as they are, command in advance payments on royalties about one-third less to-day than they did three years ago, when they were all in one publisher’s hands, although, of course, on the first book, which was not brought out by his original publisher, the author received a larger sum than he had hitherto done. Another serious evil is the temptation which the literary agent has to accept on behalf of the author an offer for publication from a firm of small financial responsibility, so that, while the first payment on account of his book may be met, the author may find as the second or third year of pub- lication comes round that the firm in question has made an assignment, and that his book has passed into the hands of the receiver of the failed company. I was lately offered a book by a rising English author, whose books have had a fair sale hitherto, but the terms asked (and evidently suggested) by the literary agent were such as afforded no chance of profit to the publisher. The book was declined, and was finally issued by a firm of pub- lishers who have already failed once, and who, if current report is to be believed, are likely to go through the same experience again at no distant date. It is, perhaps, more important for an author here to make himself acquainted with the ability and responsibility of his publisher than it is in London. There are on this side of the water a number of publishing houses, both of English antecedents and of native origin, whose honour and financial responsibility have never been questioned, and it is, there- fore, both surprising and irritating to find so many English authors of note falling (no doubt with the aid of the middle- man) into the hands of firms such as those that have recently helped to swell the list of failures at ‘“‘ Bradstreet’s.” ; An AMERICAN PUBLISHER. It is well that everything said for or against the literary agent should be printed, or reprinted, in the Author, whose readers are very deeply interested in the subject. It would be well, in fact, if we could obtain a body of opinions as to the place and importance of the literary agent from our readers alone. The American publisher talks sense; he means business, and he does not try to hide his meaning with a thin pretence about friendship. An author to him means profit or loss. It is a great thing to recognise this elementary truth at the outset. His three points are (1.) That an author would do well to keep his books in the hands of one firm. Very true. But why does he not? Is it the fault of the agent? Did he, before agents were created, keep his books in one firm? He did not —and why not? The question must be answered without reference to the agent at all. My own experience is that the agent does not, if he can avoid it, scatter an author’s work. (2.) A firm of small financial responsibility is apt to make a large bid for a book; but, after a year or so, he may fail, the book passing into the hands of receivers. An author, ignorant of business, may very well fall into that trap. Many authors did so two or THE AUTHOR. three years ago. An agent should, of course, do his best to find out the financial standing of a firm with which he deals. (3.) A royalty is sometimes asked which would leave no profit to the publisher. The reply to this is, that when American authors succeed in finding out the ‘‘Cost of Production,’ and publishing it, such a demand could not be made. So long as American pub- lishers continue to talk in vague terms about the enormous expenses of travellers, printing, &c., in the States, so long will English authors and English agents continue to discuss the adminis- tration of their property in darkness. Eprtor. IV.—Tue American Tarirr on Books. The Dial of Chicago has made an attempt to “enlist the friends of culture, irrespective of party, in an effort to secure the removal” from the United States tariff law of the duty on books in the English language. The editor sent round in various directions a large number of blank petitions, which were filled with signatures and presented to the House of Representatives. It must be remembered that this kind of work is far more arduous than it would be in this country on account of the great distances, and the differ- ence in the average of culture in the several States. For instance, not to be invidious, no one would expect in Texas the same intellectual stan- dards as in Massachusetts. The result of the petitions is not yet apparent; probably, they were only expected to clear the way for another and a bolder attack. It is, however, remark- able—though not astonishing—that this move- ment should originate in Chicago. We may look—I firmly believe — to the west, of which Chicago is the natural centre, for many great things in literature and in art. The youth and vigour of the place; the success of the place; the resolve of the young men and maidens to achieve what can be achieved by study and effort ; the wealth of the place, which secures all that can be obtained in learning and teaching ; even the separation of the place from the old continuity of English literature; the things that have already come from the place—all lead me to look on Chicago as a centre of literature and art in the immediate future. This is what the Dial says about the tax: It would be difficult to devise a more stupid duty than this tax of 25 per cent. upon the implements indispensable to the profession of the intellectual worker. As a means of producing revenue its results are insignificant. And a very little examination will serve to show that it does not, thatit cannot, operate as a protective measure. The man who wants a pocket-knife, or a watch, or a suit of clothes, will take the article of American manufacture if a protective f ¢ = THE AUTHOR. 365 tax makes the corresponding articles of foreign manu- facture too costly for his means. But the man who wants the poems of Tennyson, or the essays of Matthew Arnold, or the political writings of Professor Bryce, finds no corre- sponding American books that will do about as well. His purpose will not be suited by the poems of Longfellow, or the essays of Emerson, or the political writings of Professor Fiske. The suggestion that, as a good American, he ought to be contented with the latter works is too puerile to be taken seriously. A man wants a book for some specific purpose, and no other book will do. If he eannot afford to purchase it, he must go without. And his disgust with the law that wantonly places the book beyond his reach will not help to make him a better American. It must be added, lest some of our readers should have for- gotten the fact, that the case of English books copyrighted in this country is covered by the Copyright Law itself, which requires their manufacture here, and does not merely tax, but prohibits, the importation of the English edition. WANTED, A WRITER'S HANDBOOK. HERE have been many literary guide books offered to the public for the assistance of beginners in the art of authorship, but we think the really practical guide has yet to be written. What young authors chiefly want to learn from their elders is, not what they should read or write, or how they should write it, what models of style they should copy, and what perils are to be avoided. The chances are that the youth in search of a publisher has already written what he, or she, considers a great work, and to be told how to write that which is already written, borders on the insultmg. But when the manuscript is written, the real difficulties of the young author begin. He is sure to have friends, friends that reassure him and friends that throw cold water. Itis always easy to throw cold water, because then the responsibility of what follows does not rest on our shoulders, and one can say, ‘‘ I told youso,” to the failure which is likely to follow a first attempt. The friends give the young author much advice, good, indifferent. and bad—often very bad. He is bewildered by the very contradictory opinions he hears ; he feels he must decide for himself, and he does so. But how? It requires a knowledge which even men who have worked at literature all their lives do not always possess, namely, which of all the firms of publishers is the most likely to read, consider, and accept the manuscript in question. Or, say the story is a short one, and many suc- cessful writers advise the ambitious novelist to begin with short magazine stories as a prelimi- nary, like “feeling his feet” before beginning to walk alone; to which of the hundred and one magazines, weekly and monthly, that are spread out on the bookstalls before the dazzled eyes of VOL. Iv. the novice who yearns to see himself in print, is he to confide that precious firstling, the idol of his heart and brain. There are few sensations more sickening than the disappointment of an author who, having cast himself into the eddy, finds that he is merely flung back on to the bank, instead of being carried down with the stream. And Lorelei herself has enticed fewer victims to their destruction than has the great and fascinating Mississippi of literature. To lessen some of the disappointment and mis- adventures that fall to the lot of most young authors, to prevent good work from going astray until the worker is all but in despair, would be— not to flood the market with what is not wanted, or to set all boys and girls scribbling—but to give those who have something worth saying and can say it, a chance of being heard. At present, for all that is written and said on the subject of editors being on the look out for fresh talent, it is all but impossible for a young writer to get a hearing. Moreover the would-be author is pro- bably a poor man, he must nevertheless spend much in stamps, and on consulting the best literary papers for the names and addresses of the firms he fancies may take his manuscript. From these he will learn a little, but not what he most requires to know. Even the Society of Authors cannot help him to a publisher, though it can help him when he has found one. What he wants is a writers’ handbook, a literary Murray or Baedeker ; in fact, such a guide as does not at present exist. The handbook should contain a list of publishers, magazines, and newspapers, with their respective addresses. Each publisher should state the kind of work their firm requires, the number of volumes preferred, or the length in words. Any series open to good writers might be mentioned, those to which only special authors are invited to contribute might be marked as closed. It might also be mentioned what firms will allow an examination of their accounts, and what firms do not. With regard to magazines and papers, those that have notices to contributors should have them reproduced. Here, also, the best length for a story or article could be given by the editors, and where there is a fixed scale of payment, the usual remuneration might be quoted, so as to prevent misapprehension. Such a guide, could it be written, would be of use to all writers, not only to the tyro who needs a helping hand; it would be of service to the editor, who might cease to receive endless manu- scripts totally unsuited to his requirements, and it would become a book of reference for all interested or connected in any way with the great Republic of Letters. The want of a handbook of this description aa 366 - THE AUTHOR. being admitted, the next question is, who will undertake to compile such a work ? Ismay THORN. Secs BOOK TALK. HE well-deserved success of Mr. Stanley Weyman’s work “A Gentleman of France,” will probably lead many of its admirers to ask once again how it comes about that good historical romance has always a charm both for the youngest and the most experienced reader. Tt is in the nature of man’s intellectual perfor- mances to move from unity to variety. In the history of inventions an improvement on a previous patent means a distinct advance, and the creation of a fresh piece of property. So, too, in the invention of history —a new way to tell old deeds is a great find, and ought to be a very valuable educational agent. When considered with respect to literary form, the genesis of history seems to be in this wise: The metrical method broke down when for reciting from memory was substituted the practice of writing. So the epic became the chronicle. Immediately we miss the human voice, an omission which led the poet to combine the two, the epic and the chronicle, and to create the historical drama. There is a sense in which Shakespeare is our greatest historian, because the necessities of the drama compelled him to make a choice of incident. But this necessity in its turn begets dissatisfaction—curiosity as to what is not told us, and criticism of the sequence of events. The fresh writer sees the difficulty, and grapples with it by giving us the narrative ; he places a date on each page, and with a passion for filling up spare time and bare places he becomes diffuse, and the method loses its hold upon the reader by its over attention to detail—in a word, its pedantry. The return to a wish for men and women who, whether under real names or not, shall at least speak as men and women might have spoken, is a rebound back to the drama, with one’s faculties for enjoy- ing the drama dulled by the narrative. It is true that it is of the narrative we speak when we use the word “history” without qualification. We may be uncertain what ‘‘ history’ implies. Wath some it is “teaching by examples,’ with others it is ‘‘ descriptive sociology,” and according to a man’s mental bias so he will find his definition to suit himself, unless he is fortunate enough not to want one. But there can be no doutt in any- one’s mind, no difference in our opinion that in England, history must denote the works of Clarendon and Gibbon, around whom we may group, according to our taste, other names held to be nearly as great, from Bolingbroke to Carlyle. Of these great authors it is style which dis- tingvishes them from others. They write as though they took pride in feeling that their manner of writing was worthy of their respective subjects. When these two forms of historical literature, the drama and the narrative, have been perfected, the historical novel or romance becomes possible. It is the next demand. It is the next necessary advance in the progress of literature in order of time, though, of course, order of merit is another affair altogether. Taking the necessity of a narrative from the narrative historian, and of persons speaking for themselves from the drama, these elements of the historical novel only wait then to be combined. How is it that the combination is brought about with poor results in some cases, and in others with such brilliant success ? Let us put aside the question for a moment, and, assuming that Scott and Dumas have written perfect historical romances, we will note what types of novel have since been in vogue. There is the novel of con- temporary history, or political novel, in which the events described have taken place in the author’s own time and in which the characters can be recognised as known public men, and are intended to be so recognised. Here, as before, in Dumas and Scott, we have fictitious characters, the authors’ invention, brought into relation with real characters, but with this dis- tinction, that the latter are now bound to bear disguised names. The most typical stories of this kind are Lothair and Endymion. We donot see how it will be possible to refuse the epithet historical to these novels when the events described have passed out of the memory of living men. We may note in passing that Disraeli took even his fictitious names from historic personages—“ Endymion” from Endy- mion Porter, the page to Prince Charles—and perhaps “Ferrars” from the Ferrars of Little Gidding fame. Since “Endymion” a new type of political novel has appeared. It is called the human document. We are to observe that, as before, courtesy demands that the names shall be dis- guised, but the peculiarity which marks it asa fresh species is that there are no fictitious characters—at least, none of any moment. If anyone should think that in this last species the author’s task must be an easy one, there is Mr. Meredith’s “Tragic Comedians, a study in a well-known story,’ to convince him of his error—-and, we hope, delight him as the fairest variety of its species. The next step must be some development of the method of the “ Tragic Comedians,” and it oe Se & eS = ' Z ay, THE AUTHOR. 367 is clear that any author reverting to a previous type must of necessity challenge comparison. Thus, in “A Gentleman of France,” it is Mr. Stanley Weyman’s good fortune that one thinks of Dumas, and that, in spite of such a com- parison, the Sieur de Marsac has a status all his own. We can well believe that this work may be to younger readers what ‘“ The Three Musketeers ” and “Twenty Years After” have been to others, perhaps to Mr. Weyman himself. Yet there is one thing that we miss, there is no touch of humour in the whole book — although the frontispiece is called “The Sport of Fools.” We do not say that Mr. Weyman could not make us laugh if he chose, and it may be that his choice of subject does not lend itself to humour easily. Certainly the cruelties of Catholics to the Huguenots are not matter of sport; but, on the other hand, in matters of the deepest religious import, whether for defence or reproval, the judicious use of raillery has the highest sanction. One would think that a writer of historical romance might do worse than make the “Eleventh of the Provincial Letters”? a happy guide on this point, which is essential to give the highest merit to any work of literary art. If such be the history of the historical novel, it is obvious that it has a certain position in relation to civilisation. Some writers hold that it is savage man who creates institutions, and institutions which, in their turn, create civilised man. If from literature we can in any sense read off the degree of a nation’s progress, then it must be owned that the stories produced just after the fall of Napoleon — Waverley and Waterloo are of the same year — were very healthy. War itself deserves no place in literature. On the other hand, diplomacy, the love of stratagem and intrigue, the statesman’s passion when a mistake might embroil nations, make better romances than, not perhaps the normal passion of peace, but certainly better than when the ethics of the indecent are for- gotten. The examination of particular historical novels requires not only knowledge of the period described, but also of the prevailing political and social views at the time they were written. Take for instance the reign of Charles II. Dr. Newman somewhere contrasts ‘‘Peveril of the Peak” with “ Brambletye House” as instances, the latter of bald description and the former of artistic description, or words to that effect. We have also another widely read story, “ Old Saint Paul’s,” in which Ainsworth deals with the same period. The reason for the respective novelists’ choice of this reign is no doubt that it is possible to get such information so as to describe the degree of luxury in social life with an accuracy VOL. Iv. sufficient to compel the reader to accept the illusion. No doubt, if the novelist wrote up his details with Mr. Thorold Rogers’ researches into the history of prices in his hands, he would be able to introduce every luxury of food and clothing as novelties at their proper period. We may doubt if in Brambletye House, when the hero is intro- duced to Lord Rochester, whether his Lordship would have been drinking tea. Again, on explaining to the youth how to get on at Court, he asks him, “Can you sing a naughty song like my Lord Arlington, or a blasphemous one like your humble servant, have you a pretty sister, or a pretty cousin, or even a little terrier dog with bells.” We may hesitate whether the author—Horace Smith—did not mean a spaniel. Here is the critic’s opportunity to expound the lore of tea and terriers and show there is no anachronism. The same remarks might be made of each of these three works, that in each the local colour may be exact to a fault, but that the view of the Restoration period is drawn from the bias of the author’s politics, as to the proper view to take of that period, which bias was, as we know, a wish to exculpate the Stuarts at the expense of the Puritans. It implied that the lies of one sovereign and the heartless- ness of another should be all hidden away under gaiety and good humour, the pigments out of which the glowing colours of romance are com- pounded, If a writer were to lay the scene of his novel at the same time nowadays—he would have to go to the same sources for his details of social life; but how would it be possible for him not to draw on the histories of Dr. Stoughton for a truer picture of the Puritans, to whom, when all is said and done, England owed so much, and who were neither so inartistic or such enemies to innocent pleasure as those who hold a brief for the Stuart dynasty consider it their duty to make out. J. W.S. NOTES AND NEWS. ONCERNING the interview trouble. An editor writes to a man who is an expert, a recognised authority, on a certain subject ; he asks this man, probably a very busy man, to give his representative an interview. The expert accedes good naturedly—if he is a young expert he is flattered perhaps; if he desires to be more widely acknowledged as an expert he is pleased. The interviewer calls. He stays two hours asking questions; he generally shows by his questions that he knows nothing whatever of the subject ; he makes notes ; he goesaway. The man aa2 368 interviewed has therefore lost two hours of valuable time ; probably an whole morning has been broken up; if the man is young at the work he leaves the interviewer to do his worst. In course of time his opinions appear—a feeble, flabby, half true, wholly inadequate expression of what he really said and really thinks. If the man interviewed is not young, he stipulates for a proof. This he receives, and he then sits down to read and correct. He has to rewrite every single sentence; it costs him about three hours of work, He has thus been mulcted of five hours’ work. The editor of the paper, on the other hand, has received a paper on this man’s opinion, which any magazine would have been delighted to publish on the usual terms—or on special terms. It is very nice, indeed for that editor; but what is it for that expert? As for myself, my latest experience is that after a distinct pledge was given by the reporter that nothing should be printed that was not passed by myself, he kept his promise so far as to send the proofs, and then the paper did not wait for the revise, but published the hugger mugger mess that the interviewer had put forward as my opinion. The moral of this is, that people who are interviewed must obtain from the editor himself a letter to promise that the proofs should be revised. One would not pretend to argue after lawyers, but one may ask a question. What possible injury can be done to a picture by a tableau vivant copying it—group—setting—everything ? A picture is either the property of the painter, or of some private person, or of a picture dealer, or of a public gallery. In the first place, a tableau vivant makes the picture known; in the second place it may add value to a picture; in the third place it calls attention to a picture, and may make it more desirable; and, in the last case, since the picture cannot be bought, it may make people go to the gallery in order to see it. If the subject is good, but the picture bad, a tableau vivant may call attention to bad drawing, bad light, bad colouring. If the picture is good, as well as the subject, the tableau vivant must contribute to the painter’s reputation. From every point of view it seems to an outsider that an artist, or the owner of a picture, should be pleased with a tableau vivant—if it is a good and faithful repro- duction—which places his picture on the stage for all the world to see. A second letter, signed “ Clerk,” on publishing generally, appears elsewhere, with a few words of comment. Deep rooted are the traditions of the trade, Secrecy as to the cost of production, the THE AUTHOR. retail price—everything—has been hitherto the rule. So we have done our best to admit light into all the details of the business. But when we ask the simple—the elementary—question, What does the publisher do for a book outside the work covered by what is called the “ establish- ment?” we are met with the remark that the question is “amazing.” No doubt ; it is amazing, Yet it must be put; and if any understanding is to be arrived at, it must be answered. Under- stand that there is no intention to assert, as “Clerk” says we assert, that the publisher does nothing outside his “ establishment” services—not at all—but one only asks what it is that he does. The printing, binding, advertising, subscribing, placing in the market, all is plain routine work with the majority of books. Here and _ there, to be sure, there must be troublesome books—those with dainty illustrations, beautiful binding, edi- tions de luxe. But for the majority of books it is certainly plain routine. You think this is mere outside assertion ? Then I offer you my experience, which has led_me to understand and to discover this fact. First of all, as the secretary and hon. secretary of two societies, both of which have published many books, I have myself put through the press and done the exact work which to “Clerk ’’ means so much anxiety. Now, I will tell you what for most books this anxiety means. I have edited, written, or translated: I have caused to be illustrated: I have annotated: I have put through the press, generally, about fifty works for these societies. The volumes are as handsome, as well produced, as those of any firm in the country. The awful anxiety and careful thought required for the work necessitated a half hour’s talk with the printer, who brought specimens of type and form of page; an hour’s talk with the binder, who produced designs; — and some trouble with the illustrations. One work, a great work, in eight volumes royal octavo, with thousands of illustrations, gave me a great deal of trouble, because I had, as general editor, to annotate it and to look after the illustrations. I confess that the work was very laborious, but not on account of the printing. Then, as regards — novels, the first three or four novels published under the joint names of Mr. James Rice and myself were printed by ourselves. We did not, you see, pay for production, as is meant when one speaks of paying for production; we gave the book printed and bound to the publisher, who — issued it on commission. The wear and tear of — thought required for the production of these — books amounted to a quarter of an hour with ~ the printer and about five minutes with the binder. _ THE AUTHOR. These details are given to show that I know what I am talking about when I say, that for nine- tenths of the books produced there is no trouble at all in the production. It is routine work. Understand, again, that there is no desire to depreciate the part taken by the publisher outside the “establishment”? work. One only wants to know what that is. A member sends a letter on the subject of the injury inflicted on women journalists by women who are not professionals, who take work for nothing, or for next to nothing, and who are not earning their livelihood by their work. Many of them, the writer complains, are ladies in good position and wealthy; titled ladies—but then titles are not always accompanied by wealth. The letter belongs to the Instztute of Journalists, rather than to ourselves; but literature and journalism overlap, and it is hard to say where one ends and the other begins. Certainly the essays and leading articles in our best papers are literature; and certainly the paragraph and the report are not literature. The point raised is more difficult than it seems. Our correspon- dent excludes those women who think they have a thing to say—a message to deliver. She does not, and cannot, include such writers in her denunciations. The lowering of scale pay is certainly a crying evil. In this, as im every other department of women’s work, the lowering of pay is a recognised curse. But who is to decide when a woman is entitled to become a journalist ? To write descriptive articles, critical articles, lead- ing articles, is to many women, as to many men, the most delightful work possible, without the least consideration of pay. Then, again, the question of means and income is not so simple; for where a hundred a year is poverty to one woman, it is wealth to another. Can we not, in such a matter as this, try to awaken public opinion ? Can we not teach all writers that they must not take low and miserable pay, because this means, in the inferior papers and journals, lowering the whole standard? If ladies of wealth and position write at all, let them, at least, insist upon payment on the same scale as those who write for bread have and must have. Not to do so may inflict the most grievous hardship on their poorer sisters. But I very much doubt whether any repre- sentations at all will induce ladies to give up the pleasure—and the power—of writing for the papers. Some time ago I found that a lady of wealth was in the habit of giving her papers to a certain organ, which was thus induced to try if it could not get all its work done for nothing. I pointed out the mischief done in this way, and the 369 lady at once perceived her mistake, and either ceased to write, or, if she continued to write, began to insist on proper payment. The Westminster Gazette calls attention to the loose way in which an edition is numbered: How many copies constitute an edition P Most publishers would probably say of a three-volume novel 250 copies, of a 6s. novel 1000, and of a 1s. novel 5000. ‘The public generally believe that a new edition means some alteration in the text, and it does so often, but not always. In connection with this question of editions, a curious incident occurred the other day. A prominent firm of London publishers had a proposal from an author, who has already written several books which have not been a success, to produce another. The author asked for an estimate for a thousand copies, each hundred to be printed with a fresh title page, and to bear that it was a new edition. That is to say, if 900 copies were sold, the book would then be in its tenth edition. It is needless to say that the author’s pro- posal was not entertained. I would cap this story about the author with another. It happened some years ago. The public were startled by an advertisement of a very well-known firm indeed, to the effect that Mr. ’s novel, in three volumes, was in its twelfth — fourteenth —anything you please— edition. It was amazing, because such leaps and bounds were unknown to other publishers. One publisher, however, he who told me the story, discovered that each edition consisted of a hun- dred copies only. He pointed out to the offenders that if this trick was continued everybody would have to follow suit, and no more confidence could be placed in the number of editions. It was, I believe, discontinued, and it remains a trick and not a custom. Therefore, I think we may still believe in the popularity of a book in its tenth edition. If the editor of the Westminster Gazette should wish to receive, privately, the name of the firm in question I can supply it. There is a very good essay on Literary Popu- larity, by Mr. Edgar Faweett, in Lippincott’s Magazine. He begins with the proposition that “where an author declares himself glad that he is unpopular, it may nearly always be taken for granted that he regrets his unpopu- larity very much indeed.” The writer goes on to contend that every writer must desire popu- larity, but that he desires the popularity of a circle selected by himself. Is that quite the way to put the case? I think not. Every writer, it seems to me, must desire as wide a public as there are readers. From pole to pole he would like his name to resound, from every people, and in every tongue. If he is a preacher with a message to deliver, he must, he cannot choose but wish his message to be heard everywhere ; if he 3/1? is a poet, who respects himself after the manner of all poets, the universal nature of his audience is a gauge of the advance of human understanding ; if he is a novelist who pourtrays human nature and character, he must ardently desire that all mankind should read him. It is true that pro- found consolation is daily administered to them- selves by many from the reflection that the multi- tude often sets up a false god, and worships an image of clay. But look again after ten years. Where is their image of clay? Itis gone. And where are the unsuccessful men of that time? They are gone, too. The lmited immortality which is obtained by a few writers is granted to none but the best; and it is quite certain that. the best writers in every age are recognised even in their own generation. Ask any librarian who are the real favourites of the people. He will tell you that in the long run, and after many years, they are the best writers of the world. This means that though immediate popularity may not always fall to the lot of the best work, yet that the best work does always get recognition; that a man does well to desire recognition, and that of the widest kind. “ Are we,” asks the man who writes for his little circle, and affects scorn of popularity, “to seek the popularity of Stallabras, who writes for the telegraph boys and the dressmakers?” This definition of Stallabras is not uncommon, but it is unjust. Stallabras writes with dramatic force, and considerable insight into human nature, for all the world to read him if they please. But you say he is vulgar. Perhaps. The world, how- ever, does not read him because he is vulgar, but because he is truthful and dramatic. For which reason let us all desire the recognition of the world rather than that of a circle. T have been allowed to read, in proof, an essay which is now in everybody’s hands. It is the article on Tennyson in the March number of the New Review by the late Mr. Francis Adams— probably the last paper that we shall have from his hand. It is an attempt to speak of Tennyson’s work coldly and critically. This is, for the present, impossible, for the reason, as the writer himself acknowledges, that Tennyson still domi- nates both the older and the younger men. The effort to get outside that domination results in a certain harshness of judgment, which is not good criticism. It may be true, as Mr. Adams says, that there is a great deal of destructible stuff in Tennyson—there is a great deal of destructible stuff in Wordsworth; and in Browning; it is one characteristic of genius to be irregular; but I do not think that the time has come to separate THE AUTHOR. the work of Tennyson that will live from the work that will perish. Every man’s most lasting ideals are those which come to him im the vigour of his age—say, the years from thirty to forty. The time has not yet come for those who belong to ’94 to condemn and depreciate those who belonged to ’44. Once, however, outside Tennyson’s doctrinal “ teachings,” Mr. Adams is able to do full justice to the poet. An interview sometimes has its brighter side. I think that everyone must have been pleased to read the “chat” with Mr. F. W. Robinson in the Westminster Gazette the other day. Mr. Robinson is a popular novelist, whom the critics somehow agree to leave in undisturbed possession of his popularity. Others, more un- fortunate, get “slatings ” and plainness of speech. Nobody grudges Mr. Rubinson this success which he deserves. He has written about fifty novels, mostly in three volumes. He was also for ten years—the whole period of its existence—editor of the magazine called Home Chimes, which did so much during its life to introduce new and un- known writers to the public. Among these were Mr. Barrie, Mr. Jerome, Mr. Coulson Kernahan, Mr. Eden Philpotts, Mr. Burgin, and Mr. Hugh Coleman Davidson. Among the “ already known” men and women who contributed to the magazine were Swinburne, Mrs. Lovett Cameron, Mabel Collins, Philip Marston, Emma Marshall, Grace Stebbing, Theodore Watts, May Thomas, Savile Clark. It may be safely announced, at any time, without fear of contradiction or trouble of mquiry, that Mr. F. W. Robinson is ‘ engaged upon a new novel.” May the fifty of the future be successful rivals to the fifty of the past ! I owe an apology to “John Bickerdyke” for my remarks upon his communication in last Author. He did not mean that a contract con- cerning a book was simply a matter of buying and selling. He used the word “price” .in its wider signification, meaning that whatever system of publishing was adopted, the publisher would get as much as he could out of it. Very true. In all kinds of business and in all con- tracts both sides study their own interests first. An important aim and object of the Society is— first, to make every literary man or woman under- stand quite clearly that the publisher with whom negotiations are going on is trying to get as much as he possibly can for himself by the bargain ; and secondly, to enable the author to meet him as one business man meets another. In order to assist the man of our side, we have provided him with a most valuable mass of information, armed with THE which he should be prepared to meet the man of the other side. If he does not feel equal to the contest, he must get the assistance of those who do. That, also, we have provided for him. Too often he feels quite equal to the contest, and goes forth smiling, to return plucked and shorn to the skin. Water Besant. > FEUILLETON. I.—ANoTHER VIEW. < HE great mistake that some of you fellows make,” said the Man of the World, “is that you get angry about these simple—natural—things, and call names.” “Simple? Natural? Not get angry?” “Sit down—take a cigar or something—and listen to me. I will show you that most of the things in this book ”—he held in his hand a copy of a book called “ Methods of Publishing ””—“ are just exactly what should be expected. Don’t interrupt me. Don’t say anything until I have finished.” « Very well, then, go on.” “All kinds of business,’ the Man of the World took a wooden armchair, which gave him a little advantage over the other man, who lay back in a low easy chair. “All kinds of business, I say, are conducted on one or two common and recognised principles. First. There is no friend- ship in business. That is a maxim accepted by every one. Second. And it is lawful, laudable, and not dishonourable in business to use private information, special knowledge, and_ superior knowledge in every transaction. Apply this to publishing. You will admit that it is one form of trade, I suppose. You will admit that, like all forms of trade, it is carried on with the hope and intention of making profit by it. Very well, then. Why should the publisher, alone among men in business, be refused the right of using his superior knowledge—his special knowledge—to his own advantage? Don’t interrupt; I will illustrate my meaning. “ You have a book which you desire to publish for your own double advantage— your reputation and your income—perhaps for a third reason also—the desire to spread some doctrines, dis- coveries, or facts which you think will be generally useful. With this book in your hand you are one party to the transaction, the publisher is the other party. “Now, compare the two parties. On the one side —his side—stands a man who knows all about the trade in books. He can tell you, after a few minutes’ examination of the book, what it will AUTHOR. Bi} cost to print, bind, advertise, and produce; he can tell you at what price he will put it in the market; he can tell you very nearly how many copies he can get subscribed at the outset ; he can tell you, in many cases, what the maximum as well as the minimum demand will be. He can tell you beforehand what the profit, ve, the excess of returns over expenditure, will prove for any given number of copies sold ; he knows what he means to spend in advertising it. Unless there is a tolerably certain excess of returns over expen- diture he is not likely to undertake the expense. “Very well. That is what he knows. What does he tell you—the other party ? Nothing at all. What do youknow? Nothing atall. Absolutely nothing, unless you have been intelligently study- ing the figures given by the Society of Authors. You are somewhat in the position of a savage who brings a gold nugget to a traveller, and is ready to exchange it for a string of beads. Not quite, however, because you know that your stuff may be a big gold nugget. This makes you suspicious and uneasy. And you have heard how other people, with similar stuff to negotiate, have been persuaded to part with their property for a song. But you are helpless. Why? Because you are trading on wholly unequal terms; because you are in the hands of a man who possesses superior knowledge—an intimate knowledge, that is, of the very business in which, in complete ignorance, you are venturing to compete with him.” “But we don’t—we place ourselves in his hands. And he cheats us.” “ Softly, softly. You place yourself in his hands — blindly. You certainly do. That is because of your ignorance. That is because of your folly. That he should persuade you to do so is part of his superior knowledge. He knows that you are ignorant; he knows that you are most anxious to have your book published ; he is plausible ; he is friendly ; he is expansive; he is sympathetic. Why, man, these are the most valuable qualities to a man in any kind of business, even business between those of equal knowleige. In this case they are part of the superior knowledge, because he knows that by the exhibition of these arts he can lead you on into adopting any proposal that he may like to make. Later on, you may repent, and swear. But, my dear fellow, swear at your- self—not at this sharp man of business.” «But he persuades us to trust him to our own ruin.” “You trust him. You sign an agreement which you do not understand, but he does. You think it means one thing; he knows it means another.” “Tsn’t that fraud ?” “Not at all. He doesn’t tell you what it 372 means. You can find out for yourself. There is the agreement. Examine it. If you sign it you can have no right to grumble, except at your own folly.” “What are we to do then?” “Don’t sign the agreement, Have it examined before you sign it. Ascertain what it means for a large circulation of your stuff—which is always possible but generally improbable —and for a small circulation. Understand it before you sign it, Consider a little. Would you sella house and lands to the first stranger who makes an offer? Certainly not. You would put the thing into the hands of a solicitor for pro- tection. Yet you go toa stranger with a MS. worth perhaps many houses, and you are such a blank drivelling idiot as to imagine that the stranger is going to act in your interest instead of his own, and is going to forego, in your interest —yours! a complete stranger to him!—all the advantage of his superior knowledge. Man alive! The whole credulity which the sporting papers condense into the name and personality of Juggins is suspicion and jealousy and wakefulness com- pared with your blind confidence. And yet you dare to call the man who gets the better of you a cheat—a rogue-- and anything else you please!” The other man sat in silence. This view was new to him. “ Are we,” he said at last, ‘‘ never to find a publisher who will not—will not—” “Will not take advantage of his superior knowledge? Never! Don’t expect it. Learn the facts ; they are not difficult; your Society has put them all within everybody’s reach. Then go to your publisher armed with this knowledge, and you will havea little intellectual duello which will really be most enjoyable to you. I will give you an instance. I brought out a book some time ago. I took the precaution, before taking it to a publisher, to master all the facts that I could get at—not all that exist; but all that the Society has published. I then invited my man to lunch. I offered him champagne. It is a common trick in every kind of business to offer drink, and to keep sober while the other man gets slightly elevated. It failed with me, because it was an old and familiar dodge well known to my friend, and often practised. He touched the glass with his lips, and looked across the table expecting me to finish the bottle. That failed with him, because, you see, I knew the trick too. ‘So, this little fencing over, we got to: busi- ness. And very soon we were at close quarters. I had all my facts written down, ready. Of course he disputed them all; but had to give in. Finally, only one point remained. On this he would not give in. So I drew up THE AUTHOR. a little table showing the figures exactly. It would have done you good —it did me good —to see his face expand into a stage smile —an affected laugh—of surprise when he could no longer dispute the thing. “Can it be pos- sible,” he asked, looking at the figures as if they were a puzzle. “Is it possible that I was mis- taken? Yes—I fear—I very much fear—that I have been wrong.” He was wrong, and he was extremely surprised that I had found him out. So I won the day. That is, I won all I fought for. Do you suppose, however, that there was no superior knowledge behind? Do you suppose that the Society fellows have found out every- thing? Do you suppose that he did not best me on some point—somehow? Of course he did. When the fight was finished, and not before, he tackled the champagne with zeal. He is fond of champagne—and he went home in a four-wheeled cab.” ““Yes—yes,” the other man ventured timidly. “ But how about the falsification of accounts ? ”’ “Ah! There we touch the Common Rogue.” “ And how about the Religious Societies, which buy of some poor lady for thirty pounds a book of which they are going to make hundreds ?” “There we touch the Common Sweater. But as to the rest, my friend, in every case of a one- sided agreement, curse yourself and your own folly. Don’t curse the other trader, who has only done what is practised in every form of trade —used for his own profit his own superior know- ledge.” II.— Fastze.—Tue Porr anp THE TrIPE- DRESSER. A Poet and a Tripe-Dresser were bragging about the usefulness of their wares. “You both provide luxuries,’ observed the Publican who owned the premises, and was acting as umpire to the dispute. “Yes, but,” said the Tripe- Dresser, “‘ sometimes luxuries become necessities. If there were a war, tripe would run to a premium, and would be apportioned out by Government as a part of the daily ration. Now, as poetry does not fill readers’ stomachs, I guess you producers would starve.” “ By no means,” said the Poet. “I have a private income, or how could I be a Poet?” “ The moral of this,” said the Publican, “ seems to be that literary gents should take all they can get, and not talk nonsense about getting what they can. Two gins—fourpence, please.” C. J. C. H. 3 Fata Se D pee oT er PA THE AUTHOR. RUSSIAN NEWSPAPERS. IRST and foremost among Russian journals i comes the Moskévskiya Vyédomosti, or Moscow News, a paper of respectable antiquity. It is now in its hundred and thirty- fourth year. Under the editorship of the well- known Katkéff, who died in 1887, and with such contributors as Vishnegradski and Pobiedonos- tseff, it enjoyed very considerable influence in directing Russian policy. The Moscow News contains eight pages, of six columns each, rather less in size than those of our Standard. A liberal discount of four pages must be deducted, that proportion being usually allotted to advertise- ments. The latter differ decidedly in substance and composition from the notices to which we in England are accustomed. Our familiar Matches and Despatches column is replaced by gigantic announcements, 6in wide, and heavily “ruled” with funereal block lines, to the effect than Ivan Ivanovich Ivanov has departed this life, be- mourned by all his relations (their various degrees are enumerated in full), and that the panikhidi, or masses for the dead, will take place at such and such an hour, &c. It is an easy way of filing up space. Another device of a similar kind is to insert full page notices of lottery draw- ings, or balance-sheets of railway companies. Amongst the personal advertisements one remarks at once that a considerable number of angli- chankas, or English nursery governesses, and of English tutors, are on the look-out for engage- ments. The Vyédomosti is very well printed, though the paper is rather thin in texture. In one part it affects the use of the old-fashioned eighteenth century brevier type, which shows a slight difference in the formation of certain letters, the #’s for instance. The price at the publishing office is 10 kop¢éks, or about 23d., though, as in the case with all Russian papers, the newsvendors ask for more, and one has to haggle for it in the streets. M. Petrovski, the present editor, conforms to the Slavophile policy of Aksakov (the late editor of Rus), embodied in the famous phrase pord domot, 7.e., “it is time to return home,” and shake off western influence and modes of thought. The remaining Moscow dailies are the Mos- hovski Listék (Moscow Leaflet), Névosti Dnyd (News of the Day), Russki Listéh, and Moshévskiya Gazéta, with one or two others. All founded within the last ten years, they have a strong resemblance to each other. Their price is from 3 to 5 kopéks, which is quite enough to pay for their very scanty four-paged editions. The last-named certainly publishes an_ illustrated weekly issue. 31S In St. Petersburg the leading position is held by the semi-official Névoye Vremya (New Times). This is a comparatively youthful journal, being only eighteen years of age. It has, so far, weathered the storms in which its ablest rival the Golos (Voice), and other liberal minded organs have foundered. The Novoye Vremya is one of the few Russian papers which publish more than one edition a day. Its nominal price is five kopéks (1}d.), for which one usually gets six eight-column pages of Daily Chronicle size. These columns are filled with fairly varied and readable matter, enough of which is daily forth- coming to enable the editor, M. Fyédorov, to dispense with the customary feudlleton. A feature of interest to English subscribers is the weekly letter of M. de Wesselitsky-Bojidarovitch, the London correspondent of the Novoye Vremya. His articles are signed ‘““A—s,”’ an abbreviation for * Arous,” his nom de guerre when correspondent at Vienna. The New Times is largely used as a medium for advertisers, and is only one of the many publications which issue from Suvdrin’s office on the Nevski Prospect. Second in importance comes Prince Mest- cherski’s organ, the Grazhdanin (Citizen), a paper which enjoys the patronage of the Tsar. The price (6 kopéks) is higher than that of the Novoye Vremya, but the contents are less. Only four seven-column pages are provided, with a serial story thrown in. Other papers, similar in size, are the Sin Otéchestva (Son of the Father- land), an old-established print, dating from the year 1812; the Peterburgshi Listék (Leaflet), the Svyét (World), and the Névosti, which makes a specialty of Bourse intelligence. Besides these, there are the official Russki Invalid (the War Office organ), the Journal de St. Pétersbourg, and the Ze¢tung, the last two published in French and German respectively. The Russian provincial dailies are neither numerous nor influential. Certainly, a cosmo- politan centre, like Odessa, maintains a variety in different languages. Warsaw has its Polish, Russian, German, and Yiddish prints. In Helsingfors the chief organs are conducted in Swedish. In the other “governments,” such as Riga, Revel, Vilna, Tiflis, &c., one or two papers suffice to satisfy the scanty demand for news. The Kharkov Vuzhni Krdi (Southern Land) has a fairly large circulation, and the Telégraph of Novorossisk, a town on the shores of the Black Sea, is now notorious for its Anti-German and Judophobe policy. If we turn to the weeklies, we find a tolerably comprehensive selection of illustrated, comic, and purely literary journals. Russia can boast of a picture paper, which is even older than our 374 Illustrated London News—the Zhivopisnoye Obozrénie, or “ Pictorial Review,” now fifty-seven years old. It corresponds, on the whole, to the defunct “ Pictorial News” of London, and, with 16 pp., is a fair three-penny worth. As is the case, however, with most of the illustrated Russian papers, too large a proportion of the drawings are executed with “autographic chalk” on grained paper, and reproduced by cheap processes. The Vsemirnaya Illustritsiya (Universal Tlus- tration) is a larger, and at the same time more expensive production. _ The price is 35 kopéks, or nearly ninepence. For that sum, however, we get a periodical which reaches the average English or French standard in point of letter- press and general get-up, though the engravings are of very unequal merit. Perhaps the best thing about it isthe pale yellow or mauve cover, with the very decorative antique Slavonic lettering of the title-page. A cheaper and less ambitious paper of the kind is the Peterbirgskiya Zhish, or ‘ St. Peters- burg Life.” Rough sketches, caricatures, and reproductions of French illustrations form the chief items provided in its programme. Of the smaller journals, Syéver (The North) is one of the best, and almost comes under the heading of an illustrated magazine. One peculiarity about it that the columns are numbered instead of the pages. Every page is headed with two consecu- tive numbers, one at eacb top corner. Like its congeners, the Syéver endeavours to attract sub- scribers by the occasional issue of special supple- ments, editions of Russian classics, &c. The Niva (Field) does not in any way corre- spond to our journal of that name. It contains twenty-four pages, of the size of Punch, and its illustration department is very well managed. Three papers, which serve more for household reading, are the Semydé (Family), Vékrug Svyetd (Round the World), and Zvezdd (Star). The last-named bids for the support of lady readers by issuing coloured needlework designs. Some of the prints of this class have an undesirable habit of breaking off their contents in the middle of a sentence, or even of a word, in order appa- rently to obtain continuous subscriptions. Among the serious and non-illustrated weeklies comes the well-known and influential Nedyélya (Week). This may be compared in size and aims to the Spectator. The “comics”? are rather of a heavy order, but contain the work of a few clever artists. About the best is Strekozé (the Dragonfly), with black and white illustrations. Its eight pages, though they are large, are scarcely worth 20 kopéks. Bauerlander, and Labutch, the very able draughtsman who uses the nom de crayon of THE AUTHOR. “Ovod” or “Gadfly,” contribute typical and original designs to the Strekozd. More may be learnt from a glance at their caricatures than from a whole library of Russian pessimistic novels. The hand of the censor, though, is heavy, and political skis, which form the life of English papers, will be sought for in vain. Three other so-called humorous papers, of the same size and price as the last are Oskolki (Chips), Budilnik (the Watchman), and Shit (the Jester). They are all very similar, being coloured after the style of the French journauxr pour rire. Their jokes are also sometimes ve French. Leikin’s, Porphyriev’s, and Lilin’s sketches are forcible and characteristic. There are, of course, other less refined periodicals, such as Razvlechénie (Recreation), which one would not always care to leave about in a drawing-room. It comes as an occasional surprise to see sketches from Pick-me-up, Fliegende Blitter, and other Continental comic papers reproduced in the Muscovite priuts above mentioned. As to the monthlies and annuals, they are of a severely technical and solid character. The zhurndl, as a magazine is called, in distinction from a gazéta or newspaper, appeals more to the professor than to the man in the street. A great many organs of the various Imperial Academies are published, but it is scarcely worth while troubling the reader with their names. During part of last year and the year before a four-paged journal printed in Russian maintained a precarious existence in Paris. Its name was the Russki Parizhdnin, or ‘ Russo-Parisian.” A few copies strayed over to London week by week. It has now, however, died a natural death, not even the recent Muscovite “boom” at Toulon and Paris producing a quantum of subscribers. A similar fate, it is to be feared, would await the enterprising editor of an Anglo-Russian news- paper, though a flourishing society of that name already exists at the Imperial Institute. Artuur A. SYKES. pecs THE LITERARY OPTIMIST. MONG the many correspondents to the Author who dwell upon the discouraging aspects of the literary calling, few have chosen to dwell-on its sunnier side. Now, I feel tempted to turn optimist, and linger lovingly on the charms of the literary vocation. Yet, like others, have I oft been constrained ‘ to trouble heaven (and the still deafer ear of the editor) with my bootless cries ”—for acceptance. Foremost among those literary optimists who THE AUTHOR. 375 have cheered me most by the con amore pursuit of their craft, is Leigh Hunt, born just a hundred and ten yearsago. With what thorns was the path of the author beset then! Writers of the present day have but the wiles of the publisher to guard against; but the wielder of the pen in the latter end of the eighteenth century, and the beginning of the nineteenth, were destined to fight for the right of free speech—religious and political—and for the liberty of the Press. In 1810 Leigh Hunt was prosecuted by the Attorney-General for some articles written in the Examiner, of which he, Leigh Hunt, was the editor. This was the seemingly mild and inoffen- sive paragraph for which the Attorney-General thought fit to prosecute the author :—‘‘ What a crowd of blessings rush upon one’s mind, that might be bestowed upon the country in_ the event of such achange. Of all monarchs, indeed, since the Revolution, the successor of George ITI. will have the finest opvortunity of becoming nobly popular.” This was written of the proposed Regency. In 1811 a second prosecution was instituted against Leigh Hunt for some alleged expressions, he made use of against the practice of flogging in the army. Fortunately the jury had the justice to acquit him of this absurd charge. Finally, both the brothers Hunt, again made their appearance in the law courts on a more preposterous charge still, and had to share the responsibility of an article in which Leigh Hunt had described the Prince Regent as an “ Adonis of fifty!” Each was fined £500, or to suffer two years imprisonment ; this they suffered, rather than give any promise which might limit the free expression of opinion in future editions of the Examiner. Then, taking into account the social and _poli- tical condition of the life of the litterateur in the early period of the present century, it was one much oftener menaced not only by privation and danger, but by malice and petry insults, than is the author's life of the present day. I bave cited Leigh Hunt as the type of literary optimist, because I imagine his work to have been so unsparing of toil and so ill-paid. To him, more than almost any other denizen of the vast king- dom of literature—literature, for its own “sweet sake,” was an abiding source of joy, and that to him the pleasures of the literary imagination were very vivid. I do not know if his poetry and the essays, “Men, Women, and Books,” are much read; or whether he lingers merely in the minds of so many, as a literary tradition, because of his association with the Carlyles, Charles Dickens, and Wilkie Collins, and so many names more illustrious than his own. I have cherished, with great affection from my childhood, a treasured copy of “A Jar of Honey from Mount Hybla,” illustrated by Richard Doyle, with the symbolic blue jar of Sicilian honey upon its dainty cover. Leigh Hunt was an airy, optimistic interpreter of men and books ; his pages radiate the sunshine of the Italian pastorals he loved to dream of; and this sunny temperament withstood the some- what unkindly influences of a personal lot rendered hard by debts, privation, and domestic SOITOWS. I think it is with some books, as with the early remembered associations of scenery and pictures, one has a certain visionary delight in a book, often quite irrespective of its intrinsic merit, just as one’s happiest dreams elude transcription. As angels in some brighter dreams Call to the soul when man doth sleep, So some strange thoughts transcend our mortal themes, And into glory peep. GRAcE GILCHRIST. — EQUIPMENT. NE or two recent successes have shown pretty conclusively that the British reading public cares very little about the “equipment ” of its authors, so far at least as their power of writing grammar is concerned. And as editors cater for the public they, too, are not, as a rule, over fastidious in this respect. Bad grammar and a bad style are nota help; the writer who has a story to tell, and the knack of telling it, will succeed in spite of them. The best writer, from a grammatical point of view, is he who makes fewest mistakes. Not many perhaps can expect to escape them alto- gether, especially in these days of hurry. But the work is not spoilt for the British public by being written in decent English, and it is im- proved to the taste of the few who have preju- dices in favour of grammar, and often suffer from having their teeth set on edge. The public itself might learn to prefer good English in time, if nothing else were set before it. Why then should not the members of the Society of Authors combine to eschew at least the barbarisms enumerated below? They will have the satisfaction of doing their part towards keeping the “ well of English undefiled.” 1. Misuse of relative pronouns, when followed by a parenthesis. “These are the two men whom, P. asserts, cried ‘ Retire.’ ”’ “Dr. A. whom, she thought, was a specialist.” 376 2. Verbs governing the dative of the person used in the passive voice, the dative being turned into the nominative. “The pig was given a feed.” Why should not the feed be given to the pig, who no doubt wanted it. «“ Awarded the highest honours.” Did the coffee or mustard make the award, or receive it ? “The demonstrators are conceded to have the most praiseworthy object.” “He was offered to have his secretaryship continued ” (Blackwood). «They were voted a reward.” “The defeat . . . is given denial.” 3. Ambiguous use of the present participle. “Tt is hoped with much confidence that a fortnight’s sojourn at A , breathing its bracing air, may, &c.” “However, after perusing them, they were duly returned.” Here is a particularly choice example :— “Following this road, it was found to open into a wide valley, with fields, &. Pausing to gaze, there appeared, gliding quickly through the air, a small boat, propelled, &c.; and, still tollow- ing the road, a large building was presently seen, fronted by huge columns, and from it there came a being, &c. Following this form as it re-entered the building, there was seen a figure in a simpler form!” Now, the person who actually “followed” and “paused,” and ‘still followed,” and “followed ”’ again, was the narrator, but, grammatically, it was “it,” the “small boat,” ‘a large building,” and a “figure.” “Sweeping down the great avenue, the grass and the great trees, and the bit of water crossed by the bridge, all look soft, charming, &c.”’ Here it is, of course, the grass, the trees, and the water which “sweep,” for they are the only nominatives in the sentence. 4. Using verbal substantives as if they were adjectives, which surely is very ugly as well as ungrammatical, though it is very common. “Pardon me asking,’ is not precisely equiva- lent to “ pardon my asking.” “There is, I think, no fear of you making such an exhibition of yourself.” “Tnstead of René deriving.” “There cannot be a doubt as to the king believing.” ' “It was only the prelude to them being laid are.” Surely each of the underlined words ought to be in the genitive case. Sometimes, indeed, it an official may be as well to suppress this “for the sake of To say, euphony,” but for no other reason. THE AUTHOR. “there is no hope of the General recovering his health,” means, strictly speaking, the General, who zs recovering his health, though ‘there is no hope” of him for some other reason. If “recovering”? is a substantive, used in place of “recovery,” then “where two substantives come together.” 5. “And which,” “and whose,” ‘ but whom,” “and where,’ when there is nothing, properly speaking, for the conjunction to connect. *‘ These were how grown men, but” still young for their years, or something of that sort, is what we expect; what we get is: “but whom we had parted from,” ‘‘The careful sportsman may light on a little bit of old French binding, and”—what else? Nothing! “and which a little repairmg will put in good condition,” that is all. 6. One is naturally keenly alive to the faults of critics. Here is a choice sentence: ‘“ Books such as these are not ones to be rushed through in a hasty loan from some circulating library.” 7. “TIT should have been glad to have gone. Why two “haves?” ‘I should be glad to have gone,’ or “I should have been glad to go,” is surly enough. Almost more provoking than the ungram- matical writer, is he who writes in constant fear of the shade of Lindley Murray, and falls into error from sheer anxiety to avoid it. So impressed is it upon his mind that verbs are qualified by adverbs, that he dares not to say. “ He looked fierce,’ or “she looked sweet,” though he would be right if he did, but is always careful to write “fiercely” and “sweetly.” A curious example of over-carefulness came in our way a few days ago. The writer was describing a fancy ball: “ Who am I? a lady asked me in,’ was it French or German? No! “in questionable grammar.” Now, where does the “questionable grammar” come in? “In questionable grammar” is itself peculiar, but ought the lady to have said “ what,” or ‘‘ whom,” or ‘ which?” 8. What has the verb “to dare” done that it should be treated as invariable? I dare (past), he dare (present and past), we dare (past). Why not “he dares, dared,” &c. S. G. De CORRESPONDENCE. I.—* Tue Mezruops or PuBLIsHING.” N the notes on my letter in your last issue you suggest that I wish to balance “ secret losses” against ‘secret profits,” and you go on to say that you do not understand what “secret losses” are. I did not mean to THE AUTHOR. 37] justify so dishonest a proceeding as falsifica- tion of accounts, and though opinions may differ as to what are or are not secret profits, there can be no doubt as to the dishonesty of misrepresenting the true state of affairs to an author. By secret losses I mean the innumerable items of expenditure incurred by the publisher in connection with any book— from the bad debt of £500 to the request for a “few odd volumes” to be given as prizes at a local bazaar, levied as blackmail by the teacher who has “used your spelling book for fifteen years ”—unavoidable charges on a publisher of which you as an outsider have happily no know- ledge or conception. I may point out, too, that most of the disputes between author and pub- lisher arise from the inability of an author to erasp technical details. And this is the reason why a publisher does not always care to allow an author to examine his ledgers—because the most business-like of authors does not understand the meaning of the accounts, and will carry away false impressions which cannot afterwards be eradicated. You have a perfect right to ask how the charge of 10 per cent. for ‘‘ business expenses” is arrived at. The process is simple. Take a publisher’s total proceeds by sales for a year, and his total establishment expenses, and the latter are found to be almost exactly 10 per cent. of the former. But this percentage does not include any remuneration for the publisher himself. It merely pays for his clerks and his office. In your notes on page 334, you say that the S.P.C.K. tried to represent as “ profits” “what was left after all the servants and all the directors had drawn their wages, and their salaries, and their shares.”” But the charge of 10 per cent. does not allow anything for the directors, and in a private firm the question is how much the pub- lisher is entitled to for himself. Youask, *‘ Why is a publisher entitled to anything after his expenses are paid?’ The answer to this amazing uestion is obvious. If an author thinks he can sell his book as well without a publisher’s help, he is at liberty to do so. If he thinks that the publisher’s name and power of pushing a book are necessary for its success, this advantage must of course be paid for. It is the same in any other business or profession. Why should a lawyer be paid beyond his expenses for making a will? Or what right has a railway company to charge anything beyond the working expenses? The principle is the same. And it may be re- marked, that a lawyer charges for every visit, and for all correspondence, whereas a publisher may be bothered by continual unnecessary interviews with an author, and may have to spend hours in correspondence, for which he makes no charge. In a case where, as is most usual, the publisher provides the capital for the publication of a book, it is of course only just that he should have some reward. As to the question of the amount of work (other than routine work) entailed in pub- lishing a book, I must ask to be allowed to retain my own opinion. CLERK. A few notes elsewhere are made on this letter. Here one would only put the following ques- tions :— 1. From what researches has the writer dis- covered that a publisher’s establishment expenses are ‘almost exactly 10 per cent. on his sales ? One does not dispute the point, but one asks in wonder how the writer arrives at this law. Are all publishers alike in this respect? Has the writer had an opportunity of examining the books of—say—the twenty leading houses? Has he examined the books of any house? Has he accepted loose and conventional talk? This is, perhaps, what he must have done. Or, perhaps, be has seen the books of one firm for one year. What right has he to conclude that these correspond with the books of other firms ? Let us see what the statement means. It means this. A firm whose sales amount to £30,0c0 a year would spend £3000 a year in rent, clerks, accountants, travellers, servants, advertising, and all the little things of which our correspondent speaks with so much feeling. The same firm finds, next year, an increase to double that amount—sales to the amount of £60,000. It would therefore spend double its former sum on the estabiishment. If the returns amounted to £90,000, the firm would have to spend £9000 a year on the house. Now, let anyone ask whether this is credible on the face of it. Understand that we do not deny that in a certain house ina certain year the expenses did amount to 10 per cent. We only ask on what grounds that sum is set down as representing the expenses every year for every publisher’s house in London. 2. As to “secret profits’? there can be no difference of opinion at all about what they mean. They are profits gotten behind the agree- ment, unknown to the author, and concealed. For the most part they are gotten by falsifying the accounts. 3. The writer then says, “ You ask ‘ Why is a publisher entitled to anything after his expenses are paid?’ ”’ We asked nothing of the kind. If our corre- spondent will turn to the Author, vol. 4, p. 349 (February issue), he will find these words, which are quoted exactly, not garbled : “When people talk about publisher’s profit 378 beginning after he has paid all his clerks and people, they forget the very important question, ‘What claim has the publisher to any share in the book when his services are paid?’ We do not say that he has none, but we should like to know what, and why, it is?” This question is the elementary, necessary, question which underlies all attempts to arrive at a modus vivendi—a system of publishing which shall be recognised by all honourable men. What does the publisher do for a book—outside his services ? These services include the use of his establishment and his staff, and his machinery and his name, Of course the question does not apply in cases where the publisher offers a man a sum of money for writing a book. He then engages an author. There is, then, no question of service ; the author, in fact, becomes the publisher’s servant, It is instructive to find an attempt made to put aside this question as “amazing ”—1.e., extremely inconvenient. First, the author must not dare to inquire into the cost of production; next, the figures produced by the Society were all wrong; thirdly, the agreements paraded and exposed by us were invented by ourselves; then, the tricks exposed were only the work of wretched out- siders. And now, when one puts the real question, on the answer to which everything depends, we are met by the assurance that it is “amazing,” What next? W. Bz Il.—Epirors. As a new reader of the Author, may I volun- teer aremark on “ Lunette’s” bitter tirade against editors? It seems to me that literary aspirants do not prepare, as they should, to secure a chance of success. A musician practises six or seven hours daily, repeating continually the same scales, the same everlasting fugues and sonata, for years before he invites the public to purchase his compositions, or to listen to his playing. A painter covers many square yards (miles?) of canvas, going from Galleries to Dame Nature for models and lessons, before he ventures to place his work before the public. And here are we, literary aspirants and beginners, rushing head- long from the school desk into the arena of lite- rature, and shaking our fist (figuratively, of course!) at the editors who grimly bar the entrance with their eternal ‘“ declined with thanks.” Since we won’t practise and follow the wise rules so clearly laid down by the veteran writers, but eagerly look out for delightful cheques in return for our crude first efforts, editors act as wise brakesmen in forcing us to go slowly over the beaten track. VILAAMSCH. ———— THE AUTHOR. IlI.—Grerx Novets. Notwithstanding the apparent lament of Mr. Bayford Harrison, in this month’s issue of the Author, upon the paucity of authors in the city of Sophocles, Euripides, and Aristophanes, [ presume to state my well-grounded conviction that the literary profession is as much over- stocked in Athens as in London. But there are no novels, or “almost none,’ Mr. Harrison says. M. Gennadios, the ex-minister at St. James’s, in his introduction to the novel “ Lonki’s Laras ”’ of Dr. Bikelas, which has been translated into almost every European language, pertinently remarks that, “novel writing is the luxuriant and superabundant efflorescence of letters which presupposes a large and wealthy class of readers.” The outpour of Greek novelists will certainly follow upon the other literary activities, and Greece can well afford to wait for them; but surely those already existing from the pens of Rhangabe, Palsologos, Ramphos, Ambellas, Xenos, Roidis, Bikelas, Drosines, Xenopoulos, Kourtides, Palamas, &c., might well serve to fill the gap which Mr. Harrison seems to experience in the “City of Aristophanes.” The names of the novels themselves would take up too much space. They are good, true, and living pictures of the times they portray, and are well worth a perusal. Meanwhile, let no Englishman, how- ever well he thinks he could write in modern Greek, follow Mr. Harrison’s suggestion, unless he is willing to pay all the costs Most assuredly, no Athenian publisher will make him any offer. Translations find favour — why? Translators are not paid as a rule for their wares. Ex1z. MayHEw-EpMmonps. IV.—Catatoeuine, &e. Some years ago I published several books on half share terms with a fairly well known firm. These books have been successful, and I still receive my cheque every half year, but on com- paring the charges of production with those in “The Cost of Production,” and some made by another firm, I find them very excessive ; of this, however, I have now nothing to say, as I have paid for my experience. What [ wish to draw your attention to is, that, in addition to charging me 15 per cent. commission for publishing, they charge me one guinea each book every half year for cataloguing. This I consider an unfair charge, as most tradesmen must publish a list of their wares before they can sell, and what is my 15 per cent. paid for? Nothing was said in the original agreement about cataloguing, although the general i wey oe THE AUTHOR. advertising was left in the hands of the pub- lisher. The question is, Can such a charge be legally maintained ? CwmraG JONES. V.— Literary Criticism. The Queen, in reviewing my “Songs Grave and Gay,’ said the grave poems evinced con- siderable poetic power, but that the would-be humorous ones were simply saddening in their effects. The P. M. G., on the contrary, tells me I have a pretty knack of parody enough, that I can imitate Hood to good purpose, and that some of my gay ditties are to be commended as clever, but that my love story in verse (Dorothy) is “impossibly idiotic,’ and would have been the death of poor “C. 8S. C.” had he seen it! Here are two typical papers pulling in divers directions. Which is right ? F. B. Doverton. > exe “AT THE SIGN OF THE AUTHOR'S HEAD.” ESSRS. LONGMAN, GREEN, and CO. i will shortly issue the fifth edition of Mr. Powis Bale’s ‘‘ Handbook for Steam Users. Mrs. Alfred Baldwin, author of “ The Story of a Marriage”’ and “Where Town and Country Meet,” has another novel in the press : “ Richard Dare.” Two vols. It will shortly be published by Messrs. Smith, Elder. Under the title of “Rambles "I['ween Dusty Leaves: Desultory Notes of a Bookworm,” Mr. George Morley, author of ‘“ Rambles in Shake- speare’s Land,” is preparing for publication the series of articles on Books and Bookmakers con- tributed by him some years ago to the now defunct Magazine and Book Review. The same writer has recently completed a collection of rural and urban papers, to which he has given the name of “Sketches of Leafy Warwickshire.” Mr. Morley, who is becoming especially known as a writer of sketches and scenes descriptive of life in rural Warwickshire, has also written a rural story, ‘‘ The Scarlet Wing,” for the Queen, and a sketch entitled ‘Rural Merrymakings,” for Mr. Meldrum, editor of Rod and Gun. A new novel, by Mr. W. H. Wilkins (W. H. De Winton) and Mr. Herbert Vivian, some time editor of the defunct Whirlwind, will be pub- lished by Mr. Hutchinson early in February. It is called ‘“‘ The Green Bay Tree,” and claims to be a “ daring departure ”’ in fiction. Miss Rose De Crespigny has lately written a “Dulce Domum,” as a breaking-up song for a9 girls’ schools. It appears in Part V. of “ Part Songs for High Schools,” published by Novello. The music is by M. A. Sidebottom. “A Superfluous Woman” is the title of a novel which, if we judge from the reviews, is likely to enjoy a wide reputation; one critic, indeed, suggests that the title isa misnomer. We can only suppose it was suggested from a happy agreement with the apostolic injunction “to lay apart all superfluity of naughtiness.” Here are some American bits. They are taken from the New York Critic and from Current Literature. No fewer than eighteen uew books on Japan and the Japanese are in the American press. What is the book most in demand by the Boston people of all classes, ¢.e., the people who use the public libraries? It is “The Count of Monte Cristo. There is to be a new magazine called the Lake- side on the same lines as the Century. It will be published by the Chicago University, under the editorship of Mr. 8. A. Harris. Oliver Wendell Holmes is at work every day upon his memoirs, which will not be published until after his death. Long may the day of their publication be deferred ! The “Adventures of Verdant Green’’ has actually been revived and republished by Little, Brown, and Co., with new illustrations. It must be forty years since first that great work appeared. After this there is hope for the survival of any- thing. Mr. W. D. Howells has written a story dealing with the difficulties which a young dramatist has to encounter in order to get his piece pro- duced. A few personal reminiscences, collected from any half dozen men of letters, would per- haps save hini the trouble. From the Atheneum the following announce- ments have been copied : Mr. Andrew Lang has two new books in the press. The first is a series of papers called “The Cock Lane Ghost and Common Sense.” They are a study of “spooks.” The second is a collection of verses called “ Ban and Arritre Ban.” Miss Laurence Alma Tadema will publish imme- diately a new novel, called the “ Wings of Icarus.” The Dean of Lichfield, Dr. lLuckock, a “History of Marriage, Jewish and Christian” (Longmans. ) Mr. Lowell’s Lecture on “ Imagination ”’ is to be published for the first time in complete form in the new (March) number of the Century. A second series of ‘“‘ Village Sermons,” by the late Dean of St. Paul’s, will be published by Messrs. Macmillan. 380 THE AUTHOR. About £150 has been collected for the proposed memorial to Professor Minto, which is to take the form, according to the wish of Mrs. Minto, of a scholarship or prize in connection with the English class at Aberdeen University. Mr. Coulson Kernehan has nearly ready a volume of essays called “Sorrow and Song” (Ward, Lock, and Bowden.) Gerhardt Hauffman’s Heinrich has been trans- lated by Mr. William Archer, and will appear in the New Review. The “ History of the Scottish People,’ begun by the late Rev. Thomas Thomson, has been completed by Dr. Charles Annandale. Mr. F. Moore has in the press a new work deal- ing with journalistic life. It is entitled “A Journalist’s Note-Book.”’ Mr. Arthur Paterson, author of “A Partner from the West,” will produce a new story imme- diately, in two volumes (Bentley and Son), It is founded on an episode in the recent history of the Red Indians; one that has not hitherto been presented to English readers: a brief and gallant struggle made by the Nez Percés Indians against the United States Government, in which a few hundred braves, carrying with them their wives and children, fought their way for a thousand miles with the design of settling in British territory, and were only defeated when the frontier was actually in sight. The Andover Review has suspended publication in its tenth year. An odd volume of Emerson’s Essays, picked up at an old bookstall by the late Professor Tyndall, is said to have upon the fly-leaf the words, ‘Purchased by inspiration.” James Whitcomb Riley, hke Mr. Howell’s new hero, proposes to attempt the stage. Deas WHAT THE PAPERS SAY. I.—R. M. BaLuanryne. HE death of Mr. R. M. Ballantyne, which we announced yesterday, is the close of a long and busy and distinguished literary career. The news will have been received with regret by the many readers whom Mr. Ballantyne’s books have stirred and stimulated and charmed. They were written avowedly for boys, but they have been caught up eagerly by readers of every age, old and young alike, and when once taken in hand have seldom been laid down again until the last page had been reached. Mr. Ballantyne was a writer of almost inexhaustible fertility. He is’ credited with being the author ° of seventy-four books for boys, and all marked by the same general characteristics. They are books specially of adventure, full of stirring inci. dents, of hairbreadth escapes, and of deeds of courage and of devotion to duty. But if the nature of their subject is somewhat narrow, their range is none the less wide. They take us with them to all parts of the habited and uninhabited globe. We follow with rapt attention the fortunes of their young heroes over sea and land, The scene is laid sometimes at home, more often in far distant countries, but the type is every- where the same. It is the triumph of energy and courage and perseverance over dangers and difficulties by the way. The central figures of Mr. Ballantyne’s tales never fail to be interest- ing. They represent to boys just what boys themselves most wish to be and to do, and small blame it is to older readers if they, too, force an entrance into the charmed circle, and submit themselves for awhile in fancy to the same spell. We need not say much about the positive instruc- tion which Mr. Ballantyne’s books afford. He was a careful writer, well aware that he must learn before he could describe, and that his own personal experience was the surest warrant for the correct setting of his descriptions. This, however, is a comparatively small matter. His readers would have been well satisfied with less accurate work. They asked not to be instructed, but to be amused, and Mr. Ballantyne was always ready to meet them on their own ground, to amuse them to their heart’s content, and to set before them at the same time those lessons of pluck and steadfastness and ready resource with which his stories are everywhere replete, and to which they owe at once their value and their charm. They are thus good reading in every sense of the word, and we do not envy those boys for whom they have no attraction and no message. Boys in the present day have much to be thankful for. They are better treated in a thousand ways than their predecessors were half a century ago, and more perhaps in their books than in anything else. In no other department is there a more marked contrast between the present and the past, between tales for the young as they used to be and as they are now. - Those ‘of our readers whose memories can carry them back to the old days will be in doubt as to the change which has been brought about. They will remember a time when boys’ bookshelves were slenderly furnished with reading matter of any kind, and when they hardly owned a volume, except the immortal “Robinson Crusoe,” which boys of the present day would so much as con- descend to look at. Miss Edgeworth’s Tales were among the best, and are not wholly out of favour . ise ont (OAG 16Q BES THE AUTHOR. yet, though they no longer stand in anything like the front rank. But can we say as much as this for ‘Sandford and Merton,” for the ‘‘ Fairchild Family,” or for the well-meant efforts of Mrs. Barbauld and Mrs. Cameron? For Sunday reading there was the “ Pilgrim’s Progress” of immortal fame, but when this was exhausted there was little else, except possibly some tracts on the evils of Sabbath-breaking or of drinking and profane swearing. The present generation of boys is more lavishly supplied. It has com- mand of the services of half a dozen first-class writers and of half a hundred others. Mr. R. M. Ballantyne is but one of the great host. We must add the names of Kingston and Henty and Jules Verne to the list, and though Mr. R. L. Stevenson and Mr. Rider Haggard do not write only for boys, we have had boys’ stories from both of them, and stories such as boys love. We will not go further with the catalogue. Our recent notices of Christmas books are proof how long it might be made, and what an almost endless variety of books of all sorts it would include. It presents, indeed, a positive embar- rassment of riches, so many and so excellent are the authors of the new literature which it chronicles. And this, it must be remembered, is but one season’s work, one drop, as it were, added to swell the ever-flowing tide of books for the young. It may be thought that there is danger in the profusion, tbat with so many books to choose from the choice will often not be of the best, and that an age of careless, inattentive, desultory half-reading will succeed an age in which every book that was worth reading had to be read a dozen times over, and in hick a good many books had to be read that were not worth reading atall. We are not sure that it is a danger much to be feared. Boys are not now the passive recipients of literature furnished for their use. They have become a critical. race, with rules and canons of their own construction to which books must conform if they are to read them. They are a gregarious race, too. The word is soon passed from one to another of them what books are and what are not to be read, and though they may not always follow the best guides, it is some- thing that they will submit to be guided, and most important of all that, pick and choose as they will, they will find nothing mischievous or debasing in any of the books written for them and likely to come into their hands. Their instincts will usually be correct. They are no hypocrites in their pleasures. They know what they like, and they turn with confidence to books which come out recommended by the right name. It is certain that a great deal 381 of what is written for them misses its mark, and falls flat and unappreciated. Ballantyne they could always trust, and their choice of him as a chief favourite is no small proof of their dis- cernment and of their literary good sense.— Times, Feb. 10, 1894. Il.—ConsrancE Fenrimore Woo.son. By the death of Miss Constance Fenimore Woolson, which occurred at Venice, Italy, January 24, America lost one of the best of its fiction writers. She wrvte a great many short stories and sketches, besides a half dozen or so extended novels; the last of these, “ Horace Chase,’ was lately published as a serial in “ Harper’s Monthly,” and will soon appear in book form, Miss Woolson was born at Clare- mont, N. H., in 1845, her mother being a niece of Fenimore Cooper. From an authentic sketch of her life, written by Mr. Arthur Stedman, and published in “The Book Buyer” for October, 1889, we make the following extracts: “While yet a child, Miss Woolson,was taken by her parents to Cleveland, Ohio, her father’s business interests having become centred there. She was educated at a Cleveland young ladies’ seminary and at the famous French school of Madame Chegaray in New York. Her summers were chiefly spent, while a girl, on the island of Mackinac, in the straits connecting Lakes Huron and Michigan. She often, however, accompanied her father on his business trips to the shores of Lake Superior, through the farming districts of the Western Reserve, and up and down the Ohio Valley, until she became familiar with a great part f the country that imcludes the great lakes and the Central States. “Her father’s death, in 1869, and the conse- quent breaking up of the family, cast a shadow on her life, and urged her to serious pursuits. She had been brought up strictly in the Episcopal faith, and at this time had published a number of articles in periodicals of that denomination. Her literary field soon extended, and stories, sketches, and poems appeared in profusion in ‘Harper’ s’ and other leading magazines. Selected stories relating to the region “of the great lakes were published as Miss Woolson’s first book, in 1875, with the title, ‘Castle Nowhere: Lake-Country Sketches.’ “In the fall of 1873, her mother’s failing health necessitated a trip to Florida. There, at St. Augustine, and on an island in the St. John’s River, Mrs. and Miss Woolson remained for five winters, the summers being spent in the mountains of North Carolina and Virginia, in South Carolina and Georgia, and later with their 382 The literary results of this long stay in the South are readily to be discerned. “The death of her mother in February, 1879, caused a complete change in Miss Woolson’s plans, and the same year she sailed fur England. Since then she has been in America but once, relatives at Cooperstown. and fora very short time. Her winters have been passed chiefly at Florence, though she has resided for long periods at Rome and Sorrento. In summer she has lived at Venice, and at various resorts in Switzerland and Germany. -. Since the beginning of 1887 Miss Woolson has lived at the Villa Bricchieri, just outside the Roman gate of Florence, the same locality that is mentioned in Mrs. Browning’s ‘ Aurora Leigh,’— “*¢T found a house at Florence on the hill of Bellosguardo. —The Dial, Chicago. 229 III.—Dr. Jounson’s Haunts. With reference to a recent statement that Dr. Johnson entertained his friends at the Cheshire Cheese, the assertion is absolutely devoid of foundation. I have seen it again and again, but so far have never taken the trouble to contradict it. But the City Press is an authority on every archeological question with the City, and its accuracy makes its statements pass for gospel, and, as a lover of the City and its archeology and of accuracy, I protest against the paper seeming to stamp that legend with the seal of truth. I have known the Cheshire Cheese inti- mately for nearly a quarter of a century—for many years I dined there, three times out of four—and I have seen the legend grow up. Dr. Johnson’s tavern, of course, was the Mitre; “his place of frequent resort was the Mitre Tavern in Fleet-street,’’ says Boswell, who spent his first evening at the tavern “ with the orthodox High-Church sound of the Mitre.” And when the Doctor, nearly twenty years after that first meeting, was writing to “* Bozzy,”’ he closes with the remark, ‘“‘ We will go again to the Mitre, and talk old times over.” Nor is the Mitre the only tavern mentioned in the immortal “ Life.” We have the Anchor and the Black Boy, the Boar’s Head and the Crown and Anchor, the Hssex Head and the Hummums, the Old Swan and the Pine Apple, the Prince’s and the Somerset Coffee House in the Strand, and Tom’s and the Turk’s Head, and others, as frequented by Johnson or mentioned by Boswell; but on the Cheshire Cheese the oracles are dumb. Nay, more, although Fleet-street, Bolt-court, Falcon- court, Fetter-lane, Gough-square, Johnson’s- court, New-street, and other purlieus of Fleet- THE AUTHOR. street are mentioned; Wine Office-court, in which the Old Cheshire Cheese is situate, nowhere finds mention. Bosweiiran.—City Press. IV.—CrEnsorsHip AND JEWISH LITERATURE. At a meeting of the Bibliographical Society, the Rev. A. Lowy, LL.D., read a learned and interesting paper on “Censorship and Jewish Literature.’ He divided the subject into two parts, the first dealing with censorship in so far as it affected Jewish literature, the second devoted to considering a very rare MS. copy of the “ Index Expurgatorius,” or list of books forbidden to be read by Catholics, dating from 1596. This was recently sent from Paris to Dr. Lowy; only one other copy is said to exist, and that is in the Vatican library. The lecturer said that the censors appointed by the Popes to consider what works or passages in works were dangerous to Christian faith or morals belonged chiefly to the Dominican Order, but by far the severest among them were ex-Jews—men who reflected little credit on the synagogue that produced them or the church that fostered them. The Talmud was specially obnoxious to them. This volume was originally written partly in Aramaic, partly in faulty Hebrew, intermixed with Greek and Latin words, and treated of Jewish ceremonies, ethics, customs, and folk-lore. It was compiled about the year 550 of the Christian era, and remained nearly 1000 years in MS., but with the invention of printing copies multiplied. Dr. Lowy gave particulars of the various defacements and muti- lations suffered by the Talmud previous to the edition of 1578, when Marco Marino, a Christian by birth, but a marvellous Hebrew scholar, was asked by the Jews to remove from the Babylonian Talmud all parts objectionable to Christians, which he did, later editions labouring under his corrections. Turning to the “Index Expurga- torius,” Dr. Lowy said the great interest of this particular book was that it gave rules for the guidance of the censors written in Hebrew, and compiled by an ex-Jew, Dominico Gerosolemitano, for the use of the Inquisition in Mantua. He then read extracts from the rules translated into English, giving directions as to substituting one word for another, the deletion of obnoxious terms or phrases, and occasionally as to the destruction of chapters. At the conclusion of his lecture Dr. Lowy was warmly thanked—Daily Chronicle. EY THE AUTHOR. NEW BOOKS AND NEW EDITIONS. Theology. Atwoop, Rev. H. 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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 ‘ p!oughed.’ above all, a plentiful seasoning of genial wit. surprises and whimsical dialogue. -"—The Times. ‘A very interesting story, and one that excels in clever contrast of character and close study of individualism. make the impression of reality on the reader. Extremely pleasant are the sketches of University life.”—Saturday Review. An ingenious plot, clever characters, and, . The uxurious master of St. Neot’s is charmingly conceived. If only for 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 The characters “Mr. James Payn is here quite at his usual level all throngh, and that level is quite high enough to please most people. . co OLE character drawing is good. The story of the master sounds strangely like truth. oes The dramatic unity of time, place, and circumstance has never had a more novel setting. ‘* The most sensational story which the author has written since his capital novel, ‘ By Proxy.’ World. ra A book to read distinctly.”—Daily Chronicle. -’"—Daily Graphic. Never flags for a moment.”—The Ingenious and original. Mr. Payn knows how to invent and lead up to a mystery.”—Black and White. Crown 8yo., with Illustrations, price 3s. 6d. THE MARTYRDOM OF SOCIETY. By QUILLIM RITTER. ‘‘ For his satirical arrows he has chosen promising game—the heiress who would reclaim the East-end and all humanity ; the working man M.P., who thinks to run the nation as easily as a Hyde Park demonstration; the man about town who, to bein the swim, forswears drink to talk about the inequality of social punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the suppression of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants. The most successful passage is that recording the final catastrophe, when the benevolence of the West leads, not to the building of palaces of delight. but to its own destruction by an East-end weary of being patronised; and there is a laugh in the fate of heiress and working man left to punt in peace on a placid river.”— Pali Mall Gazette. ‘This is a powerful one-volume story.”—Publishers’ Circular. “It is an odd world that Henry Jacobson sways. is own.” —Black and White. Mr. Quillim Ritter has put it all very cleverly, and added some neat epigrams of WINDSOR HOUSE, BREAM’S BUILDINGS, B.C. 388 ADVERTISEMENTS. MESDAMES BRETT & BOWSER, TYPISTS, SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR. Authors’ MSS. carefully and expeditiously copied, from Is. per 1000 words. Extracarbon copies half price. Refer- ences kindly permitted to Augustine Birrell, Esq., M.P. THE AUTHOR’S HAIRLESS PAPER-PAD. (Tue Leapenuatt Pruss Lrp., E.C.) ree Contains hairless paper, over which the pen slips with perfect freedom. Sixpence each: 58. per dozen, ruled or plain. TYPEWRITING. SCIENTIFIC, LITERARY, AND MEDICAL MSS. CAREFULLY AND PROMPTLY COPIED BY RAYNE & CO., 40, NORFOLK STREET, STRAND, W.C. Higuest REFERENCES. Private Room ror DICTATION. TRANSLATIONS. SEARCHES MADE. MISS E. W ALLEN AND CO., TYPE AND SHORTHAND WRITERS, Scientific Work and Translations a Special Feature. 39, LOMBARD ST., BC. References to Authors. Office No. 59 (close to Lift). SHORTHAND WRITER, TYPIST, ps SECRETARIAL WORK. Own machines (Remington, Yost). Special Reports taken. TRANSLATOR FRENCH, GERMAN. “Z.,” 23, Canterbury - terrace, Maida Vale, W. a FLEET STREET TYPEWRITERS, 115, Fiert-street, E.C.—Lowmst CHARGES. Every kind of Typewriting Work done. Highest speed. 115, FLEET-sTREET, LONDON. Price List. ANOBIUM ERODITUM, THe DEVOURING BooK-woRM, Turns up its nose (and its toes) at STICKPHAST PASTE. MRS. 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THE AUTHORS’ BUREAU LIMITED. A Literary Syndicate and Press Agency. ‘‘A Medium of Communi- cation between Authors, Editors, and Publishers.” Advises upon, revises, and negotiates MSS. Consultations (by appointment only) free.—Address the SECRETARY, 3, Victoria-street, Westminster. PRINTING AND PUBLISHING. TO AUTHORS. Special attention given to the above. Terms moderate Estimates free. ACCOUNTS VERIFIED BY CHARTERED ACCOUNTANT. Address ManacEr, Roxburghe Press, 3, Victoria-street, Westminster. TO AUTHORS & PUBLISHERS. HAMPTON & GCO., 13, CURSITOR STREET, H.C.- Are prepared to submit inclusive ESTIMATES for the PRINTING and PRODUCTION of BOOKS, MAGAZINES, PAMPHLETS, 0R WEEKLY JOURNALS Best WORKMANSHIP. MODERATE PRICES. PUNCTUAL DELIVERY. OUT OF PRINT BOOKS SUPPLIED. THE MOST EXPERT BOOK-FINDER EXTANT. PuEAsE STATE WANTS. 2000 BOOKS WANTED, 5s. to £5 each given. LISTS. FREE, BAKER’S GREAT BOOKSHOP, BIRMINGHAM. Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C. ADVERTISEMENTS. 355 Mr Horace Gox’s New Novels. NOW READY, AT ALL LIBRARIES. In Two Vols., crown Svo., price 21s. eB! CENTURY’S EBB By CYPRIAN COPE. “Tf * At Century’s Ebb’ is Cyprian Cope’s first venture into the field of authorship, she—for the evidence gained from the style is allin favour of a feminine source of origin—may fairly be congratulated on having written a novel containing a good deal of strong incident, much variety of character, and a love interest of an unforced and natural kind. Much praise is due in spiteof some immaturity of style.’—Daily Telegraph, Dec. 15. ey In Three Vols., crown 8vo., price 31s. 6d. > octEe ASIDE. By GWENDOLEN DOUGLAS GALTON (MRS. TRENCH GASCOIGNE). ‘+A Step Aside’ is a stirring BtOTY, in which deep tragedy alternates with light comedy and tender pathos with sparkling humour. . In‘A Step Aside’ there is not a single dull or redundant page. .. In a word, the book is worthy of unqualified praise.” —Daily Telegraph, Oct 20. “A most interesting novel, in which the humour, pathos, and vivacity of the numerous characters are happily blended with some capital descriptive writing of Italian scenery.”—Zssex Times, Oct. 20. Oe Crown 8vo., with Illustrations, price 3s. 6d., Cheap Edition of A STUMBLE ON THE THRESHOLD. By JAMES PAYN. ‘Mr. James Payn’s pleasant story contains a startling novelty. . . . The leading actors are a group of undergraduates of Cambridge University. Mr. Payn’s picture of University society is frankly exceptional. 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 only for 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. . . -’—The Times. ‘“ 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.”’—Saturday Review. ‘* 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 Chronicie. . The dramatic unity of time, place, and circumstance has never had a more novel setting. . . .”— Daily Gr aphic. ‘‘ The most sensational story which the author has written since his capital novel, ‘By Proxy.’ . . . Never flags for a moment.”—The World. “«, . . Ingenious and original. Mr. Payn knows how to invent and lead up to a mystery.”—Black and White. os Crown 8vo., with Illustrations, price 3s. 6d. THE MARTYRDOM OF SOCIETY. By QUILLIM RITTER ‘* For his satirical arrows he has chosen promising game — the heiress who would reclaim the East-end and all humanity; the working man M.P., who thinks to run the nation as easily as a Hyde Park demonstra- tion; the man about town who, to be in the swim, forswears drink to talk about the inequality of social punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the suppression of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants. The most successful passage is that recording the final catastrophe, when the benevolence of the West leads, not to the building of palaces of delight, but to its own destruction by an Hast-end weary of being patronised ; and there is a laugh in the fate of heiress and working man left to punt in peace on a placid river.”"—Pall Mall Gazette. “ This is a powerful one-volume story.”—Publishers’ Circular. ‘*It is an odd world that Henry Jacobson sways. . . . Mr. Quillim Ritter has put it all very cleverly, and added some neat epigrams of his own.”—Black and White. WINDSOR HOUSH, BREAM’S BUILDINGS, EC, 390 ADVERTISEMENTS. PUBLICATIONS OF THE SOCIETY. 1. The Annual Report. That for January 1893 can be had on application to the Secretary. ®. The Author, A Monthly Journal devoted especially to the protection and maintenance of Literary Property. Issued to all Members. Back numbers are offered at the following prices: Vol. L., ros. 6d. (Bound) ; Vols. II. and III., 8s. 6d. each (Bound). 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887. 4, Literature and the Pension List. By W. Morris Conuzs, Barrister-at-Law. (Henry Glaisher, 95, Strand, W.C.) 3s. 5. The History of the Société des Gens de Lettres. By S. Squirz Srricez, 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 Spriegax. In this work, compiled from the papers in the Society’s offices, the various forms of agreements proposed by Publishers to Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements. Henry Glaisher, 95, Strand, W.C. 3s. 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia- ment. With Hxtracts from the Report of the Commission of 1878, and an Appendix containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre and Spottiswoode. 1s. 6d. 9. The Society of Authors. A Record of its Action from its Foundation. By Watrer Besant (Chairman of Committee, 1888—1892). 1s. Windsor House PRINTING WORKS, BREAM’S BUILDINGS, E.C. OrFiIces oF ‘‘ THE FIELD,” ‘THE QUEEN,” “THE LAW TIMES,’”’ &c. Mr. HORACE COX, Printer to the Authors’ Society, takes the opportunity of informing Authors that, having a very large office, and an extensive plant of type of every description, he is in a position to EXECUTE any PRINTING they may entrust to his care. ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND. 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 10 (March 1894) Subject The topic of the resource The Author, Vol. 04 Issue 10 (March 1894) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1894-03-01-The-Author-4-10 publications The Author