https://historysoa.com/files/original/5/270/1894-11-01-The-Author-5-6.pdf e1741fdebe952519b685d132e2ad68b6 PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1894-11-01 Volume 5 Issue 6 Pages Page range in volume 141–168 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18941101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin C be u t b or, (The Organ of the Incorporated Society of Authors. Monthly.) CON DU CTED BY WA. L TER BES ANT. VOL. V.-No. 6.] NOVEMBER 1, 1894. [PRICE SIXPENCE. For the Opinions earpressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as eaſpressing 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 showld 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. *- r- - -, WARNINGS AND ADVICE, I. RAWING THE AGREEMENT.—It is not generally understood that the author, as the vendor, has the absolute right of drafting the agreement upon whatever terms the transaction is to be carried out. Authors are strongly advised to exercise that right. In every form of business, this among others, the right of drawing the agreement rests with him who sells, leases, or has the control of the property. 2. SERIAL RIGHTS.—In selling Serial Rights remember that you may be selling the Serial Right for all time; that is, the Right to continue the production in papers. If you object to this, insert a clause to that effect. 3. STAMP YOUR AGREEMENTs. – Readers are most URGENTLY warned not to neglect stamping their agreements immediately after signature. If this precaution is neglected for two weeks, a fine of £10 must be paid before the agree- ment can be used as a legal document. In almost every case brought to the secretary the agreement, or the letter which serves for one, is forwarded without the stamp. The author may be assured that the other party to the agree- ment seldom neglects this simple precaution. The Society, to save trouble, undertakes to get all the agreements of members stamped for them at no ea pense to themselves eaccept the cost of the stamp. 4. AsCERTAIN what A PROPOSED AGREEMENT GIVES TO BOTH SIDES BEFORE SIGNING IT.-Remember that an WOL. W. 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. 5. LITERARY AGENTS.–Be very careful. You cannot be too careful as to the person whom yow 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. 6. CosT OF PRODUCTION.--Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures. 7. 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. - 8. FuTURE Work.-Never, on any accownt whatever, bind yourself down for future work to anyone. 9. PERSONAL RISK.—Never accept any pecuniary risk or responsibility whatever without advice. Io. REJECTED MSS.—Never, when a M.S. has been re- fused by respectable houses, pay others, whatever promises they may put forward, for the production of the work. II. AMERICAN RIGHTS.—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. I2. CESSION OF COPYRIGHT.-Never sign any paper, either agreement or receipt, which gives away copyright, without advice. 13. ADVERTISEMENTs. – Keep some control over the advertisements, if they affect your returns, by a clause in the agreement. I4. 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, Portugal, STREET, LINCOLN's INN FIELDs. *— - -* HOW TO USE THE SOCIETY. I. VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub- lisher, 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 O 2  ## p. 142 (#156) ############################################ I 42 THE AUTHOR. 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 is in 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. 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 Awthor notes of everything important to literature that you may hear or meet with. *- ~ * & -s THE AUTHORS' SYNDICATE, EMBERS are informed : I. 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 booking fee is charged to cover postage and porterage. 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 all communications relating thereto are referred to it. 5. That clients can only be seen by the Director by appointment, and that, when possible, at least four days’ notice should be given. 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. 8. That the Syndicate undertakes arrangements for lectures by some of the leading members of the Society ; that it has a “Transfer Department' for the sale and purchase of journals and periodicals; and that a “Register of Wants and Wanted * has been opened. Members anxious to obtain literary or artistic work are invited to com - municate 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. --sº e--- - - 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 Awthor 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 or dishonest ? 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 P If they will do this, and remit the amount, if still unpaid, or a banker’s order, it will greatly assist the Secretary, and save him the trouble of sending out a reminder. Members are most earnestly entreated to attend to the warning numbered (8). It is a most foolish and may be a most disastrous thing to enter into an agreement binding 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 Of course they would not. Why then hesitate for a moment when they are asked to sign them- selves into literary bondage for three or five years P Those who possess the “Cost of Production" are requested to note that the cost of binding has advanced 15 per cent. This means, for those who do not like the trouble of “doing sums,” the addition of three shillings in the pound on this head. In other words, if the cost of binding is set down in our book at eight pounds, to this must now be added twenty-four shillings more, so that it now stands at £948. The figures in our book are as near the exact truth  ## p. 143 (#157) ############################################ THE AUTHOR. I 43 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. * * = ELECTION OF MEMBERS. T the first meeting of committee after the vacation on Oct. 8, twenty-eight new members and associates were duly pro- posed and elected. There have been 196 new members elected since the beginning of the year. Against these, however, must be placed the number of those who are every year struck off the list either by death, or by resignation, or by neglecting to pay their subscription. Cases have arisen in which authors have joined for the purpose of obtaining aid and redress, and have then retired when their case has been won for them. In other words, they pay a guinea, put the Society to the expense of many guineas, and then retire. Authors are earnestly entreated to remember that the society exists for the common good; that to regard it as solely a means of obtaining individual advantage is contrary to the whole spirit of the association; that to carry a single case through often costs the subscriptions of a great many members, and that were it not for the subscriptions of those who are not likely to need its services at all, the Society would not be able to exist, or would be reduced to a powerless condition. > c: LITERARY PROPERTY. I.—PAYING FOR PUBLICATION. HE advice of the Society with regard to payment for publishing is that a MS. which is refused by half a dozen good houses is probably without commercial value. The author, however, is too often persuaded that it possesses sufficient literary merit to justify him in paying for its production. He then receives an estimate from the firm to which he applies. In general this estimate is called Messrs. A. and B.’s “charge” for producing the work. It used to be called the “Cost of Production.” It is now Messrs. A. and B.’s “charge.” The charge includes a very liberal addition to the printer's bill—for themselves. It is a secret profit, and therefore absolutely indefensible. Of course a charge for services may be advanced, and may be granted, but it should be made openly. The following are quite recent examples of this method of giving estimates. They were brought to the Society, and through the machinery at the disposal of the Society the books were actually produced at the price given below, after that of the original estimate. It should be added that the actual publisher, not the person who sent in his “charges,” was in each case a fit and proper person, and that the books were produced in the best possible style of print and paper. First case.—Estimate for printing, paper, and binding ... ... ... 378 Actual sum paid for produc- tion ... . . . . . . . ... 38 Second case.—Estimate for printing, paper, and binding 39.18O Actual sum paid ... ... ... 8O Third case.—Estimate for printing, paper, and binding e tº ſº £220 Actual sum paid I 50 In the first case an overcharge was made of £40, in the second an overcharge of £IOO, and in the third of £70. In the first case the author was saved 50 per cent. On the first charge, in the second 55 per cent., in the third 32 per cent. It seems, therefore, as if it were worth the consideration of authors about to pay for their own books, whether they should bring their estimates to the Society before signing their agreements. II.—CANADIAN COPYRIGHT. The following letters have appeared in the Times. That by Mr. Lancefield may be fairly assumed to represent the Canadian view : that by Mr. Daldy the answer of one who has long worked upon the question. The subject has been referred by the London Chamber of Com- merce to a committee upon which the Society of Authors is properly represented. The letters are given at length for obvious reasons. I.—To the Editor of the Times. SIR,--I have only recently seen a letter which appeared in your valuable paper some time ago (May 3, 1894) from Mr. F. R. Daldy on the question of Canadian copyright. Some of Mr. Daldy's statements certainly require correc- tion, as the views he set forth in his letter (which letter, I understand, was printed in full in various literary journals in England) place Canadians in  ## p. 144 (#158) ############################################ 144 THE AUTHOIR. a most misleading and unfair light before your readers. In the first place, Mr. Daldy writes, he has “reason to believe that Canada has asked the Imperial Government to repeal all British Copy- right Acts so far as it is included under them and also to denounce Canada's connection with the Berne Convention.” This is correct. And why not P The B.N.A. Act of 1867 gives Canada the right to legislate on copyright, the same as on tariffs, patents, &c. The Imperial Government allows us to pass such laws as we please with regard, for instance, to patents. We assert the same right with regard to copyright, and we maintain our position strengthened by the knowledge that every argument is in our favour. Mr. Daldy's second count deserves serious con- sideration. Not content with referring sneeringly to a royalty which the Canadian Government will collect for those who refuse or neglect to secure copyright in Canada as a “visionary” royalty, he says “no consideration whatever has been shown to artists and musical composers.” A serious indictment, if true. But what are the facts P I have before me the Canadian Copyright Act of 1889, passed unanimously by sº the House of Commons and Senate of the Dominion of Canada, but to which the Imperial Government refuses sanction. This Act enacts that “Any person domiciled in Canada or in any part of the British possessions who is the author of any book, map, chart, or musical or literary composi- tion, or of any original painting, drawing, statue, sculpture, or photograph, or who invents, designs, etches, engraves, or causes to be engraved, etched, or made from his own design any print or engra- ving, and the legal representatives of such person or citizen,” may secure copyright in Canada for twenty-eight years. It would appear from this that Mr. Daldy is either grossly ignorant on this question of Canadian copyright, or that he is deliberately misrepresenting the action of the Canadian Government, presumably in order to create and foster ill-feeling in England. Again, Mr. Daldy says “that it is no more difficult for Canadian than for United States publishers to enter into contracts with authors and artists direct.” Very nice in theory, but under present conditions practically impossible to put into practice. Why? Because the United States publisher, in nine cases out of ten, when buying the market for a new book, insists on Canada being included. The Canadian people, therefore, present the satisfaction (?) of seeing their market quietly handed over by the British author or publisher to alien United States publishers. have at Surely you cannot blame us for making an earnest, decided, emphatic protest against such a practice. Canadians are not surprised at the alien United States publishers insisting on the Canadian market being included. That is their business—to get all they can, and more, too, if possible. But we are surprised at the British authors and publishers conceding to the demand of the United States publishers. And we are doubly surprised that the British authors and publishers are our principal opponents when we ask the Imperial Government for such legislation as will enable us to say to the United States publishers, “You cannot control the Canadian market except on our own terms.” We are proud of the fact that we are part and parcel of the great British Empire. The recent conference of Colonial delegates at Ottawa proves that we are alive to our responsibilities to the Empire. I submit that it is not an edifying spectacle to witness many of our brethren in England making desperate and, as I have shown, unfair attempts to create prejudice against us in our efforts to secure our book market from the grasp of alien publishers. In any case we intend to expose such attempts and to persist in our agitation, as we are con- vinced that the Imperial Government must soon see the justness of our case and grant the relief asked for. - Mr. Daldy signs himself “Hon. Secretary of the [British PJ Copyright Association.” Very many are apt to look upon him as an authority on copyright. I have already shown that his statement as to no consideration whatever being shown by the Canadian Government to artists and musical composers is untrue. He is equally unreliable when he tries to frighten British authors and artists by the statement that if the British Government yields to the Canadian demand the English relations on copyright with the United States would be upset. Mr. Daldy's argument, then, is that justice must be denied Canada because, if granted, English copyright arrangements with the United Sta'es will suffer. What utter nonsense ! But Mr. Daldy reaches the height of absurdity when he gravely asserts that “the United States Government made the consent of Canada that American copyright should run in that Dominion a leading condition of their conceding it to the British nation.” This is news to us in Canada. Our consent was never asked to any such agreement. The British Government could not give the consent of Canada without first securing that consent. Neither the British Government, Mr. Daldy, nor the Copyright Association he represents need  ## p. 145 (#159) ############################################ THE AUTHOR, I 45 think that Canada will recognise any arrange- ment without first consenting thereto. Mr. Daldy knows, without being told, that the day has gone by when the consent of Canada to a question so important as this of copyright can be taken for granted before formally securing said consent through the usual diplomatic channels. Thanking you for granting me space, I remain, Sir, yours in the bonds of Imperial Unity, RICHARD T. LANCEFIELD. Public Library, Hamilton, Canada September. II.—To the Editor of the Times. SIR,--The charges brought against me in Mr. Lancefield’s letter, published by you on the 11th inst., require, I think, an answer so far as the subject-matter of them is concerned, though I must respectfully decline to take more notice than is necessary of his personalities. He says, “I have placed Canadians in a most misleading and unfair light before your readers.” I certainly had no desire to do this, and I hope the following observations will satisfy your readers that I have not done so. He admits that Canada has asked the Imperial Government to repeal all British Copyright Acts so far as they include that Dominion, and says Canada has the right to legislate on copyright under the British North American Act of 1867. If Canada has that right, why ask England's help ? Lord Selborne and Lord Herschell, when at the Bar, on Nov. 7, 1871, advised the Copy- right Association that the above legislative authority “ has reference only to the exclusive jurisdiction in Canada of the Dominion Legisla- ture, as distinguished from the Legislatures of the provinces of which it is composed,” and they further said that the “Imperial Act 5 & 6 Wict. c. 45 (our principal Copyright Act), is still in force in its integrity throughout the British dominions.” This view is corroborated by the decision in “Smiles v. Belford ” of the Supreme Court of Upper Canada and the opinions of recent law officers of the Crown. Mr. Lancefield objects to my reference to the way in which Canada collects, or neglects to collect, the royalty due to British and Colonial authors under the Imperial Act of 1847 and the Canadian Act of Aug. 1850, approved by Imperial Order in Council made Dec. 12, 1850. Perhaps he will not be suprised to hear that this royalty has only been spasmodically collected, although the Act was passed for Canada's benefit, and she undertook to make the collection. It is notorious that many books were imported by Canada without payment of this royalty, and I have before me now a correspondence showing that a copyright owner, who was entitled to royalty since 1883, had to send an agent to Canada, who traced one payment in 1885, but the customs authorities in Canada could not even then discover the collection of royalty on any other occasion, although the work had been largely circulated throughout the Dominion before that time. The first payment of this royalty, not in full, but “on account,” was not received by the copyright owner till 1889. Can Mr. Lancefield be surprised at the incredulity of English authors as to her honestly carrying out her engagements? Mr. Lancefield quotes from the Canadian Act of 1889 to prove that artists have received due consideration. He quotes the 4th section of that Act, but omits any reference to the 5th, which says the condition of obtaining copyright under the Act is that such artistic work shall be repro- duced in Canada within one month of production elsewhere. Hence, to obtain copyright under the Canadian Act, Sir F. Leighton, or any artist, must go to Canada and reproduce his picture there within a month of publication here. A new opera must be represented there within the same time. Am I right in saying “no consideration whatever has been shown to artists and musical composers ?” Is it not a mockery to offer copy- right on such terms? Mr. Lancefield says Canadian publishers cannot acquire copyright from British authors because United States publishers buy the Canadian market with the American market. Why does not the Canadian purchaser come forward first and buy the two markets P It is all a matter of commercial competition. Mr. Lancefield seems to think authors hand over their works to United States publishers by preference. What they prefer, and what they are entitled to, is the best price for the two intermixed markets, because it is against their interests to sell either separately. This arises from American, not British, legisla- tion. Mr. Lancefield cannot expect authors to forego the value of their copyrights in America merely to help Canadian reprinters to get the printing of them. Let Canadian printers come forward earlier, before American arrangements are made, and buy both markets. I regret to say American copyright for British authors is jeopardised by the apprehension of our allowing Canadian printers to reprint copy- right books without the author's sanction, and that on most trustworthy authority. Perhaps my observation about the consent of Canada as to American copyright running there is rather unfortunately worded, as of course her consent was not required. The facts are that the United States Government asked if American  ## p. 146 (#160) ############################################ I46 THE AUTHOR. copyright ran in all British possessions, and, on Lord Salisbury assuring the United States Government that it did, the United States Government issued its proclamation giving the authors, &c., of “Great Britain and the British possessions” copyright throughout the United States. (See United States Papers, No. 3 (1891), Correspondence on United States Copyright Act.) I am glad to find Mr. Lancefield proud of Imperial unity. Will he, in obedience to its requirements, advocate “copyright unity” as far as we are able to promote it? The laws of copy- right are too much mixed up with the commercial handling of copyright property. The one gives the title to the property; the other utilises it to the best advantage. I am, Sir, your obedient servant, FREDERIC R. DALDY. Aldine House, Belvedere. III.-LITTLETON ET AL. v. OLIVER DITSON Co. The inclosed judgment from one of the circuit courts in Massachusetts, supporting the decision recently published on musical copyright, may be of interest to the readers of the Author : LITTLETON ET AL. 27. OLIVER DITSON CO. (Circuit Court, D. Massachusetts. Aug. 1, 1894.) No. 3065. Copyright—Musical compositions—Manufacture in United States. The proviso in sect. 3 of the Copyright Act of March 3, 1891, that “ in the case of a book, photograph, chromo, or lithograph,” the two copies required to be delivered to the librarian of Congress shall be manufactured in this country, does not include musical compositions published in book form, or made by lithographic process. THIs was a suit by Alfred H. Littleton and others against the Oliver Ditson Company for infringement of copyrights. Lauriston L. Scaife for complainants. Chauncey Smith and Linus M. Child for defendant. CoLT, Circuit Judge.—This case raises a new and important question under the Copyright Act of March 3, 1891 (26 Stat. I IO6). The plaintiffs, subjects of Great Britain, and publishers of music, have copyrighted three musical compo- sitions, two of which are in the form of sheet music, and one (a cantata) consists of some ninety pages of music bound together in book form, and with a paper cover. Two of these pieces were printed from electrotype plates, and one from stone, by the lithographic process. The inquiry in this case is whether a musical composition is a book or lithograph, within the meaning of the proviso in sect. 3 of the Act, which declares that in the case of a “book, photograph, chromo, or litho- graph " the two copies required to be deposited with the librarian of Congress shall be manufac- tured in this country. The Act of March 3, 1891, is an amendment of the copyright law then existing. The principal change made is the extension of the privilege of copyright to foreigners by the removal of the restriction of citizenship or residence contained in the old law, and hence it is sometimes called “The International Copyright Act. Section I relates to the subject-matter of copyright, and delares that: The author, inventor, designer, or proprietor of any book, map, chart, dramatic or musical composition, engraving, cut, print, or photograph or negative thereof, or of a painting, drawing, chromo, statue, statuary shall, upon complying with the provisions of this chapter, have the sole liberty of printing, reprinting, publishing, &c. Section 3 recites the conditions which must be complied with, and says: No person shall be entitled to a copyright unless he shall, on or before the day of publication in this or any foreign country, deliver at the office of the librarian of Congress, or deposit in the mail within the United States, addressed to the librarian, a printed copy of the title of the book, map, chart, dramatic or musical composition, engraving, cut, print, photograph, or chromo, or a description of the paint- ing, drawing, statue, statuary, for which he desires a copyright, nor unless he shall also, not later than the day of the publication thereof in this or any foreign country, deliver at the office of the librarian • OT deposit in the mail within the United States, addressed to the librarian, two copies of such copyright book, map, chart, dramatic or musical composition, engraving, chromo, cut, print, or photograph, or in case of a painting, drawing, statue, statuary, model, or design for a work of the fine arts, a photograph of same : provided, that in the case of a book, photograph, chromo, or lithograph, the two copies of the same required to be delivered or deposited as above shall be printed from type set within the limits of the United States, or from plates made therefrom, or from negatives, or drawings on stone made within the limits of the United States, or from transfers made therefrom. From the language of these provisions it seems clear that “book” was not intended to include “musical composition.” In the section which enumerates the things which may be copyrighted, “musical composition ” is mentioned as something different from “book,” and we find this same dis- tinction twice observed in the preceding part of the section which contains the proviso. It is as reasonable to suppose that “book” and “musical composition ” were as much intended to refer to different subjects as “map, chart, engraving,” and other enumerated articles. If Congress, in the proviso, had intended to include a musical composition among those copy- righted things which must be manufactured in this country, it should have incorporated it in the  ## p. 147 (#161) ############################################ THE AUTHOR. I 47 list of things subject to this restriction. The omission in the proviso of “musical composition,” as well as of “map, chart, engraving,” and other things before enumerated, is very significant, as intimating that Congress never intended to extend this provision to any of these articles. And so, with respect to “lithograph,” if Congress had intended to cover by that word a musical compo- sition made by the lithographic process, it should have expressed its meaning in clear and unam- biguous terms, in view of the language used in other portions of the statute. If there is any doubt as to the meaning of the statute, it is proper to examine the history of legislation on this subject, in order, if possible, to discover the intent of Congress. As the bill passed the House of Representatives, this proviso was limited to “book,” but when it reached the Senate an amendment was offered and passed extending the proviso to various other subjects of Copyright, as “map, dramatic or musical compo- sition, engraving, cut, print,” &c. A conference committee was appointed, and a compromise was agreed to enlarging the house provision by the addition of “photograph, chromo, or lithograph,” and the bill was finally passed in this form. In the debate in the Senate, reference was made to the fact that musical compositions had been eliminated from the proviso. The first and funda- mental rule in the interpretation of statutes is to carry out the intent of the Legislature if it can be ascertained, and I think an examination of the proceedings in Congress shows that it was intended to exclude musical compositions from the operation of this proviso: (22 Cong. Rec. pt. I, p. 32 ; pt. 3, pp. 2378, 2836; pt. 4, p. 3847.) “Book” has been distinguished from “musical composition ” in the statutes relating to copy- right since 1831 : (4 Stat. 436.) The specific designation of any article in an act or series of acts of Congress requires that such article be treated by itself, and excludes it from general terms contained in the same act or in subsequent acts: (Potter, Dwar. St. pp. 198, 272; Homer v. The Collector, I Wall. 486; Arthur v. Lahey, 96 U.S. 112 ; Arthur v. Stephani, Id. 125; Vietor v. Arthur, IO4 U.S. 498.) If, in a popular sense, and speaking particularly in reference to form, “book” may be said to include a musical composition, the answer to this proposition is that where two words of a statute are coupled together, one of which generically includes the other, the more general term is used in a mean- ing exclusive of the specific one : (Endl. Interp, St. sect. 396; Reiche v. Smythe, 13 Wall. 162.) The reasoning upon which this rule of specific designation is based is that such designation is WOL. W. tions to the Survey of the Literature of the Reign. expressive of the legislative intention to exclude the article specifically named from the general term which might otherwise include it: (Smythe v. Fiske, 23. Wall. 374, 38o ; Reiche v. Smythe, 13 Wall. 162, 164.) The English cases cited by the defendant to the effect that “book” includes “ musical composition '' are not material in the present controversy, because the statute law of the two countries is different. The early English statute of 8 Anne, c. 19, says, in the preamble, “books and other writings,” while, in the modern English statute (5 & 6 Wict. c. 45, s. 2), “book’’ is defined to include various specific things, as “map, chart, sheet of music,” &c Nor do the American cases cited (Clayton v. Stone, 2 Paine, 382, Fed. Cas. No. 2872 ; Scoville v. Toland, 6 West. Law J. 84, Fed. Cas. No. 12,553; Drury v. Ewing, I Bond, 540, Fed. Cas. No. 4095) help the defendant. In none of these cases has the question ever been determined whether a musical composition is a book. It must also be remembered that the question now presented is not strictly whether a musical composition can ever be regarded as a book, but whether Congress meant in the Act of March 3, 1891, to include musical composition within the terms of the proviso referred to. Nor do I think the dictionary definitions of “book” render us much assistance, because the word is used in so many different senses. It may refer to the subject-matter, as literary composition ; or to form, as a number of leaves of paper bound together; or a written instrument or document; or a particular sub- division of a literary composition; or the words of an opera, &c. Looking at the natural reading of the statute, the intent of Congress, and the rules which govern the construction of statute law, I am of opinion that the plaintiffs have complied with the provisions of the Act of March 3, 1891, respect- ing the three musical compositions complained of, and that the defendant should be enjoined from reprinting, publishing, or exposing for sale these compositions, or any essential part of them, as prayed for in the Bill. Injunction granted. IV.-ContLNUATION BY ANOTHER HAND. The following advertisement appeared in the New York Critic : - MASTERPIECES OF ENGLISH LITERATURE.-Entirely New and Finely Illustrated Editions.—A History of Our Own Times, from the Accession of Queen Victoria to the General Election of 1880. By Justin McCarthy, M.P. With an Introduction, and Supplementary Chapters bring- ing the work down to Mr. Gladstone's Resignation of the Premiership (March, 1894); with a New Index, and Addi- By G. P  ## p. 148 (#162) ############################################ I48 THE AUTHOR. Mercer Adam, author of “A Précis of English History,” &c. Profusely illustrated with new half-tone portraits of states- men and littérateurs. 2 vols., 12mo, handsome cloth, $3.oo; or, in three-quarter calf, $5.00. Popular edition, 2 vols., 12mo., without illustrations, cloth, $1.50. This advertisement was forwarded on to the offices of the Society by Mr. Justin McCarthy, M.P. Mr. McCarthy is indignant, and very naturally so, at the course the American publishers have thought fit to adopt, and all persons who are interested in the maintenance of literary property will no doubt support Mr. McCarthy's view as strongly. The work was published prior to the American Copyright Act, and therefore fell a lawful prey to the American reproducer. It has been selling in America for some years past in a cheap paper-bound edition. The author may perhaps have felt hurt that a work, the outcome of his brain, should be so freely circulated without bringing him in any- thing, but in those days, when books were pub- lished in England, the author produced his work with his eyes open to the possible consequences. But here insult has been added to injury, and Mr. McCarthy’s work has not only been appro- priated, but has also received the honour of an intro- duction, and several additional chapters to bring it up to date, from the pen of G. Mercer Adam. Surely it would have been an easy and courteous matter for the publisher to have written a line to the author or his English publisher to ask whether he had any views as to the continua- tion of the work. - Neither Messrs. Chatto and Windus nor Mr. McCarthy have had a line of notice, and the advertisement of the book in its present American form was the first intimation of what had taken lace. It is needless to say that there is no legal remedy, as the pnblishers have in their adver- tisement fully owned up to the additional chapters and their authorship. If this had not been done, but the work with added matter had been published under Mr. McCarthy's name—a pro- ceeding which has been known to take place with the works of other English authors—he might, perhaps, have had, some remedy under the American case quoted in last month's Author, p. 117, and the question might have been discussed under the law of trade marks and misleading the public. It is not worth while going into this side of the question, as even this point is doubtful. The American publisher has avoided this difficulty by openly avowing the facts. . But the unfortunate author, who has for some time been meditating the completion of his work, has had the American market taken away from him. Since the above was written Mr. McCarthy’s publishers, Messrs. Chatto and Windus, have received a letter from the American publisher, printed below. This letter bears out all the points put forward above, and explains how little regard is shown for the author and originator of a work, and how little thought or care may be bestowed upon the simple and familiar process of using for a man’s own profit the work of another man's brain—especially when there is no fear of legal consequences. Oct I I, 1894.—Dear Sirs, I am in receipt of your letter of the 1st. Oct., and am somewhat surprised that your remonstrance on behalf of the author of the “History of Our Own Times” should be addressed to us for issuing a continuation of the work. There are any number of editions of this work, which is not copyrighted, published in this country, and, therefore, it appears to me your remonstrance for continuing a non-copyright work is extremely ill-founded. Had I known that Mr. McCarthy intended to write a con- tinuation of his work, I should, of course, have been much pleased to have negotiated with him or his publishers for the American copyright, but under all the circumstances I can- not think that I have dome either him or you such an injury as entitles you to write me in the way you have, and I remain, —Yours very truly, CHARLEs W. Gould, Receiver.— Messrs. Chatto and Windus. -*--~~~~~ -------- LETTER FROM PARIS. AM writing this on the eve of my return to Paris, in a room full of the disorders of departure. The weather is so fine that it might be July rather than mid-October, and the sea is still very tempting for long and hazardous swims. But the vines are all leafless in my garden, and in the fields around the Indian corn has been harvested ; and, after all, as go one must, it is better to leave the country with a good im- pression and under smiling circumstances, than to outstay Nature's welcome and see in the farewell moment, a sullen face. “It is two days since we returned to Paris, and though my Parisienne is delighted to find her- self in her town once more, my little Edmée and I continue to regret the golden horizons of our peaceful Champrozay.” So writes Alphonse Daudet to me. In the same letter he says that he wishes to converse with me about “la perfide Albion,” which he has never seen, but wishes to visit before he “passes his rifle to the left.” I should not be surprised if, as a result of our con- versation, he were to pay a visit to England ere long. In looking over Daudet’s “Lettres de Mon Moulin’” the other day, I came across a quotation from his favourite Montaigne, which he applies  ## p. 149 (#163) ############################################ THE AUTHOR. I49 to his friend the Provençal poet, Mistral. It occurred to me that the advice is so good, that for those of our readers who do not know, it may well be here reproduced : “Souvienne-vous de celuy à qui comme on demandoit à quoy faire il se peinoit si fort, en un art qui me powvoit venir à la cogmoissance de guére des gens. J'en ay assez de peu, repondict-il. J'en ay assez d’un. J'em ay assez de pas un.” No better consolation could be found by the man of letters, who, doing his best, does not secure a success of popularity. But he must do his best. He must peiner fort. A group of distinguished Frenchmen were the other day discussing in my presence the young littérateur of to-day, who, after setting forth some great idea for a book, will add, with a sigh, “If only some publisher would give me an order for it.” It never occurs to him to write the book, for the sake of writing it, with the conviction that when written it will surely find both a pub- lisher and a public. We were all surprised to read Mallarmé's name in connection with the proposal that the State should inherit all lapsed copyrights and republish books for the general profit. Surprised, because of all living men of letters, Stephane Mallarmé is perhaps the one who has ever least troubled about the property side of literature. His own magnificent writings he printed at his own expense, in a most luxurious fashion, for himself and a very few friends. He has probably never received a sum of forty pounds, all reckoned, from the publishers. The proposal seems an ill-considered one. Fancy what a bitter stepmother the State, moved by odious political considerations, would be towards the work of certain authors. The power granted by this proposal, if it were carried into effect, would be tantamount to one of life and death, and the immortality, after which most writers strive as their highest and best reward, would be at the disposal of Government officials. With what glee would these censors condemn to obscurity the works of all those whose opinions clashed with the opinions which the Government desired to promulgate, and how lavishly would the writings of Prudhomme and Company be spread abroad One power might, to my thinking, be granted to the Government, namely, the right of levying on the profits of those who publish an author's works after the copyright in these has become public property, a trifling sum, sufficient to keep the grave of this author in decent and respectable order. If out of all the money which the pub- lishers have gained by publishing Oliver Goldsmiths's works a few pounds had thus been exacted, London would not to-day have the WOL. W. shame of Goldsmith’s abandoned and ruined grave, which anyone may see in the Temple, and blush at our English sordidness. The De Maupassant memorial subscription, which had never attained a figure in any way com- mensurate to the very modest requirements of the committee, was handsomely increased the other day by a donation of £200, subscribed by a person who expressed a wish to remain unknown. Poor De Maupassant seems to have passed into oblivion. His books are little asked for, and the dealers in the photographs of celebrities have ceased to keep his portrait in stock. One dies fast in these days. Poor Henry Hermann. He spent some years in France, and was at one time the collaborator of D. C. Murray. His forte was in the creation of plots, but he was less successful in delineation of character, description, and elaboration. Owing to an infirmity of the eyes he was forced to dictate to a secretary, and would grow quite excited as he dictated. “That’s literature, my boy,” he would exclaim, after composing some passage which pleased him particularly. When I knew him he had fallen on penurious days, and it was mournful enough to see so old a man, who had been so liberal in his days of fortune, often worried for the wherewithal to pay his rent or to buy his dinner. His courage, his industry, his cheerfulness of spirits were unflagging, and an excellent example. . It occurs to me that we of the Society of Authors might subscribe the trifling sum neces- sary for restoring Goldsmith’s grave. The whole expense would barely exceed £20, so that one hundred admirers, at four shillings each, could put the matter right. - I was interested in Mr. Hill's suggestion for a new form of paper for the typewriter, because a few days before the Author for last month came into my hands I had had exactly the same idea. I admit that I had not thought of the double roller for duplicating purposes. On reflection, however, I had come to the conclusion that the loss of time in cutting the length of paper, after it had been written on, into suitable takes, would be greater than the time lost at present in filling the machine with the sheets as supplied by the manufacturers. Certainly for the writer who prides himself on great production it would be pleasant, on rising from his machine, to see coiled on the floor, say eight yards of copy, but the coils might be cumbersome, and I can even imagine a fin de siècle Laocoon writhing in the embrace of a paper serpent. As it is, the type- writer produces too fast for a man to use it for his best work, and it is only by careful revision that typewritten copy can be made fairly prºble P  ## p. 150 (#164) ############################################ 150 THE AUTHOR. One would accordingly prefer to hear of the inven- tion of a drag or break to check its speed. At times, certainly, where speed is the requisite, the machine renders excellent service. One remembers T. P. O'Connor’s “Life of Parnell,” which was produced so quickly; and I myself, on a day when I was very hard pressed, achieved 25,000 words of a translation in twelve hours. Léon Daudet’s “Les Morticoles '' is now in its seventeenth edition, of a thousand copies to the edition. This mean £400 to the good already, apart from royalties to come, both from further editions and from republication in the provincial papers. As Léon is only twenty-seven years of age he may be said to have enjoyed exceptional good fortune. I know of no French writer of standing whose début can, in point of success, be compared to his. We will not speak of Xavier de Montépin, who from the age of twenty mever made less than two thousand a year, because we do not consider him a writer. A circumstance of which we English may be proud is that of all foreign novelists it is our great George Meredith who is most esteemed by the French. I don’t mean to say that his works have a large sale in France, but I can vouchsafe the fact that the cultured who know English have his books, and that those who cannot read English are always glad to hear him discussed. His name is constantly referred to in the literary papers, and he is very evidently an influence in France. Does George Meredith know this P. There is also great curiosity about Thomas Hardy, and at the Authors’ Club dinner to M. Zola last year, Zola told me that he should advise Charpentier to arrange for a French translation of Hardy’s works. I believe that a French publisher who would produce a cheap edition of translations from our best English authors would make money. The French are sick of pornography, and are hungering for more solid fare. Young Léon's success is a proof of this. Unfortunately the French writers who know English so perfectly as to be able to give an adequate version of Meredith say, or Hardy, are very few ; on the other hand, French publishers do not care to pay anything like a fair price for translation. Eight pounds, or, in a liberal moment, ten, are considered a fair price for translating an ordinary novel. Hachette bought “David Copperfield” for twenty pounds, and paid the translator a similar sum, and this was a great event in hackdoms Translating is good exercise for writers who are afflicted with the knowledge of other languages than their own. I use the word “afflicted ” advisedly, for it is an established fact that the linguist never writes his own language as well as the writer who knows no other tongue *-- - He loses the sense of value of words, he falls into curious constructions, and may even, unconsciously be guilty of laches in grammar. In translating he has to pull himself together, to strive after the genius of his own tongue, to remember its charac- teristics, forgotten in the Babel of his brain. Amongst recent publications I notice a volume of essays by Maurice Barrés, chez Charpentier. It is entitled “Du Sang, de la Volupté et de la Mort.” Well, well, well RoBERT H. SHERARD. *-- ~ * “DISCOUNT PRICES.” IN 1852. HE frugal book-buyer will have noticed that for some time past attempts have been made by publishers, not by any means of the smaller sort, to abolish the system of “dis- count prices.” This question is not to be re- garded as a formal business detail, affecting “the trade ’’ alone, it is closely connected with authors’ and readers’ rights, and it seems not unlikely that a serious controversy may ensue upon this movement in the book trade. As the whole question was raised and discussed some forty years ago, it may be profitable to follow in some details the features of the older crisis. The practice of booksellers giving discount off publishers' prices was first commented on at the beginning of this century, and increased with the improvement in communications, till in 1848 a Booksellers’ Association was formed to counter- act it. The prime movers in the scheme were not retail booksellers but publishers, and they were supported by nearly the whole body of book- sellers and publishers in London. In July, 1851, a stringent agreement was entered into ; the sub- scribing publishers, bound themselves to supply books at trade price to members of the Asso- ciation only; the booksellers agreed not to give more than IO per cent. discount to private Customers, or 15 per cent. to book societies. The trade discount being admittedly 33 per cent. on an average, it is evident that a considerable pro- fit was left for the booksellers. Anyone offending systematically against the regulations was to be expelled. The rule worked laxly from the first, for on the one hand members put a loose inter- pretation on the word systematically, and gave as much as 20 per cent. discount to large purchasers, without incurring the displeasure of the Associa- tion. Occasionally, however, the severest measures were taken against offending mem- bers, and, finally, one case threw the whole of the trade into a ferment. One member, an importer of American books, thought it would be  ## p. 151 (#165) ############################################ THE AUTHOR. 151 *: more profitable, instead of disposing of his wares to “the trade” at the customary large discount, to sell directly to the public, charging them cost price, plus a percentage for profits. The matter was taken up by the Association, and the member, proving contumacious, was expelled (Jan. 1852). In his fall, however, he had with him the sympathies of the public and of part of the trade. Hereupon a fierce newspaper war sprung up, the Times and the Westminster Review particularly taking up the cause of the rebellious Associates in the public interest. Such was the heat of the quarrel that the “trade” became anxious, for their own sakes, to patch it up, and : was resolved to submit the matter to arbitra- 1Oll. Lord Campbell, George Grote, and Dean Milman were selected as arbitrators “for the purpose of deciding whether the Booksellers' Association should be carried on under its then regulations or not, it being understood that the decision of Lord Campbell and the other literary gentlemen should be binding on the Committee, who agreed, if the decision were adverse, to convene the trade and resign their functions” (April 8). The arbitrators first met on the 15th of the same month, but the Association had it all its own way on that occasion, their opponents absenting themselves on the ground that they had been summoned only at the last moment; or, in some cases, that compromise was out of the Question. Lord Campbell refusing to sum up when only one side had been heard, the meeting was adjourned till May 17. Meanwhile, on May 8, a meeting was held at the rebellious member's house, with Charles Dickens in the chair, in opposition to the Association, when Lord Campbell, George Grote, and Dean Milman were selected as arbitrators (April 8). The Times report of this meeting is curious to read. The great novelist, in opening the proceedings, said that at first he had been disin- clined to associate himself with the agitation, as it appeared to be purely a booksellers' question, but that he had acceded, seeing that a principle was at stake on which he felt very strongly : “that every man should have free exercise of his thrift and enterprise.” Mr. Babbage (the “tabulator,”) appeared as the champion of “Manchester Chum,” and wanted to know why books should be excepted from the beneficent operation of Free Trade, and moved a resolution accordingly. Tom Taylor, “speaking as a book-worm, a mere consumer of books, inclined to think that the booksellers must follow the farmers, and give in to Free Trade. Professor Owen, seconded by Professor Lankester, put a resolution, which was unanimously passed, that the regulation of retail prices acted unfavourably by adding to the already high prices of books on science, which have a limited circulation. George Cruikshank had no practical suggestion to make, he merelv enjoined peace and goodwill. Mr. Dickens' letter, conveying the resolutions, was laid before the arbitrators, when proceedings were resumed to listen to the case against the Association. The able summing-up of Lord Campbell on behalf of the arbitrators affords a convenient summary of the views prevalent on either side. He thought the regulations enforced by the Association to be primá facie unreasonable, since to fix the price at which the retailer was to sell was a derogation from the right of ownership which he had acquired. Again, the regulations were said to be voluntary, but he believed, and had been assured by correspondents among the retailers, that they were not effective without coercion, which took the form of refusing to supply to non-members, and thus preventing them from earning a living. The advocates of the existing system had admitted that in order to prove the justice of the regulations, it would have to be shown that bookselling was different from other trades, and had attempted this by saying that the authors were protected (by the Copyright Acts) and so should the dealers be. Lord Campbell pointed out that the only pro- tection given to authors was that which the law. gave to property of every description. What weighed most with him, he said, was the peculiar mode in which the wares in the book trade was distributed. There was, no doubt, a great advan- tage to literature in the existence of respectable book shops all over the country, and, doubtless, their practice of having books in stock for inspection, which under a system of unlimited competition they might not be able to keep up, often produced purchases that would otherwise not have been thought of. He hoped, however, that the lessening of profits would be accom- panied by enhanced sales, and so by greater prosperity in the trade. It had also been asserted that although the removal of the regulations might not affect the sale of works by well-known writers, “that the meritorious, but second-rate, could not without a law against underselling, be ushered into the world.” Even so, said Lord Campbell, we should deny the justice of aiding dull men at the expense of men of genuis. - “For these reasons,” said the arbitrators, “we think that the attempt to allege the alleged exceptional nature of the commerce in books has failed, and that it ought to be no longer carried on under present regulations. We do not intend to affirm, however, that excessive profits are received  ## p. 152 (#166) ############################################ I 52 THE AUTHOIR. in any branch of the bookselling trade. . . . We likewise wish it to be distinctly understood that our disapproval of the “regulations ° extends only to the pretension of the publisher to dictate the terms on which the retail book- seller shall deal in his own shop, and to the means adopted for enforcing the prescribed minimum price. They add further: “The publishers are not bound to trust anyone whom they believe to be sacrificing his wares by reckless underselling.” Within ten days from this decision the associa- tion was dissolved, and the practice of giving 2d. in the shilling discount for cash became imme- diately widespread. It seems not improbable that the facility thus afforded was one of the prime factors in the weakening of the credit system, which up till then held nearly all retail transac- tions in its enervating grasp. *- - - NOTES AND NEWS, R. SHERARD in his Letter from Paris suggests that the members of the Society should themselves subscribe to repair the tomb of Goldsmith. He estimates that £20 would cover the expense. If members between them will guarantee that sum an estimate shall be made. Perhaps a single member would be willing to pay the whole amount—it is not a great sum— and it would be a service to the honour of literature. Perhaps twenty would guarantee one pound each. Anyhow, I hereby invite the readers of the Author to send me a promise, not a cheque, of so much if necessary; and then I will try to ascertain what is wanted to be done and what it would cost, and whether the new Master of the Temple would give his consent to the thing being done in this way. It is late to speak of Oliver Wendell Holmes. But it is impossible for the Author to appear, even three weeks after his death, without a word. Our words shall not be many. Holmes was one of the very few authors who enjoyed the personal love of all his readers. Greater writers there are still living—greater poets, greater novelists, greater essayists. There are none who live so deeply in the affections of their readers. This kind of influence is a gift; it cannot be acquired or learned, or imitated. How many—how few— living writers possess this gift P. In Holmes’s Case it was accompanied, or caused, by a singularly sunny and cheerful disposition. He neither spoke ill, nor thought ill, of anybody. The little spitefulnesses which so largely enter into the literature of many writers, and effectually deprive them of personal charm, were entirely wanting in Holmes. He was the Goldsmith of his age. -**-*- The following is from the biography of Froude in the Times of Oct. 22 : - “Froude could not refrain from a few incidental thrusts at the insincerity which, according to him, is the besetting sin of the clergy of all denominations. It so happened that just about this time his friend and brother- in-law, Charles Kingsley, was resigning the chair of Modern History at Cambridge, and in his farewell discourse denounced historians for their partisanship, carelessness, and habitual mis- representation. The opportunity was too good to be lost, and an academical wit, said to be the present Bishop of Oxford, circulated some lines here which, though well remembered in University circles, have not often been printed, and may therefore be quoted here:— While Froude assures the Scottish youth That persons do not care for truth, The Reverend Canon Kingsley cries “All history's a pack of lies.” What cause for judgment so malign f A little thought may solve the mystery; For Froude thinks Kingsley a divine, And Kingsley goes to Froude for history.” The following verses have also been recovered by the writer of the paper in the Times. They are by Froude, and appeared in Fraser's Magazine for May, 1862. They were written to his wife:— Sweet hand that held in mine, Seems the one thing I cannot live without, The soul’s own anchorage in this storm and doubt, I take them as the sign. Of sweeter days in store, For life and more than life when life is done, And thy soft pressure leads me gently on To Heaven’s own Evermore. I have not much to say, Nor any words that fit such fond request; Let my blood speak to them, and hear the rest, Some silent heartward way. Thrice blest the sacred hand, Which saves e'en while it blesses; hold me fast; Let me not go beneath the floods at last, So near the better land. Sweet hand that stays in mine, Seems the one thing I cannot live without, My heart's one anchor in life’s storm and doubt, Take this and make me thine. I suppose that, if the modern school of history is right, the whole of English history will have to be re-written, thanks to the newly recovered or newly studied documents. The re-writing of  ## p. 153 (#167) ############################################ THE AUTHOR. I 53 history will afford excellent occupation to a good many scholars now in their cradles. When one considers the immense accumulations of other historical documents — cuneiform bricks and tablets, inscriptions in all languages under the sun, letters, legal instruments, diaries, memoirs, and autobiographies, it is clear that all history will have to be re-written. As the public libraries will then be numbered by thousands, and as every library will have to take a copy of every new history, it is certain that the historian's lot will not be an unhappy one. Froude may cease, under these circumstances, to be an historical authority: so also may Macaulay, Freeman, and several others. But Froude will not cease to be a model of fine, picturesque, and vigorous English. There was a very pretty paper in the Spectator of Oct. 20th, called “The Literary Advantages of Weak Health.” The title was clumsy. It should have been called “The Bridle of Theages.” This bridle—as those who have read Plato's Dialogues ought to know—was the ill-health which kept Theages, the friend of Socrates, out of politics, and constrained him to follow philosophy. On this peg the writer points out very carefully how this same bridle has constrained others besides Theages to lead the retired life of meditation and experi- ment. Among those thus bridled he mentions Darwin, Pusey, J. A. Symonds among writers of our time; and of past time, Virgil, Horace, Pope, Johnson, Schiller, Heine, Pascal. hand, Shakespeare, Ben Jonson, Dryden, Milton, Scott, Tennyson were all men of healthy consti- tutions, and even more than the average strength. It is certain that a sickly frame does not make a good writer: it is also certain that some minds work better in the retirement which ill-health forces upon one, and the excitement of society and social engagements cannot be good either for one who pursues philosophy or for one who cultivates imagination. One would not desire the Bridle of Theages; still, if it is laid upon our shoulders, we may remember how it has been used by some as a stimulus for work. America has her monuments sacred to literary associations, and America, like England, is fond of pulling them down and destroying them. The cottage in which Edgar Allan Poe lived and worked, at Fordham, is for sale with its grounds. It is laid out in “4% city lots”—eligible lots, because they are “on one of the main thorough- fares of the ‘Greater New York,' within three minutes' walk of the railroad and the electric line, less than half an hour from Grand Central Depôt, and in the midst of a growing popula- On the other tion.” The whole has been offered to a certain literary man for 3500 dollars cash and 30OO dollars mortgage. The literary man unfortu- nately does not see his way to buy it. A suggestion has been made in the New York Critic that it would be a graceful thing for editors of magazines to bring out occasionally a “ consolation’ number, containing only papers which had been rejected. But unless the “consolation’’ number was of colossal dimensions there would be no consolation, except to a few dozen—and what are they among so many ? They are an experimental people in Chicago. They have started a publishing firm, of which the directors are called “Author-Publishers,” a double-barrelled name, which may mean either that they are authors as well as publishers, or that they are publishers of authors. We wait for information on this point; also on the special merits and methods of these publishers. But they have certainly improved on our methods, because they announce themselves as their own literary agents. They conduct a literary bureau, in which they offer to read, correct, and criticise MSS.; to select—i.e., we suppose, to invent— plots and dramatic situations; to aid in securing publishers—other than themselves?—to explain the meaning of agreements, cost of production, royalties, &c.; to look after copyright, and other useful things. In these pages I have always given my advice in favour of getting the business arrangements done by competent and trustworthy agents. Therefore one cannot but wish success to this agency. But that such an agency should form part of a publishing business is quite a new departure. The following from the Century Magazine is a dream of Poe concerning the future of magazines. He does not venture to dream of a circulation of more than 20,000. Yet it was a fine dream:— Before quitting the Messenger I saw, or fancied I saw, through a long and dim vista, the brilliant field for ambition which a magazine of bold and noble aims presented to him who should successfully establish it in America. I perceived that the country, from its very constitution, could not fail of affording in a few years a larger proportionate amount of readers than any upon the earth. I perceived that the whole emergetic, busy spirit of the age tended wholly to magazine literature—to the curt, the terse, the well-timed, and the readily diffused, in preference to the old forms of the verbose and ponderous and the inaccessible. I knew from personal experience that lying perdu among the innumerable plantations in our vast Southern and Western countries were a host of well-educated men peculiarly devoid of prejudice, who would gladly lend their influence to a really vigorous journal, provided the right means were taken of bringing it fairly within the very limited scope of their  ## p. 154 (#168) ############################################ I 54 THE AUTHOR. observation. Now, I knew, it is true, that some scores of journals had failed (for, indeed, I looked upon the best success of the best of them as failure), but then I easily traced the causes of their failure in the impotency of their conductors, who made no scruple of basing their rules of action altogether upon what had been customarily done instead of what was now before them to do, in the greatly changed and constantly changing condition of things. In short, I could see no real reason why a magazine, if worthy the name, could not be made to circulate among 20,000 subscribers, embracing the best intellect and education of the land. This was a thought which stimulated my fancy and my ambition. The influence of such a journal would be vast indeed, and I dreamed of honestly employing that influence in the sacred cause of the beautiful, the just, and the true. Even in a pecuniary view, the object was a magnificent one. The journal I proposed would be a large octavo of 128 pages, printed with bold type, single column, on the finest paper; and disdaining everything of what is termed “embellishment” with the exception of an occasional portrait of a literary man, or some well-engraved wood design in obvious illustration of the text. Of such a journal I had cautiously estimated the expenses. Could I circulate 20,000 copies at $5, the cost would be about $30,000, estimating all contingencies at the highest rate. There would be a balance of $70,000 per annum. -º-º-º-º- Are we really returning to our old love—fair Poesy P. It almost seems so. Edition after edition comes out of certain young poets—Le Gallienne, Norman Gale, John Davidson, and a few others. A few years ago they would have had to pay for the production of their verse. Now, it is to be hoped, the payment is on the other side. It may be that the editions are very small—anything else “may be ;” one thing remains certain—that there is a revival of interest in new poetry; new poets are talked about ; as for the standard of modern verse, that is certainly high ; it is to the credit of poets born in a less happy time that they have handed down the lamp trimmed and burning bright. Is it necessary, one would ask, always to speak of young poets as “minor poets P” Surely a great poet is not neces- sarily one who produces long poems. The young men do seem to confine themselves almost entirely to short poems; but if these short poems can be placed beside those of a “great '' poet, without suffering from the comparison, surely they them- selves must also be great. Certainly I have read poems by one young poet at least which seemed to me worthy of being placed beside anything. Miss Frances Power Cobbe, in her book of recollections, speaks of the limitations of literary influence. She was disappointed at the apparent failure of her books and papers—all of which had a purpose—to move the hearts of people. What are the limitations, if any, of literary influence # Carlyle, for instance, has had an amazing in- fluence upon the thought of the last fifty years. His only limitation was in himself. He had a message; he proclaimed it; then proclaimed it again and again in book after book. When he went outside that message nobody heeded him. Mrs. Harriet Beecher Stowe exercised an enormous influence over the whole English- speaking world. The reason was that her book was opportune; it came at a moment when every- body was thinking and talking of the slavery question. Sir John Seeley has exercised an enormous influence, first in placing old truths in new language, and next in making people realise the growth and the grandeur of the empire. The only limitation to his influence is himself. So long as he has a thing to teach, we shall listen. He gained that influence solely by showing in his books that he was a teacher. There is, in fact, no limitation at all to literary influence. It is only the first step that is troublesome. One has to persuade the world to listen, and one has to be provided with something to teach the world. This done, the rest is easy, and there is no bound whatever to the extent of the influence which follows. Of course, there is another point. The teaching must be adapted to the time and to the people. He who would preach Carlyleism in the eighteenth century would presently sit down with the sadness of one who feels that it really is no use going on. And if “Uncle Tom's Cabin’” had appeared in 1750, nobody would have read a work so low and grovelling. Then, if one is not a prophet, what is the good of advocating, preach- ing, or arguing P Because it is always useful to keep on teaching, however poorly or unsuccess- fully, the things that people should learn, because many things can only be taught by long and patient repetition, and by many teachers in different ways. And, again, no writer can estimate or learn the influence which his own work has possessed. Therefore, one may harm- lessly assume that it has been world-wide, and go on happy in that belief. =ººº- Another literary association. It is called the “Rose Club,” and it owns an organ called “The Briar Rose,” which appears every three months. Members are privileged to send in three papers every year for the editor's inspection and criti- cism. A critical notice of members’ papers will be published with every issue of “The Briar Rose.” Members lucky enough to be accepted are paid at the rate of two guineas for a story, and one guinea for an essay. The first number of “The Briar Rose” contains eighteen pages; two stories, two essays, and a poem. There are no critical notices in this number. The club is for women only.  ## p. 155 (#169) ############################################ THE AUTHOR. I 55 Whatever Mr. Welch, Librarian to the Cor- poration of London, says on the subject of Free Libraries must be received with attention. Therefore, the whole subject of Free Libraries being most important and most interesting, I have printed in another column the report of . his recent address as given in the Times. For my own part, I think he fails to recognise the enormous educational value of fiction. It is from novels that a very large section of the com- munity derives its ideas, its standards, its manners, its respect for literature, art, and science. The Free Libraries may have been founded on the conventional theory that every reader is a student. This is not so ; every tenth reader—perhaps every hundredth reader—is a student; the rest are reading for amusement. If Mr. Welch will look round the circle of his own acquaintance and friends, how many will he find who follow a hard day's work with a hard evening's study? Perhaps, none. Why, then, does he expect or hope to find this phenomenon among working people P. It is in the power of every library—it is the duty of every library—to keep out trash, whether in the shape of novels or any other kind of literature. But the theory that public libraries should be maintained for students alone cannot for a moment be allowed. They are educa- tional and they are recreative. It is quite as useful a function for the libraries to provide a hundred men of the working class with an evening's recreation as it is for them to find books of reference for half a dozen students. We must reserve until next month the autumn announcements of American books. This list, considered with care, will suggest many points of interest. At present one only may be noted— the proportion of English to American books. It is impossible to escape the conclusion that the Copy- right Act has given a great impetus to American work. While English work could be had for nothing, the American author in every branch was fatally overweighted. This obstacle removed, we begin to see what we expected—the great bulk of the literature of the States written by their own people, and only the exceptionally useful and popular authors of this country being published there. This proportion we may expect to find every year greater in favour of American writers. At the same time there will be found on both sides of the Atlantic a great and always increasing demand for the work of the first and best. An analysis in advance of the list shows the following numbers and comparative authorship : History, thirty-three works; seven by English writers, twenty-six by American. Biographies and Memoirs, thirty-four works; ten by English writers, twenty-four by American. General Literature, forty-eight works; fourteen by English writers, thirty-four by American. Poetry, thirty-four works; seven by English writers, twenty-seven by American. Fiction, seventy-seven works; twenty-one by English writers, fifty-six by American. Art and Music, thirteen works; four by English writers, nine by American. Travel, Adventure, and Description, thirty-three works; twelve by English writers, twenty-one by American. - Education and Text-book, eighty-five works; all by American editors and writers. Politics, Sociology, and Law, twenty-one works; five by English writers, sixteen by American. Theology and Religion, fifty-two works; sixteen by English writers, thirty-six by American. Science and Nature, thirty-six works; three by English writers, thirty-three by American. Mechanics and Engineering, twenty works; nine by English writers, eleven by American. Medicine and Hygiene, ten works; three by English writers, seven by American. Games and Sports, seven works; English writers, four by American. WALTER BESANT. three by SPRING TIME IN THE WIKING DAYS, NORWAY. SPRING and the sun are returning and winter is past; Aoi The bonds he has flung round the earth are loosened at last; Aoi Soft blows the breeze o'er the mountain tops, melting the Snow ; Swoln are the rivers and, foaming and frothing, they flow Seaward. Right weary are we of the land and it's, Oh For the creak of the wind in the cordage aloft, and the flap of the sale by the mast ! Aoi ! Seaward the breezes blow, bidding us idle no more, Aoi ! Curling and flecking with foam-flakes the wide ocean floor. Aoi ! Earth was our sojourn awhile, but the sea is our home. Hark! how he calls us on viking-cruise over the foam, As, surging and seething, he grinds at the beach. We will roam, And our longship no longer shall yearn for the waves, as she frets high and dry on the shore. Aoi Gather and run her down over the rollers of pine, Aoi ! Down to the foam-tossing breast of the welcoming brine. Aoi! Upward to clasp her he flings his white arms in wild glee ; Downward she plunges, till knee-deep we stand, with the sea Laughing and leaping and curling round ankle and knee. Oh! sweeter the smell of the salt sea-waves than the scent and the savour of wine ! Aoi ! From “Sagas and Songs of the Norsemen.” - By ALBANY F. MAJOR  ## p. 156 (#170) ############################################ I56 THE AUTHOR. FREE PUBLIC LIBRARIES, N Thursday evening, Oct. 18th, a meeting of the Library Association of the United Kingdom was held at the Mansion-house, when a paper was read by Mr. Charles Welch, librarian to the Corporation of London, on “The Public Library Movement in London; a review of its progress, and suggestions for its consoli- dation and extension.” Mr. Richard Garnett, LL.D., presided, and delegates attended from numerous public libraries in the metropolis. Mr. Welch observed that it seemed at first that London would vie with the great municipalities in the kingdom in supporting free public libraries, when, in 1857, only two years after the passing of Ewart's principal Act, the parishes of St. Margaret and St. John, Westminster, united to establish a public library. Twenty-four years elapsed, how- ever, before another library was started, this time by the suburban parish of Richmond, to be followed by Twickenham in 1882. The year of her Majesty's jubilee gave a great impulse to what had then become a popular movement, and its subsequent progress inspired the hope that, in spite of the remarkable obduracy of certain parishes, the time was not far distant when every district of our great metropolis would enjoy the blessing of a well-stored library. Taking the whole fifty-four divisions of the county of London, they found that twenty-seven parishes, or divisions, had established public libraries, while twenty-six had hitherto declined to do so. In the remaining district, Southwark, the divisions of St. Saviour and Christ Church only had established libraries, the remaining parishes having, up to the present, held aloof from the movement. The City had been provided by the Corporation of Londom with an excellent reference library at Guildhall, and had also been furnished, by endowment from the City Parochial Charities Commission, with three other admirable institutions in Bishops- gate, Cripplegate, and St. Bride's, Fleet- street, to which extensive lending libraries were to be attached. With reference to the prejudices in London against the movement, beyond the question of any increase in taxation there was a stronger and more deep- seated objection, which was held very widely among men of culture and lovers of good litera- ture and loyal promoters of education. Their opposition was based, not upon the principle under- lying free library legislation, but upon its develop- ments as seen in the present condition and manage- ment of the public libraries throughout the country. Having quoted from the debates during the passage through Parliament of the measure for establishing free public libraries, he said he thought it would be clearly evident that the inten- tion of Mr. Ewart himself, and of his supporters in Parliament, was to provide for the education and intellectual advancement of the people and only in a subsidiary degree for their “innocent recreation.” At the request, however, of the editor of London, the librarians of seven- teen free public libraries in the metropolis made a return in April last, showing the classes of books read in the homes of the people. From this it appeared that the issue of fiction, as com- pared with other classes of literature reached a general average of 75 per cent., and in nine districts over 80 per cent. of the total issues. In connection with the management of the lending libraries established under the Free Libraries Acts in London, they were struck by the fact that the student had been ousted from his rightful place by the inordinate favour afforded to the demands of the general reader and the devourer of fiction. The principles of management which had made possible the statistics which he had brought under their notice had, he was convinced, alienated from the free library cause in every district the support of many friends of intel- lectual progress, and were at present a serious hindrance to the growth of the movement in the metropolis. Would it be too much to ask the novel reader to provide himself with the current fiction of the day and resort to the library for the masterpieces of fiction of the present and bygone times P Should Parliament be approached for permission to raise the limit of the library rate to 2d. (a course which he thought seemed most desirable), any such measures should undoubtedly be accompanied by a compulsory proviso that a definite proportion of the amount available for the purchase of books should be devoted to the pur- poses of a reference library. The present con- dition of the free library movement in London, and the erection of new libraries, which was continually proceeding in every district, suggested most strongly the need of some scheme for con- verting this aggregation of institutions into a systematic and harmonious system to provide for the needs of the metropolis as a whole. The popularity of the two existing free public libraries —those of the British Museum and the Guildhall —prove that similar institutions, placed in the midst of the homes of the people, would prove a boon of the highest kind. He felt most strongly that the present haphazard system in which our London libraries were growing up, owing to the different extent and circumstances of the various districts which maintained them, must end in confusion, perhaps (in some cases) in partial or complete failure; while, on the other hand, a well-considered scheme of mutual help and effort,  ## p. 157 (#171) ############################################ THE AUTHO/8. I 57 the details of which might well be evolved from a general conference of the metropolitan library authorities, would result in placing London in a position second to no city in the world in respect of facilities for literary reference and research. —The Times. *— — —” AUTUMN ANNOUNCEMENTS. M*: SAMIPSON LOW AND CO. announce twenty-five new books, to- gether with several new volumesin Low’s Half-Crown Series of Boy’s Books, and a half-a- crown series of famous books of travel. Among the new works are “The Life of J. Greenleaf Whittier,” by S. T. Pickard ; “Lord John Russell,” by S. J. Reid; “Strange Pages from Family Papers,” by T. F. Thiselton Dyer; and fourteen novels. The Clarendon Press announce forty-seven new works and editions. These are mostly works of scholarship and education. Among them is the final volume of “Realm of India,” “Russell Colvin,” by Sir Auckland Colvin ; two more volumes of Professor Skeat's edition of Chaucer; two more letters of the New English Dictionary; and Mr. Hastings Rashdall’s “ Universities of the Middle Ages.” Messrs. Rivington, Percival, and Co. announce thirty-three works, nearly all are educational. Among them is Canon Taylor's “Names and their Histories.” Messrs. Dent and Co. announce sixteen works, chiefly reprints and new editions. Among the new books are “Annals of a Quiet Valley in the Wordsworth Country,” by Mr. William Watson; “Overheard in Arcady,” by R. Bridges; and “Studies in Literature,” by Mr. Wright Mabie. Messrs. T. and T. Clark announce ten new works, all theological. Messrs. Ward, Lock, and Bowden announce twelve new books, besides a reprint of Henry Ringsley's novels, and a new volume of the Waverley novels. Among the new books is Mr. Douglas Sladen’s “On the Cars and Off”; Mr. Bertram Mitford’s “Curse of Clement Wayn- flete; ” and Mr. George Meredith’s “Tale of Chloe.” Mr. Elkin Mathews announces seventeen new books, chiefly essays and poems. Among the authors are Mr. Wedmore, Mr. Lionel Johnson, Mr. Selwyn Image, Mr. Dowson, Mr. A. Galton, Mr. S. Hemingway, Mr. Quilter, Mr. W. B. Yeats, Mr. Rothenstein, Mrs. Radford, Mr. Bliss Carmen, and Mr. R. Hovey. “Revolted Woman: Past, Present, and to Come,” is by Mr. C. G. Harper, Messrs. Bemrose and Sons announce two books. Messrs. W. Blackwood and Sons announce fifteen new books. Among them are three biographies and five novels, including two by Mrs. Oliphant, and the “Son of the Marshes.” Messrs. Allen announce nine new works, inclu- ding a book on the “Portuguese in India,” by F. C. Danvers; on “Buddhism in Thibet,” by Surgeon-Major Waddell; a Bengali Manual; new volumes of the Naturalist's Library; and two novels. Messrs. Bliss, Sands, and Foster announce mine books. There are two novels by Mrs. Caird and Miss Clementina Black; the continuation of the “History of the United States Navy,” and a book on Strikes. Messrs. Nelson and Sons have eleven new books, besides new prize books and atlases. The most important are Dr. Wright's book on Palmyra ; a new Concordance to the Bible, by the Rev. J. B. R. Walker; the “Voyages and Travels of Capt. Basil Hall,” and five stories. Messrs. Luzac have four learned works. Messrs. W. Andrews have seven works, mostly antiquarian. Messrs. Warne and Co. announce twenty-six new editions or new works, without counting many children’s books. Among the new editions are the Waverley Novels, “Cameos of Litera- ture,” which will be a reprint of Knight's famous “Half Hours with the best Authors; ”a new library edition of Wood’s “Dictionary of Quotations; ” a revised edition of Lears “Nonsense Songs and Stories; ” and four or five reprints of novels. Messrs. Jarrold and Sons announce eleven new books; additions to certain series; the “Green- back; ” “Elashes of Romance; ” and “Unknown Authors; ” uniform editions of the novels of Helen Mathers and Fergus Hume ; and their novels outside the series. Messrs. Skeffington and Co. announce fourteen books, of which twelve are religious. There are two novels. Messrs. Browne and Browne, of Newcastle, announce a “History of the Chartist Move- ment.” In the “Autumn Announcements” of our last number we attributed to Messrs. Chapman and Hall the production of fifteen new books. The  ## p. 158 (#172) ############################################ I58 THE AUTHOR. chairman of the company points out that they are producing thirty-one instead of fifteen new books. The mistake was caused by the “announcements” of that firm being entered in three different columns of the Athenaeum, of which only one was seen by our compiler. The complete list of thirty-one is exclusive of new editions, nor does it include reprints of “stock” books, such as Dickens, Carlyle, and Meredith, of which an unusual number are this year published. In the October number of the Author it was stated as remarkable that out of fifty-one books announced by the Cambridge University Press there should be not one mathematical or scientific book among them all. The mathematical and scientific books were in another list. There are twenty-four of them. Among them are the seventh volume of the collected Mathematical Papers of Arthur Cayley ; the Scientific Papers of John Couch Adams; a Treatise on Spherical Astronomy, by Sir Robert Ball; on Electricity and Magnetism, by Prof. Thomson ; on Hydro- dynamics, by Prof. Lamb; the tenth volume of a Catalogue of Scientific Papers, compiled by the Royal Society of London; the Practical Phy- siology of Plants, by F. Darwin and E. H. Acton; on a Practical Morbid Anatomy, by H. O. Rolleston and A. A. Kanthack ; on the Dis- tribution of Animals, by F. E. Beddard; on Physical Anthropology, by Alexander Mac- alister; and the Elements of Botany, by F. Darwin. In this and in the last number of the Author we have classified the announcements made in the Athenæum by various publishers of their autumn books. The list seems somewhat smaller than that of last year, which was to be expected from the general depression everywhere reported. At the same time not so much shrinkage in production as shrinkage in sales would be the first result of such a depression. Almost all the better known names are repre- sented in the list. For instance, of historians, Critics, travellers, philosophers, and antiquaries, we find the names of Canon Atkinson, Rev. Robert Burn, Justin McCarthy, T. F. Thiselton Dyer, W. Cunningham, Archdeacon Farrar, J. T. Jusserand, Dean Hole, Frederick Harrison, Pro- fessor Freeman, Professor Froude, Professor Gardiner, Canon Liddon, Max Müller, Professor Maspero, Henry Norman, Sir Frederick Pollock, Professor Flinders Petree, Bishop of Peter- borough, J. Addington Symonds, Sir J. R. Seeley, Leslie Stephen, Colonel Malleson, John Westlake, Robertson Smith, Professor Skeat, Canon Taylor, H. Traill. Among the novelists and poets there are, among others, Sir Edwin. Arnold, Mrs. Alexander, F. Barrett, Amelie Barr, Robert Barr, Walter Besant, William Black, Clementima Black, R. D. Blackmore, Marion Crawford, S. R. Crockett, Mrs. Caird, R. Bridges, Mrs. Charles, Sir H. Cunningham, Egerton Castle, Sarah Doudney, George du Maurier, Conan Doyle, G. M. Fenn, Baring Gould, Edmund Gosse, Dorothea Gerard, R. Lehmann, G. Meredith, G. MacDonald, Christie. Murray, John Oliver Hobbes, Anthony Hope, Mrs. Lynn Linton, Helen Mather, L. Pendered, W. E. Norris, Gilbert Parker, Standish O'Grady, “Rita,” Adeline Serjeant, G. A. Sala, Hesba. Stretton, Sarah Tytler, Stanley Weyman, Douglas Sladen, William Watson. - BOOK TALK, R. R. B. MARSTON'S new work on. “Walton and the Earlier Fishing Writers ” (Elliot Stock, The Book Lover's Library) will certainly add to his repu- tation as an authority on the literature of the angler, and will form an instructive companion to the magnificent edition of “The Compleat. Angler,” published by him some years ago. From A.D. 1420, when Piers, of Fulham, wrote a curious tract on the subject, through the works of Dame Juliana Berners, Leonard Mascall (pioneer of fish culture in England), Blakey, John Denny, Gervase Markham, William Lawson, and Cotton, down to the ever-famous work of “Old Izaak,” Mr. Marston takes his readers in the pleasantest manner possible. He tells us that the “Compleat Angler” was published originally in 1653 at the price of Is. 6d. What is a first edition worth nowadays P. It would appear that 3235 is about a fair figure, though as much as 33 IO has been paid. In 1816. a “first" could be bought for four guineas As Mr. Marston pointedly asks, “What will such a one be worth, say, in 1993 P” Not the least interesting feature of an extremely interesting work is the modest preface in which our author tells us something of his own early days as an angler, and of his youthful acquaintance with fishing writers. He also takes the opportunity of warning would-be collectors against spurious first. editions, of which he declares that there are many in the market, mostly “made in Germany.” Truly a charming work, and one deserving a place in every fisherman’s library. It is got up with great care on wide margined paper, and is a credit to the publisher by whom it is issued.  ## p. 159 (#173) ############################################ THE AUTHOR. I 59 In another column will be found certain lines taken from a new volume of verse by a new poet— Mr. Albany F. Major. The whole volume is full of strong and spirited verse. We have had plenty of verse in the minor key, let us welcome one who can sing of life in action and in battle, and in enjoyment of both action and battle. The little book is published by “David Nutt in the Strand.” A bard of a lighter kind is Mr. Anthony C. Deane, who has just republished, under the title of “Holiday Rhymes,” a collection of very sprightly verses, which have already appeared in Punch and many other papers and magazines. It is as pleasant a collection as one could wish. Mr. Deane can command laughter, which is a truly admirable gift; he is always cheerful and always genial; he can be sarcastic without the least discoverable touch of bitterness. Greatly to be envied is the man who can stand outside, look on, and laugh, and make even the combatants laugh. Even when Anthony Deane laughs at that sacred institution, the Author, he can laugh with a sympathetic light in his eye. Mrs. Spender's new novel, “A Modern Quixote,” has been published by Messrs. Hutch- inson in three volumes. The same publishers have issued a cheap edition, at 2s., of her last novel, “A Strange Temptation.” Mrs. Edith E. Cuthell’s one volume story—a yachting story—called “The Wee Widow’s Cruise,” will be issued by Messrs. Ward and Downey. Mrs. Cuthell has also written a chil- dren's story called “Only a Guardroom Dog.” which is to be illustrated by Mr. W. Parkinson, and published by Methuen and Co. Miss Clara Lemore's new novel—in three volumes—called “Penhala, a Wayside Wizard,” is now ready at all the libraries. It is published by Hurst and Blackett. Mr. Standish O'Grady’s Irish romance of the Elizabethan period, entitled “Red Hugh's Captivity,” will begin to run in the weekly Irish Times in January, 1895. “What is Education ?” Mr. Walter Wren asks (Simpkin and Marshall) the question, and answers it, giving his own ideas on the subject. Education is, to begin with, a thing personal. No man can be educated; he can be shown the way to educate himself, it depends upon himself whether he ever does become an educated man For instance, the first law of education is to notice things; things that you read, things that you hear, things that you see ; not to pass over things without understanding them. This then is education of the body, the mind, and the spirit. As regards the second. Education of the mind must do two things—(1) bring out, develop, and strengthen the powers of the mind, just as a proper course of training in games and athletics brings out and strengthens the powers of the body; and (2) it should teach useful know- ledge. These notes are worthy of expansion into a book. Before closing up his work on the old A.B.C. Hornbook which is to contain something like two hundred illustrations, Mr. Andrew Tuer, of the Leadenhall Press, E.C., asks to be favoured with notes from those who may remember the horn- book in use, or who may have in their possession examples which he has not yet seen Information about spurious hornbooks, from the sale of which certain persons are at present said to be reaping a golden harvest, is also sought. - John Gladwyn Jebb—Jack Jebb—was not born in the days of Queen Elizabeth, and he did not seek the Spanish Main with Drake. He was born fifty years ago, and he died last year. During his fifty years of life he had more adventures than any novelist would dare to invent—not even Rider Haggard, who writes an introduction to the Life of Jack Jebb. Indeed, one is astonished that the novelist did not lay hands on the MS., and bring it out with a few additions as a novel. The hero is wasted and thrown away in a mere biography. It is, indeed, an astonishing book, astonishing that in these days so much adventure and danger should be possible. There is still hope for the boy who desires the life of danger. Mexico lies open; and there is Central Africa. In the former the boy can follow the footsteps of Jebb ; in the latter, of Selous. Coulson Kernahan’s “Sorrow and Song” is a collection of essays originally written for the Fortnightly Review and other papers, and recast or re-written for this volume. They are papers on Heine, Rosetti, Robertson of Brighton, Louise Chandler Moultrie, and Philip Marston. Mr. Kernahan is the first writer, so far as I know, to draw attention to the beauty and purity of Mrs. Moultrie's verse. She has the rare poetic touch ; the thing that can never be imitated, or bor- rowed, or learned, or stolen. Of living American poets, Mrs. Moultrie stands in the first rank. There are not many, indeed, who are worthy to stand beside her. We neglect the American poets. Will Mr. Coulson Kinnahan undertake the pleasing task of presenting to English readers some who desire to be known in this country as well as their own P. Among these, for instance, are R. W. Gilder and Professor Woodberry, both of whom ought to be better known by us.  ## p. 160 (#174) ############################################ I6O THE AUTHOR. I recommend “Baron Verdigris” as a topsy- turvy book. The author describes it as a romance of the reversed direction. He shows, in fact, a new and hitherto undiscovered danger in applied mathematics. The book is calculated to confirm in their prejudice all that large class which does not like “sums.” Speaking as one who does like sums, especially when they are in “X” and “y,” I found the book diverting and ingenious, but was saddened by the reflection that I might my- self have made similar discoveries. It is said that the sale of “The Manxman” has reached the number of 45,000 copies. This is probably the highest number ever attained in this country in so short a time by a six shilling volume. It is, however, surpassed by the sale of “Trilby’’ in the United States. The number reached by “Trilby’’ is said to be 100,000. In the three-volume form, in which it has been judged expedient to produce it here, it is in great demand. The St. James's Gazette has discovered that “Adam Bede,” which enjoyed a similar measure of success, ran through 16,OOO copies in nine months. The terms offered by Messrs. Blackwood to its successor were: £2OOO for 4000 copies of three volumes, 3150 for IOOO at 12s., and £60 for IOOO at 6s. These terms, the St. James’s Gazette points out, amount to royalties of 20 to 25 per cent. To be exact, the royalties are 31%, 25, and 20 per cent. respectively. From the same paper we learn that Miss Wills, daughter of Dr. C. J. Wills, the author of “Persia as it is,” has written, from personal experience, a book on Eastern life called “Behind an Eastern Weil.” Mr. William Watson’s new volume will be called “Odes, and other Poems” (John Lane). William Westall, who is spending the winter at St. Moritz, in Upper Engadine, and may remain abroad for a year or two, has placed his literary interests in the hands of Messrs. A. P. Watt and Son, to whom all communications should be addressed. A short time ago a certain Swiss paper “ran’” “Josef im Schnei,” an old story by Auerbach, without making any preliminary arrangement with the publishers, or intending to pay for the serial use. But the publishers, getting wind of the piracy, demanded an honorarium of 200 marks, to which the proprietors of the Swiss paper demurred ; whereupon the publishers brought an action against them and obtained a verdict for 200 francs. The incident is note- worthy, as showing the advantages to authors and publishers of international copyright treaties. Only a few years ago foreign authors had no protection whatever in Switzerland, their works could be reproduced without let or licence, and Swiss newspaper proprietors were not slow to take advantage of the fact. Some of them still obtain their feuilleton matter surreptitiously from foreign sources, and are not always, as in the present instance, brought to book and made to pay. “In Furthest Ind,” by Sydney Grier (Black- wood and Sons), is a remarkable tour de force by a young writer, whose work has hitherto been confined to short stories for the magazines. It is a finely-conceived romance of travel and adventure in the latter half of the seventeenth century, as told by the hero himself in the very language, as it were, of his own day. Edward Carlyon, whose father fought and bled for Charles I., goes out to Surat as a “writer’’ in the East India Company’s service, and spends twenty years in India, during which he meets with many strange adventures, and has more than one hair's-breadth escape from a cruel death. Every detail of the story and its local surroundings seems to have been studied with infinite care, and worked in with due regard to the general effect. The interest is well sustained on the whole, and some, at least, of the characters—especially Dorothy —are really alive. And, as one reads on, one seems to discover in the author's style a certain grace and harmony of its own which, as in “Esmond,” count for much more than a clever masquerade. A story which ran as a serial through The King's Own is now to be issued in book form by Parlane and Co., Paisley, under the title of “Covenanters of Annandale.” The book will be beautifully illustrated with views of the haunts of the Covenanters in the hills and glens of Upper Annandale. A short story, by the same author, will shortly be published by Hunter and Co., Edinburgh, as a Christmas booklet. It is entitled “A Swatch o' Hamespun.” The author, Agnes Marchbank, has, at present, serials in the Ladies’ Journal, Scottish Reformer, and the Plough. A new serial from her pen will shortly appear in Word and Work (Shaw and Co., London). Brig. One of the most important of the illustrated books which Mr. George Allen contemplates issuing this autumn is the limited edition de luate of Spenser's “Faerie Queene’’ in large post quarto form, with illustrations by Mr. Walter Crane. It is to be published in monthly parts. It is a tale of Bothwell  ## p. 161 (#175) ############################################ THE AUTHOIR. I6 I CORRESPONDENCE. I. – Nov ELS AT PopULAR PRICEs. – WILKIE CoLLINs’ OPINION. N the interesting compilation of novels issued from the year 1750 to 1860—which appeared in September's Author — during the first forty-two years of this period the ruling price was 3s. a volume. In those days, them—when, if I mistake not, there was a heavy duty on paper, now taken off—this price must actually have compensated author and publisher. And as the cost of production must have been more then than now, with no monster circulating libraries existing, it must be presumed that the novels in those days had a large circulation, and were pur- chased by their readers. At present novels are borrowed and not bought, on account of their high price. As readers now must be greatly in excess of those in the eighteenth century, it surely must follow, as “the night the day,” that good fiction at 28., 2s. 6d., and 3s, a volume would reach the masses, who are forced to amuse themselves with penny dreadfuls. In the year 1883 I had a long correspondence with the late Wilkie Collins on the subject, and I transcribe one of his letters, which will prove interesting just now, when one-volume novels threaten to supersede those in three volumes. Your views on the question of publication have been my views for years past. I have tried thus far in vain to induce publishers to see the advantages (to themselves as well as to literature) of effecting a reform already esta- blished in all other civilised countries. I can do nothing by myself. I should be powerless for this plain reason, that my time and energies are wholly absorbed in writing my books. I can only wait and hope for the coming man who will give me my opportunity. The vicious circulating library system is unquestionably beginning to fail, and the recent issue of sixpenny magazines shows an advance in the right direction. ' ' ' f It is superogatory for me to comment on the opinion of this great authority. To my mind a popular book must always be a cheap book, in spite of a prevailing prejudice that what is cheap cannot be good. The circulation of a favourite work of fiction would increase a hundredfold if it could be bought at 2s. or 2s. 6d. Everyone does not belong to Mudie's, and the purchasers amongst the inhabitants of Greater Britain number legion, and our novels would gain in excellence and interest by being shorter and crisper. In fact, one might actually look forward to a time when the novelist will actually write a story without having any need to garnish it with interminable descriptions, dull moralisings, or tedious conversations, when, instead of writing a novel with a purpose, his only purpose will be to write a novel. ISIDORE G. ASCHER. II.--—“NEw.” One of a coterie of “new” authors has lately advanced the idea that the “incident’’ novel is a product of to-day; that to our medical author more than anyone else we owe the modern “incident” novel. It seems, too, to be received in the new school of critics that a certain quality of dry wit now in vogue is “new” humour. Are not both these crude ideas fallacies? We might easily speak of a still living giant to prove the error of these “new * ideas, but we will be content with the dead. Between thirty and forty years ago—about the time our “new” author alludes to as that when “incident " was bad art—a book burst on the public : a book which is still read, and which is and will be con- sidered one of the masterpieces of the century— “The Cloister and the Hearth.” Will any “new” writer be bold enough to advance the statement that this is not a novel of “incident P” It brims over with it; with that strong dramatic incident which thrills the reader. Here also may be found the “new” humour. You say “no P’ “Look else.” “He dearly loved maids of honour, and indeed paintings generally.” “Est ce toi qui l’a tu,” and what follows. But why particularise, the book teems with instances, of which the two mentioned happen to cross my memory first. Then incident . The fight upon the stairs with the Abbot and his gang, to pick out one amongst many; who can read this and his nerves not crawl? Was “Hard Cash,” with its pirate encounter, no book of incident P Or “It is Never too Late to Mend?” and do we not find the “new” humour flashing upon us from any one of these books? Ay! humour and incident too, yet so biended with scenes of touching pathos, and all else that goes to the making up of a novel, that each is a masterpiece. Is it necessary to mention Charles Kingsley and “Westward Ho; ” is “incident’’ wanting here * Would not any living writer be proud to have written that great chapter “How Amyas threw his sword into the sea P’’ Need we go further And yet we are to be told that because Thackeray and Trollope followed other methods, the “incident’’ novel is some new thing; the “incidentalist”, a new genius. We might go still further back towards the beginning of the century, and instance “Ivanhoe.” But enough. There is nothing, now, new under the sun any more than there was in Solomon's day. As in fiction so in music. Writers, even against their volition, plagiarise. So it is with the “incident’’ novel, and with the “new” humour. ALAN OsCAR.  ## p. 162 (#176) ############################################ I62 THE AUTHOR. III.-ARE THEY LosTP An acquaintance of mine sent some fifteen papers to a learned society now nearly four years ago, and from that day to this she has tried in vain to learn their fate. They were translations, and of their scientific value she was ignorant more or less ; but they had involved considerable labour, besides the writing of at least 20,000 words. It was not a question of money, as she knew that the society was too poor to pay, even if they thought the papers worth using. It was something like two years before she discovered the member in whose hands they had been placed. He informed her that a selection was to be made by himself and the editor of the quarterly in which the selected papers were to appear. Another interval, and towards the close of the third year two of the papers actually made their appearance, prefaced by a long introduction, from which it appeared that they were of some value. -- More months, more inquiries. Then five or six papers were returned without a word, and the remainder are—where P Nobody deigns to say. The publisher of the quarterly, who is in no way responsible, has kindly inquired for them more than once, but to no purpose. And yet one little post-card would relieve an anxious soul and settle the question of their fate. Are they lost, or burnt by accident, or committed to the waste-paper basket P Or—are they going to be used at the rate of two every four years P One would like to know, if only for curiosity’s sake; and the worst, however heartrending, would be better than prolonged uncertainty. Meanwhile, it is melancholy to reflect that some poor publisher might have been quite pleased to loring them out. & - IV.-SLIPSHOD ENGLISH. A correspondent (F. H. P.) writes to point out the following specimens of slipshod English in one number of an English magazine: “M. had succeeded to re-establish,” &c. “He eagerly pursues the aim to abolish.” “We advise to consult,” onitting the names or persons advised. “Have left definitely the country’ for “have definitely left.” - W.—ON CRITICAL AND EDITORIAL AMENITIES. I commit to paper, without fear or prejudice, my experience of the amenities of certain literary men in our boasted Nineteenth Century ! Aw premier, a well-known critic, after praising my poems, and including me in a list of the poets of the day, suddenly showed his teeth and refused to read my last volume of poems, or to answer my letters. And this without the shadow of a reason for his change of front; on the contrary, I always wrote most warmly and giate- fully to him for his kindness, as he must admit. Again, I sent, not long ago, a poem to a monthly magazine, and, not hearing of its fate, about a month later I sent the editor a post card inquiring about it. This post card was returned to me with “Refused,” written across it. Why? Once more, a ballad of mine was recently inserted in a certain journal, which had appeared in another periodical six years ago, and also in one of my books, but was never paid for. As this book had been recently reviewed in this journal, I naturally thought they would have seen it there. The acting editor, on finding that it had appeared before, asked me to explain. On my doing so, he not only refused my apology, but wrote very rudely to me, as I considered. So much for the gentlemanly feeling and courtesy of this acting editor | Yet, again, there is a certain gentleman quite free from “prejudice ’’—we have his word for it —who cut up a fairy tale of mine in a journal now extinct. On my writing a line to him to say that I had heard that certain persons were enchanted with the same tale, and that I felt sure he would be pleased to hear it, he simply returned the printed extract I sent him without a single word of any sort or kind. How manly and generous, and how like a gentleman this was Without prejudice, forsooth ! Again, the editor of a Radical evening country paper, for whom I have written many articles and poems gratuitously in days gone by, and others which were paid for, and who professed to value me as a contributor very highly, not only gave me no review of my last book of poems, but (though I wrote most courteously to him more than once) never sent me a line in reply These are only a few instances of the many discourtesies I have received. What must the shade of Thackeray (a true and courteous gentle- man) think of some of our modern editors P On the other hand, I would instance the Westminster Gazette, the Minstrel, Public Opinion, Fun, Vanity Fair, the Weekly Sun, and others as being most fortunate in having editors who are courteous and kind in the extreme. I may mention that the critic first referred to does notice books in the columns of a weekly journal, so he could have mentioned mine had he chosen to AN AUTHOR. [Our correspondent’s complaints, it seems to us, unless the facts are not all stated, may be  ## p. 163 (#177) ############################################ THE AUTHOR. I63 answered offhand without reference to the editors referred to. For instance, (I) a critic may change his opinions and may not see the necessity of explaining at length why he has done so. (2) An editor must decline hundreds of papers every year, but it would be absolutely impossible for him to write his reasons to every contributor. (3) No journal likes to publish verses which have already appeared elsewhere. The writer should have stated the fact in sending the poem. (4) Next, a reviewer who has expressed an opinion on a book would certainly not change it because somebody else was said to hold an opposite opinion. (5) An editor might resent being asked for a review of a book. It is a pity that politeness is not everywhere observed towards contributors. But in the cases quoted our corre- spondent apparently complains without good reason. It is a common belief that an editor will consider unfinished, or half finished, work; that he will sit down and point out where a paper is deficient; that he will act as a judicious coach; that he will give his reviewer's written justifica- tion for his review. Let it be remembered that an editor can do none of these things. If our correspondent would consider the position of the editor, he would withdraw at once half the above complaints.—ED. *-- * ~ * r- - - NEW BOOKS AND NEW EDITIONS, History and Biography. ATKINSON, REv. J. C. Memorials of Old Whitby, or Historical Gleanings from Ancient Whitby Records. Macmillan. 6s. met. BAKER, JAMEs. A Forgotten Great Englishman, or the Life and Work of Peter Payne, the Wycliffite. Illus- trated. The Religious Tract Society. 5s. BEAULIEU, A. LOREY. The Empire of the Tsars and the Russians, translated from the third French edition by Zénaïde A. 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