<table><tr><th>Omeka ID</th><th>Omeka URL</th><th>Title</th><th>Subject</th><th>Description</th><th>Creator</th><th>Source</th><th>Publisher</th><th>Date</th><th>Contributor</th><th>Rights</th><th>Relation</th><th>Format</th><th>Language</th><th>Type</th><th>Identifier</th><th>Coverage</th><th>Publisher(s)</th><th>Original Format</th><th>Oxford Dictionary of National Biography Entry</th><th>Pages</th><th>Participants</th><th>Pen Name</th><th>Physical Dimensions</th><th>Position End Date</th><th>Position Start Date</th><th>Position(s)</th><th>Publication Frequency</th><th>Occupation</th><th>Sex</th><th>Society Membership End Date</th><th>Society Membership Start Date</th><th>Start Date</th><th>Sub-Committee End Date</th><th>Sub-Committee Start Date</th><th>Text</th><th>To</th><th>URL</th><th>Volume</th><th>Death</th><th>Biography</th><th>Birth</th><th>Committee End Date</th><th>Committee of Management End Date</th><th>Committee of Management Start Date</th><th>Committee Start Date</th><th>Committee(s)</th><th>Council End Date</th><th>Council Start Date</th><th>Date</th><th>Bibliography</th><th>End Date</th><th>Event Type</th><th>From</th><th>Image Source</th><th>Interactive Timeline</th><th>Issue</th><th>Location</th><th>Members</th><th>Ngram Date</th><th>Ngram Text</th><th>Files</th><th>Tags</th></tr><tr><td>255</td><td>https://historysoa.com/items/show/255</td><td>The Author, Vol. 02 Issue 04 (September 1891)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+02+Issue+04+%28September+1891%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 02 Issue 04 (September 1891)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&amp;amp;view=1up&amp;amp;seq=20&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015031017927&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1891-09-01-The-Author-2-4</td><td></td><td></td><td></td><td></td><td>97&ndash;128</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=2&quot;&gt;2&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1891-09-01&quot;&gt;1891-09-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>4</td><td></td><td></td><td>18910901</td><td>Zhc Hutbor.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 4.]&lt;br /&gt;
SEPTEMBER 1, 1891.&lt;br /&gt;
[Price Sixpence.&lt;br /&gt;
CONTENTS.&lt;br /&gt;
TAQE&lt;br /&gt;
International Copyright&mdash;&lt;br /&gt;
I. From the New York Critic 101&lt;br /&gt;
II. From Frank Leslie&amp;#039;s Paper 103&lt;br /&gt;
Association Littcrairo ct Artistique International!&amp;#039; 05&lt;br /&gt;
Conference of Journalists at Dublin .. .. 105&lt;br /&gt;
Au Old New Word. By Professor Skeat 106&lt;br /&gt;
The Authors&amp;#039; Club 107&lt;br /&gt;
Notes and News. By Walter Besant 07&lt;br /&gt;
On a New Novelist 112&lt;br /&gt;
A Day at Olyinpia 113&lt;br /&gt;
Some Early Experiences 116&lt;br /&gt;
PAOE&lt;br /&gt;
Enemies of Literature 19&lt;br /&gt;
Correspondence&mdash;&lt;br /&gt;
I. &amp;quot;O Word of Fear&amp;quot; 1:1&lt;br /&gt;
II. Foreign Reprints, ill&lt;br /&gt;
&amp;quot;At the Author&amp;#039;s Head&amp;quot; 121&lt;br /&gt;
Women Booksellers 22&lt;br /&gt;
Some of the Indignities of Literature .. 123&lt;br /&gt;
Parisians and their Fiction 133&lt;br /&gt;
Night-Tempest 114&lt;br /&gt;
New Books and New Editions 124&lt;br /&gt;
EYRE AND SPOTTISWOODE.&lt;br /&gt;
PLIOCENE DEPOSITS OK BRITAIN, THE. By&lt;br /&gt;
Clf.mfst Rkid. F.L.S.. F.G.S. Five Plates (48 cuts), .&amp;lt;&raquo;. 6&amp;lt;f.&lt;br /&gt;
LONDON AND NEIGHBOURHOOD: Guide to the&lt;br /&gt;
Geology of. Bv William Whitaker, B.A. is.&lt;br /&gt;
LONDON AND OF PART OF THE THAMES VALLEY,&lt;br /&gt;
The Geilogy of. Bv W. WniTAKER. H A., F.R.S., F.G.S.,&lt;br /&gt;
Assoc. Inst. C.E. Vol. I. DESCRIPTIVE GEOLOGY. 8vo.&lt;br /&gt;
Cloth, 6*. Vol. II. APPENDICES. 8vo. Cloth, 5*.&lt;br /&gt;
KEW BULLETIN, 1890. Issued by the Director of Kew&lt;br /&gt;
Gardens. is. iorf.&lt;br /&gt;
KEW BULLETIN, 1891. Monthly, 2&amp;lt;i. Appendices, id.&lt;br /&gt;
each. Annual Subscription, including postage, 3.*. gti.&lt;br /&gt;
DESCRIPl&amp;#039;IVE CATALOGUE OK MUSICAL INSTRU-&lt;br /&gt;
MENTS recently exhibited at the Royal Military Exhibition.&lt;br /&gt;
Compiled by Capt. Day. Oxfordshire Light Infantry, under&lt;br /&gt;
the orders of Col. Sua w-Hei.likb. Commandant Royal&amp;#039;Militnry&lt;br /&gt;
School of Music. Illustrated by a scries of Twelve artistically&lt;br /&gt;
execulcd Plates in Heliogravure, and with numerous W(kxI&lt;br /&gt;
Emiravines. 21*.&lt;br /&gt;
&amp;quot;It affords information obtainable nowhere else, and it has been&lt;br /&gt;
put together with so much care and thoughtfulncss that Capt. Day&amp;#039;s&lt;br /&gt;
volume will lie indeed welcomed by nil who have to deal with the&lt;br /&gt;
wind instruments, nnd can lie accepted without question as the&lt;br /&gt;
standard authority.&amp;quot;&mdash;Musical Xews.&lt;br /&gt;
PUBLIC RECORDS. A Guide to the Principal Classes&lt;br /&gt;
of Documents preserved in the Public Record Office. By S. It.&lt;br /&gt;
Scari.&amp;#039;Ill-Bibd, F.S.A. j&raquo;.&lt;br /&gt;
&amp;quot;The value of such a work as Mr. ScargillBird&amp;#039;s can scarcely be&lt;br /&gt;
over-rated.&amp;quot;&mdash; Times.&lt;br /&gt;
STATE TRIALS, Reports of. New Series. Vol. III.,&lt;br /&gt;
1831&mdash;40. Published under the direction of the Stab1 Trials&lt;br /&gt;
Committee. Edited bv .Ions Macdoxell. M.A. 10*.&lt;br /&gt;
MANUAL OF BIRDS OF NEW ZEALAND. By&lt;br /&gt;
Walter L. Bcllee, C.M.G., Sc.D., F.R.S. Numerous Plates.&lt;br /&gt;
Rova] Hvo. 10*.&lt;br /&gt;
INDIGENOUS GRASSES OF NEW ZEALAND. By&lt;br /&gt;
Joinf Bi&amp;#039;CHANAN. Full-page Illustrations. Imp. 4to. Half&lt;br /&gt;
Morocco. 15*.&lt;br /&gt;
FOREST FLORA OK NEW ZEALAND. By T. Kibk,&lt;br /&gt;
F.L.S., late Chief Conservator of State Forests, N.Z., 4c.&lt;br /&gt;
Numerous Plates. Fcap. folio. Cloth. i2.&laquo;. id.&lt;br /&gt;
HANDBOOK OK NEW ZEALAND FISHES. By R.&lt;br /&gt;
A. Siirrrix. Demy Svo. Cloth, is.&lt;br /&gt;
ORANGE CULTURE IN NEW ZEALAND. By G. C.&lt;br /&gt;
At.UERTOjf. Demv 8vo. Cloth, is.&lt;br /&gt;
MANUAL OK NEW ZEALAND MOLLUSCA.&lt;br /&gt;
Prof. Hrnox. Royal 8vo. 3s.&lt;br /&gt;
NEW ZEALAND i)IPTERA, HYMENOPTKRA,&lt;br /&gt;
ORTHOPTERA. Bv Prof. HrTTON. Royal 8vo. is.&lt;br /&gt;
NEW ZEALAND COLKOPTEBA. Parts 1 to 4.&lt;br /&gt;
Captain T. Broix. Royal 8vo. is. 6d.&lt;br /&gt;
THE LITERATURE RELATING TO NEW ZEALAND.&lt;br /&gt;
A Bibliography. Rnval Svo. Cloth, is. M.&lt;br /&gt;
POLYNESIAN&amp;#039;MYTHOLOGY AND ANCIENT TRA-&lt;br /&gt;
DITIONAL HISTORY OF THE NEW ZEALAND RACE.&lt;br /&gt;
By Sir George Grey. K.C.B. Illustrated. Royal svo. Cloth,&raquo;.&lt;br /&gt;
ANCIENT HISTORY OK THE MAORI. By John&lt;br /&gt;
White. Demy Svo. Half Morocco. 4 vols. ioj. per vol.&lt;br /&gt;
By&lt;br /&gt;
AND&lt;br /&gt;
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Every Assistance given to Correspondents; and Books not kept in stock obtained without delay. Remittance should&lt;br /&gt;
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EYRE and SrOTTISWOODE, Her Hajesfy&amp;#039;s Printers, East Harding Slrcft, Londou, VA.&lt;br /&gt;
&lt;br /&gt;
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## p. 98 (#502) #############################################&lt;br /&gt;
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98&lt;br /&gt;
AD VER TISEMENTS.&lt;br /&gt;
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Book-keeping, and Commercial Correspondence, iind when Pupil;,&lt;br /&gt;
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Particulars on application to &mdash;&lt;br /&gt;
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&lt;br /&gt;
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## p. 99 (#503) #############################################&lt;br /&gt;
&lt;br /&gt;
ADVERTISEMENTS.&lt;br /&gt;
99&lt;br /&gt;
The Society of Authors (Incorporated).&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
The Right Hox. THE LORD TENNYSON, D.C.L.&lt;br /&gt;
COUNCIL.&lt;br /&gt;
SIR EDWIN ARNOLD, K.C.I.E. I A. W. DUBOURG.&lt;br /&gt;
THE EARL OF PEMBROKE AND&lt;br /&gt;
ALFRED AUSTIN.&lt;br /&gt;
JOHN ERIC ERICHSEN, F.R.S.&lt;br /&gt;
MONTGOMERY.&lt;br /&gt;
A. W. &Agrave; BECKETT.&lt;br /&gt;
PROF. MICHAEL FOSTER, F.R.S. SIR FREDERICK POLLOCK, Bart.,&lt;br /&gt;
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HERBERT GARDNER, M.P.&lt;br /&gt;
LL.D.&lt;br /&gt;
SIR HENRY BERGNE, K.C.M.G. RICHARD GARNETT, LL.D.&lt;br /&gt;
WALTER HERRIES POLLOCK.&lt;br /&gt;
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EDMUND GOSSE.&lt;br /&gt;
A. G. Ross.&lt;br /&gt;
AUGUSTINE BIRRELL, M.P.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
GEORGE AUGUSTUS Sala.&lt;br /&gt;
R. D. BLACKMORE.&lt;br /&gt;
THOMAS HARDY.&lt;br /&gt;
W. BAPTISTE SCOONES.&lt;br /&gt;
Rev. PROF. BONNEY, F.R.S.&lt;br /&gt;
PROF. E. RAY LANKESTER, F.R.S. G. R. SIMs.&lt;br /&gt;
LORD BRABOURNE.&lt;br /&gt;
J. M. LELY.&lt;br /&gt;
J. J. STEVENSON.&lt;br /&gt;
JAMES BRYCE, M.P.&lt;br /&gt;
REV. W. J. LOFTIE, F.S.A.&lt;br /&gt;
JAS. SULLY.&lt;br /&gt;
P. W. CLAYDEN.&lt;br /&gt;
F. Max M&Uuml;LLER, LL.D.&lt;br /&gt;
WILLIAM Moy THOMAS.&lt;br /&gt;
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H. D. TRAILL, D.C.L.&lt;br /&gt;
W. MARTIN CONWAY.&lt;br /&gt;
HERMAN C. MERIVALE.&lt;br /&gt;
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MARION CRAWFORD.&lt;br /&gt;
Rev. C. H. MIDDLETON-WAKE, F.L.S. DE WORMS, M.P., F.R.S.&lt;br /&gt;
OSWALD CRAWFURD, C.M.G.&lt;br /&gt;
J. C. PARKINSON.&lt;br /&gt;
EDMUND YATES.&lt;br /&gt;
THE EARL OF DESART.&lt;br /&gt;
Hon. Counsel-E. M. UNDERDOWN, Q.C.&lt;br /&gt;
COMMITTEE OF MANAGEMENT.&lt;br /&gt;
Chairman--- WALTER BESANT.&lt;br /&gt;
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1. The Annual Report. That for January 1891 can be had on application to the Secretary.&lt;br /&gt;
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary&lt;br /&gt;
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95, Strand, W.C.) 38.&lt;br /&gt;
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VOL. II.&lt;br /&gt;
7. The 25. od Page,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 100 (#504) ############################################&lt;br /&gt;
&lt;br /&gt;
IOO&lt;br /&gt;
A I) VEli TISEMENTS.&lt;br /&gt;
&lt;br /&gt;
The &amp;quot; Swim&amp;quot; is ii beautiful Gold Pen joined to a rubber reservoir to hold any kind of ink, which&lt;br /&gt;
it supplies to the writing point in a continuous flow. It will hold enough ink for two days&amp;#039; constant&lt;br /&gt;
work, or a week&amp;#039;s ordinary writing, and can l&amp;gt;e refilled with as little trouble as to wind a watch. With&lt;br /&gt;
the cover over the gold nib it is carried in the pocket like a pencil, to be used anywhere. A purchaser&lt;br /&gt;
may try a pen a few days, and if by chance the writing point does not suit his hand, exchange it for&lt;br /&gt;
another without charge, or have his money returned if wanted. ,&lt;br /&gt;
There are yarions points to select from, broad. Minn, aiiil fine, eyery handwriting can be snited,&lt;br /&gt;
and the price of the entire instrument, with filler complete, post free, is only 10s. 6d.&lt;br /&gt;
&lt;br /&gt;
The Gold Pens in the &amp;quot;Swan&amp;quot; are Mabie, Todd, &amp;amp; Co.&amp;#039;s famous make. They are 14-carat&lt;br /&gt;
tempered gold, very handsome, and positively unaffected by any kind of ink. They are pointed with&lt;br /&gt;
selected polished iridium. The &amp;quot; Encyclopaedia Britannica&amp;quot; says:&mdash;&amp;quot;Iridium is a nearly white metal of&lt;br /&gt;
high specific gravity, it is almost indestructible, and a beautifully polished surface can be obtained upon&lt;br /&gt;
it.&amp;quot; They will not jxmetrate the paper, and writer&amp;#039;s cramp is unknown among users of Gold Pens.&lt;br /&gt;
One will OUtwear 90 grOSS Of Steel pens. They are a perfect revelation to those who know nothing&lt;br /&gt;
about Gold Pens.&lt;br /&gt;
Dr. Outer Wendkix Holmes has used one of Mubio, Todd, &amp;amp; Co.&amp;#039;s Gold Pens siuce 185;, and is using the same&lt;br /&gt;
one (his &amp;quot;old friend &amp;quot;) to-day.&lt;br /&gt;
.Sydney Guundy, Kho,., says (referring to the Fountain Pen) :&mdash;&amp;quot; ft is a vast improvement on every Stylograph.&amp;quot;&lt;br /&gt;
Mobkrlt Bbll, Esq., Manager, The Times, says (referring to the Fountain feu) :&mdash;&amp;quot; One pen lasted me for six&lt;br /&gt;
years.&amp;quot;&lt;br /&gt;
S. D. Waddt, Ksq., (i-C, M.P., says (referring to the Fountain Pen) :&mdash;&amp;quot; I have used them constantly for some&lt;br /&gt;
years, and, as fur as t can remember, they have never failed me.&amp;quot;&lt;br /&gt;
Send Postal Card for Free Illustrated List (containing interesting Testimonials from the Best&lt;br /&gt;
People, who have used them for years) to&mdash;&lt;br /&gt;
MABIE, TODD, &amp;amp; BARD,&lt;br /&gt;
S3, CHEAPSIDE, X-03XT1D03V.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 101 (#505) ############################################&lt;br /&gt;
&lt;br /&gt;
^Ibe Hutbor*&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
CONDUCTED BY WALTER BESANT.&lt;br /&gt;
Vol. II.&mdash;No. 4.] SEPTEMBER 1, 1891. [Price Sixpence.&lt;br /&gt;
For the Opinions c.vprcssed in papers that arc&lt;br /&gt;
signed the Authors alone arc responsible.&lt;br /&gt;
- +~&raquo;~*&lt;br /&gt;
INTERNATIONAL COPYRIGHT.&lt;br /&gt;
I.&lt;br /&gt;
(From the New Vork &amp;quot;Critic.&amp;quot;)&lt;br /&gt;
Protection and Literature in France.&lt;br /&gt;
&amp;quot;A MOXG the measures of reprisal proposed in&lt;br /&gt;
f\ the Belgian Parliament last March,&amp;quot; savs&lt;br /&gt;
the Times, &amp;quot; when the new French protec-&lt;br /&gt;
tionism with its discriminations against Belgian&lt;br /&gt;
products was brought into the French Chamher,&lt;br /&gt;
was a withdrawal of the property rights accorded&lt;br /&gt;
French writers and artists. J11 fact, it was only a&lt;br /&gt;
little later that the treaty between France and Bel-&lt;br /&gt;
gium, negotiated in 1881, for the reciprocal guarantee&lt;br /&gt;
of literary and artistic rights, was denounced by the&lt;br /&gt;
latter country, and will consequently soon expire.&lt;br /&gt;
. . . . Just about that time Switzerland came&lt;br /&gt;
forward and gave notice of her desire to terminate&lt;br /&gt;
the corresponding treaty covering the rights of&lt;br /&gt;
authors and artists in existence with France since&lt;br /&gt;
1882 But it seems probable that the&lt;br /&gt;
rights of workers in French literature and art are&lt;br /&gt;
too securely guaranteed abroad to be imperilled&lt;br /&gt;
even by so exasperating a law as the Bill brought&lt;br /&gt;
in by M. Meline. Even in the case of Belgium&lt;br /&gt;
and Switzerland, something more than the termi-&lt;br /&gt;
nation of the existing treaties on the subject must&lt;br /&gt;
Ikj done before French authors and artists will&lt;br /&gt;
suffer. Belgium has had a law on her statute hooks&lt;br /&gt;
since 1886 relating to Copyright, in which the same&lt;br /&gt;
rights are accorded foreigners as those secured to&lt;br /&gt;
citizens. This law would have to be repealed or&lt;br /&gt;
amended in order to make the proposed reprisal of&lt;br /&gt;
Belgium effective. And in Switzerland there is a&lt;br /&gt;
Federal law dating from 1883, giving to foreign&lt;br /&gt;
authors the same rights as natives, provided the&lt;br /&gt;
country of the former has reciprocal legislation, as&lt;br /&gt;
France has.&lt;br /&gt;
&amp;quot;Moreover, both Belgium and Switzerland are&lt;br /&gt;
signers of the Berne Convention of 1886. The&lt;br /&gt;
second article of that agreement grants*to the&lt;br /&gt;
citizens of any signatory Power the l ight to dispose&lt;br /&gt;
of their literary and artistic productions in any&lt;br /&gt;
other, under the same legal protection as that&lt;br /&gt;
enjoyed by natives. True, Belgium and Switzer-&lt;br /&gt;
land might withdraw7 from the Berne Convention,&lt;br /&gt;
but they could not do it simply as concerns France;&lt;br /&gt;
they would have to do it absolutely, and become&lt;br /&gt;
outer barbarians to all the other signers. This is&lt;br /&gt;
a step which they would hesitate to take. Espe-&lt;br /&gt;
cially would Switzerland hesitate to take it, since&lt;br /&gt;
it would necessarily involve the loss to Berne of&lt;br /&gt;
the Bureau of the International Union, maintained&lt;br /&gt;
there at present by the signatory States at an&lt;br /&gt;
expense of $12,000 a year. Thus it would&lt;br /&gt;
appear that whatever reprisals in other forms&lt;br /&gt;
France may be subjected to on account of her rush&lt;br /&gt;
into MeKinleyism, the property rights of her&lt;br /&gt;
writers and artists are too thoroughly secured in&lt;br /&gt;
other countries to be easily forfeited.&amp;quot;&lt;br /&gt;
Penalties for Violation of the new Law.&lt;br /&gt;
The Secretary of the Treasury has prescribed&lt;br /&gt;
the following regulations :&mdash;&lt;br /&gt;
1. Copyrighted books and articles, the importa-&lt;br /&gt;
tion of which is prohibited by section 49,56,&lt;br /&gt;
Revised Statutes, as amended by section 3 of&lt;br /&gt;
said Act, shall not be admitted to entry. Such&lt;br /&gt;
books and articles, if imported with the previous&lt;br /&gt;
consent of the proprietor of the Copyright, shall&lt;br /&gt;
be seized by the collector of customs, who will&lt;br /&gt;
take the proper steps for the forfeiture of the goods&lt;br /&gt;
to the United States, under section 3o82, Revised&lt;br /&gt;
Statutes.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 102 (#506) ############################################&lt;br /&gt;
&lt;br /&gt;
102&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
2. Copyrighted books mid articles imported&lt;br /&gt;
contrary to said prohibition, and without the&lt;br /&gt;
previous consent of the proprietor of the Copyright,&lt;br /&gt;
being primarily subject to forfeiture to the pro-&lt;br /&gt;
prietor of the Copyright, shall lie detained by the&lt;br /&gt;
collector, who shall forthwith notify such proprietor,&lt;br /&gt;
in order to ascertain whether or not he shall&lt;br /&gt;
institute, proceedings for the enforcement of his&lt;br /&gt;
right to the forfeiture. If the proprietor institutes&lt;br /&gt;
such proceedings and obtains a decree of forfeiture,&lt;br /&gt;
the goods shall be delivered to him on payment of&lt;br /&gt;
the expenses incurred in the detention and storage&lt;br /&gt;
and the duties accrued thereon. If such proprietor&lt;br /&gt;
shall fail to institute such proceedings within 60&lt;br /&gt;
days from date of notice, or shall declare in writing&lt;br /&gt;
that he abandons his right to the forfeiture, then&lt;br /&gt;
the collector shall proceed as in the case of articles&lt;br /&gt;
imported with the previous consent of the pro-&lt;br /&gt;
prietor.&lt;br /&gt;
3. Copyrighted articles, the importation of which&lt;br /&gt;
is not prohibited, but which, by virtue of section&lt;br /&gt;
4965, Revised Statutes, as amended by section 8&lt;br /&gt;
of said Act, are forfeited to tin; proprietor of&lt;br /&gt;
the Copyright when imported without his previous&lt;br /&gt;
consent, and are, moreover, subject to the forfeiture&lt;br /&gt;
of $1 or &sect;10 per copy, as the case may be, one-half&lt;br /&gt;
thereof to the said proprietor, and the other half to&lt;br /&gt;
the use of the United States, shall be taken posses-&lt;br /&gt;
sion of by the collector, who shall take the necessary&lt;br /&gt;
steps for securing to the United States half of the&lt;br /&gt;
sum so forfeited, and shall keep the goods in his&lt;br /&gt;
possession until a decree of forfeiture is obtained,&lt;br /&gt;
and the half of the sum so forfeited, as well as the&lt;br /&gt;
duties and charges accrued are paid; whereupon&lt;br /&gt;
he shall deliver the goods to the proprietor of the&lt;br /&gt;
Copyright. In case of failure to obtain a decree&lt;br /&gt;
of forfeiture the goods shall be admitted to entry.&lt;br /&gt;
The Importation of Books in foreign&lt;br /&gt;
Tongues.&lt;br /&gt;
There appears to be no room for doubt that the&lt;br /&gt;
new copyright law admits foreign books, of which&lt;br /&gt;
only the translations are copyrighted here; and&lt;br /&gt;
that it admits them duty-free. The free list of the&lt;br /&gt;
new tariff law includes (paragraph 5l2) works&lt;br /&gt;
20 years old), (paragraph 5i3) &amp;quot;books and&lt;br /&gt;
pamphlets printed exclusively in languages other&lt;br /&gt;
than English,&amp;quot; and l&amp;gt;ooks and music in raised print&lt;br /&gt;
for the blind, (paragraph 614) works intended for&lt;br /&gt;
use by the Government, and (paragraph 516) works&lt;br /&gt;
owned, and in actual use for more than one year,&lt;br /&gt;
by persons or families from foreign countries.&lt;br /&gt;
The copyright law says tlistinctly that, &amp;quot;in the&lt;br /&gt;
case of books in foreign languages, of which&lt;br /&gt;
only translations in English are copyrighted, the&lt;br /&gt;
prohibition of importation shall apply only to the&lt;br /&gt;
translations of the same, and the importation of&lt;br /&gt;
the books in the original language shall be per-&lt;br /&gt;
mitted.&amp;quot; An exception in this law suspends the&lt;br /&gt;
rule against importing copyrighted works not re-&lt;br /&gt;
printed in this country &amp;quot;in the cases specified in&lt;br /&gt;
paragraphs 5i2 to 516, inclusive,&amp;quot; as above.&lt;br /&gt;
The Librarian of Congress kept busy.&lt;br /&gt;
&amp;quot;Mr. Spofford, the Librarian of Congress, is&lt;br /&gt;
kept very busy these warm days,&amp;quot; says the Evening&lt;br /&gt;
Post, &amp;quot;answering the corres])ondence which pours&lt;br /&gt;
in upon him with every mail, most of it concerning&lt;br /&gt;
the interpretation of the new copyright law. A&lt;br /&gt;
surprisingly large number of persons manifest an&lt;br /&gt;
interest in the subject of the &amp;#039;catalogues of title-&lt;br /&gt;
entries&amp;#039; which the law requires the Librarian to&lt;br /&gt;
furnish to the Secretary of the Treasury, and the&lt;br /&gt;
Secretary to print, at intervals of not more than a&lt;br /&gt;
week, for distribution among the collectors of&lt;br /&gt;
customs and postmasters at offices receiving foreign&lt;br /&gt;
mails. These catalogues are designed, of course,&lt;br /&gt;
primarily to inform the officers mentioned what&lt;br /&gt;
publications are to lie excluded from entry; but&lt;br /&gt;
incidentally they are of value to American authors,&lt;br /&gt;
publishers, librarians, collectors, and persons other-&lt;br /&gt;
wise interested in literature. Hence the Govern-&lt;br /&gt;
ment proposes to accept subscriptions for them,&lt;br /&gt;
at the rate of $5 a year, a sum which is expected&lt;br /&gt;
nearly to cover the expense of getting them out.&lt;br /&gt;
&amp;quot;The impression has got abroad that Mr.&lt;br /&gt;
Spofford is designated to receive subscriptions, and&lt;br /&gt;
he is deluged with applications and inquiries in&lt;br /&gt;
consequence. To all he is obliged to send the&lt;br /&gt;
uniform answer that the subscribing must be done&lt;br /&gt;
through the collectors of customs, whose duty it&lt;br /&gt;
is to account for the money so received, and instruct&lt;br /&gt;
the Department how many copies will be necessary&lt;br /&gt;
each week to supply their local demands.&amp;quot;&lt;br /&gt;
&amp;quot;It is a curious thing,&amp;quot; observes the same&lt;br /&gt;
paper, &amp;quot;that so large a number of professional&lt;br /&gt;
writers, musicians, publishers, &amp;amp;c, who make it a&lt;br /&gt;
part of their regular business to take out Copy-&lt;br /&gt;
rights, should not feel enough interest in the&lt;br /&gt;
protection of their own property to examine the&lt;br /&gt;
statute and follow its language literally in furnishing&lt;br /&gt;
the Librarian of Congress with the data on which&lt;br /&gt;
they base their claims. Some of the provisions of&lt;br /&gt;
the new statute are too blind for even an accom-&lt;br /&gt;
plished lawyer to interpret with ease, but the par-&lt;br /&gt;
ticulars required by the Librarian can be ascertained&lt;br /&gt;
by any layman&amp;#039;s intelligent reading. A great many&lt;br /&gt;
applicants for Copyright&mdash;perhaps it would be not&lt;br /&gt;
too much to say the majority&mdash;make their appli-&lt;br /&gt;
cations in a way that would ascrilie to the Librarian&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 103 (#507) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
clairvoyant [xnvers, or an acquaintance with the&lt;br /&gt;
family history of persons ho has never heard of&lt;br /&gt;
before.&amp;quot;&lt;br /&gt;
In the Case of Residents who are not&lt;br /&gt;
Citizens.&lt;br /&gt;
&amp;quot;Doubt has arisen,&amp;quot; says the Tribune, &amp;quot;in&lt;br /&gt;
respect to the proper construction of section i3&lt;br /&gt;
of the Act, so far as it may affect foreign-born&lt;br /&gt;
residents of the United States who have not been&lt;br /&gt;
naturalized. That section provides that the Act&lt;br /&gt;
&amp;#039;shall only apply to a citizen or subject of a&lt;br /&gt;
foreign State or nation when such foreign State&lt;br /&gt;
or nation permits to citizens of the United States&lt;br /&gt;
of America the benefit of Copyright on substantially&lt;br /&gt;
the same basis as its own citizens; or when such&lt;br /&gt;
foreign State or nation is a party to an inter-&lt;br /&gt;
national agreement which provides for the reci-&lt;br /&gt;
procity in the granting of Copyright, by the terms&lt;br /&gt;
of which agreement the United States of America&lt;br /&gt;
may, at its pleasure, become a party to such agree-&lt;br /&gt;
ment.&amp;#039; The old law in relation to Copyright has&lt;br /&gt;
always been liberally construed for the benefit of&lt;br /&gt;
unnaturalized foreigners resident in the United&lt;br /&gt;
States, so that thousands of Copyrights have been&lt;br /&gt;
granted to citizens of France and subjects of Great&lt;br /&gt;
Britain, Germany, and other countries residing in&lt;br /&gt;
this country. Now, what shall be done if a subject&lt;br /&gt;
of Germany, Italy, or any other country not em-&lt;br /&gt;
braced in the President&amp;#039;s proclamation of July I,&lt;br /&gt;
who is a resident of the United States, shall apply&lt;br /&gt;
for Copyright under the new law?&amp;quot;&lt;br /&gt;
The ooPYRiGHTrNG of foreign Music.&lt;br /&gt;
&amp;quot;Mr. Spofford,&amp;quot; says the Post, &amp;quot;stands firmly&lt;br /&gt;
by his decision that foreign music may lx&amp;gt; copy-&lt;br /&gt;
righted without reprinting in this country. He&lt;br /&gt;
bases this view upon the fact that the new law&lt;br /&gt;
makes the distinction, in plain terms, lx&amp;#039;twoen&lt;br /&gt;
&amp;#039;a lxx&amp;gt;k, photograph, chromo, or lithograph,&amp;#039;&lt;br /&gt;
which it requires &amp;#039;shall be printed from type set&lt;br /&gt;
within the limits of the United States, or from&lt;br /&gt;
plates made therefrom,&amp;#039; and the general list.&lt;br /&gt;
, There will, doubtless, ta a contest over&lt;br /&gt;
this, as certain American music publishers insist&lt;br /&gt;
that the new law requires that foreign books shall&lt;br /&gt;
be reprinted here in order to obtain the benefits&lt;br /&gt;
of Copyright, and that a piece of sheet-music is,&lt;br /&gt;
for the intents of the law, to lx&amp;gt; regarderl as a book.&lt;br /&gt;
. . . The music publishers are evidently dis-&lt;br /&gt;
turbed by the prospect. If they cannot get a&lt;br /&gt;
decision in their favour they have little hope of&lt;br /&gt;
getting relief from Congress for a good while to&lt;br /&gt;
come. Moreover, by the argument they are making,&lt;br /&gt;
they obviously intend to put a broader construction&lt;br /&gt;
on the statute than could possibly have been in&lt;br /&gt;
anybody&amp;#039;s mind when the Bill was under discussion,&lt;br /&gt;
for they claim that tlx.&amp;#039; word &bull; type&amp;#039; should be&lt;br /&gt;
held to include &amp;#039;all punches and other devices&lt;br /&gt;
by which books, and all publications construed&lt;br /&gt;
to be books, are made.&amp;#039;&amp;quot;&lt;br /&gt;
II.&lt;br /&gt;
(From &amp;quot; Frank Leslie&amp;#039;s Paper.&amp;quot;)&lt;br /&gt;
The brilliant gathering of British writers on&lt;br /&gt;
Thursday night, July 16th, at the Hotel Metropole,&lt;br /&gt;
in London, under the auspices of the Society&lt;br /&gt;
of Authors, may Ira said to close the cam-&lt;br /&gt;
paign of International Copyright. The British&lt;br /&gt;
authors have now ratified, in a public and official&lt;br /&gt;
manner, and with a significant emphasis, tho&lt;br /&gt;
legislation of last winter, and that they have done&lt;br /&gt;
this lx-speaks at once their magnanimity and their&lt;br /&gt;
wisdom&mdash;magnanimity, lx&raquo;cause they undoubtedly&lt;br /&gt;
are hampered by some of the restrictions of the&lt;br /&gt;
Act as passed; wisdom, lx?cause in spite of these&lt;br /&gt;
limitations, and, from a purely literary standpoint,&lt;br /&gt;
these blemishes, the Act is a distinct step forward&lt;br /&gt;
in the march of ideas. The veteran Laureate of&lt;br /&gt;
England, and of the English speech, struck the&lt;br /&gt;
keynote and summed the whole matter up in his&lt;br /&gt;
concise despatch of greeting, wherein he said the&lt;br /&gt;
Society congratulated the United States &amp;quot;on their&lt;br /&gt;
great act of justice.&amp;quot;&lt;br /&gt;
It is as a &amp;quot;great act of justice&amp;quot; rather than as&lt;br /&gt;
legislation, which will immediately benefit the&lt;br /&gt;
pockets of authors and publishers, that the world&lt;br /&gt;
feels its chief interest in the present International&lt;br /&gt;
Copyright law. It was this consideration which&lt;br /&gt;
prompted Henry Cabot Lodge to say at the recent&lt;br /&gt;
Copyright dinner in this city, that perhaps the&lt;br /&gt;
Fifty-first Congress would ultimately lx&amp;gt; best re-&lt;br /&gt;
membered for the passage of this Act. Unregarded&lt;br /&gt;
as the reformers were for many years, and reckoned&lt;br /&gt;
of only small and incidental consequence, even at&lt;br /&gt;
the very last, possibly their &amp;quot;little Bill&amp;quot; may yet&lt;br /&gt;
reflect more lustre on the Fifty-first Congress than&lt;br /&gt;
some others which now appear to lxi its most&lt;br /&gt;
important legacies.&lt;br /&gt;
The friends of the measure fought their tattles&lt;br /&gt;
o&amp;#039;er again, and exchanged congratulations at&lt;br /&gt;
Thursday&amp;#039;s meeting in London, and the temptation&lt;br /&gt;
is great to do so on this side also, for when all is&lt;br /&gt;
said, scanty justice is done to that small and&lt;br /&gt;
devoted tand of men, armed with the irresistible&lt;br /&gt;
power of an idea, who besieged Congress for so&lt;br /&gt;
many years, until finally their tireless efforts&lt;br /&gt;
brought victory. Some of them are now receiving&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 104 (#508) ############################################&lt;br /&gt;
&lt;br /&gt;
104&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the formal recognition which their labours deserve.&lt;br /&gt;
If ever decorations were deserved, they are those&lt;br /&gt;
that are worn by the Copyright veterans, and that&lt;br /&gt;
eagle should be indeed a &amp;quot;proud bird of freedom&amp;quot;&lt;br /&gt;
who furnished the quill with which President&lt;br /&gt;
Harrison signed this &amp;quot;great act of justice&amp;quot;&mdash;this&lt;br /&gt;
literary magna chart a&mdash;and which he so grace-&lt;br /&gt;
fully presented afterward to the indefatigable&lt;br /&gt;
secretary of the Copyright League, Mr. Robert&lt;br /&gt;
Underwood Johnson. This particular pen was&lt;br /&gt;
mightier than many swords.&lt;br /&gt;
The world will not forget, however, the efforts&lt;br /&gt;
of several men whose names have not yet won these&lt;br /&gt;
formal honours. All the world of writers are&lt;br /&gt;
under a deep obligation to Dr. Edward Eggleston&lt;br /&gt;
for the patient and judicious campaigns, one after&lt;br /&gt;
another, which that eminent writer made from an&lt;br /&gt;
unselfish devotion to the interests of literature and&lt;br /&gt;
of his fellow-workers in that field. It was entirely&lt;br /&gt;
proper that, by an agreement among literary&lt;br /&gt;
workers, his latest novel, &amp;quot;The Faith Doctor,&amp;quot;&lt;br /&gt;
received the unique distinction of obtaining the&lt;br /&gt;
first Copyright under the new law. The name of&lt;br /&gt;
ex-Senator Chace is also indelibly linked with the&lt;br /&gt;
new epoch, as the law as it now stands on the&lt;br /&gt;
statute books was practically drafted by him, and&lt;br /&gt;
all the material amendments were submitted to him&lt;br /&gt;
and had his cordial approbation and support.&lt;br /&gt;
Without subtracting from the importance of the&lt;br /&gt;
work in the two halls of Congress done by Breck-&lt;br /&gt;
inridge, Adams, and Simonds in the House, and&lt;br /&gt;
by Senator Piatt, of Connecticut, in the Senate,&lt;br /&gt;
we still remember that it was &amp;quot;the Chace Bill&amp;quot;&lt;br /&gt;
which finally became the International Copyright&lt;br /&gt;
law. We have also to remember that but for the&lt;br /&gt;
earnest efforts of such men as R. R. Bowker, Dr.&lt;br /&gt;
Henry J. Van Dyck&mdash;who earned the sobriquet&lt;br /&gt;
of &amp;quot;chaplain&amp;quot; of the cause.&mdash;of Messrs. Lothrop,&lt;br /&gt;
Brauder Mathews, R. W. Gilder, Howard Crosby,&lt;br /&gt;
Henry Cabot Lodge, Charles Seribner, the Apple-&lt;br /&gt;
tons, and a host of other strong and devoted&lt;br /&gt;
advocates, the efforts of the &amp;quot;rush line&amp;quot; at&lt;br /&gt;
Washington would have been a failure.&lt;br /&gt;
What a mighty scrimmage that valiant &amp;quot;rush&lt;br /&gt;
line&amp;quot; had, and how gallantly they behaved them-&lt;br /&gt;
selves in it! The literary world has not yet done&lt;br /&gt;
talking about the bull-dog grip and the quick&lt;br /&gt;
adaptability to every emergency which were dis-&lt;br /&gt;
played by Senator Piatt, Representative Simonds,&lt;br /&gt;
and Secretary R. U. Johnson, the triumvirate! who&lt;br /&gt;
did the hand-to-hand fighting. A dozen times&lt;br /&gt;
when every danger seemed passed, a new crisis&lt;br /&gt;
suddenly stared them in the face, but their resources&lt;br /&gt;
were infinite, and, aided by Madam Fortune, who&lt;br /&gt;
always smiles upon such determined gallants, the&lt;br /&gt;
goal was finally reached and the battle won.&lt;br /&gt;
But aven after the President scratched his&lt;br /&gt;
approval with the eagle&amp;#039;s quill it was a question&lt;br /&gt;
whether the law would be practically operative.&lt;br /&gt;
Essentially it was reciprocal in its provisions, and&lt;br /&gt;
would have fallen a dead letter, therefore, but&lt;br /&gt;
for corresponding action on the part of foreign&lt;br /&gt;
governments. Would this be given? Certain&lt;br /&gt;
provisions in the law prejudiced it in the eyes of&lt;br /&gt;
foreigners, and it required some breadth of view on&lt;br /&gt;
their part to accept them. At this point the efforts&lt;br /&gt;
of true friends of the reform in France and England&lt;br /&gt;
were of much help. Men like Professor Bryce and&lt;br /&gt;
the Count de Keratry proved themselves valuable&lt;br /&gt;
allies, and their names should not be omitted in a&lt;br /&gt;
list of the heroes of the war. In good time the&lt;br /&gt;
necessary ratifications were made by England,&lt;br /&gt;
France, Belgium, and Switzerland, so that now in&lt;br /&gt;
five of the principal nations of Christendom Inter-&lt;br /&gt;
national Copyright is in practical operation.&lt;br /&gt;
It may now be a.sked, What are the fruits to&lt;br /&gt;
date? In reply to such an inquiry, which is a very&lt;br /&gt;
natural one, it must be said that thus far little&lt;br /&gt;
appears in the way of changes at the business end&lt;br /&gt;
of literature. Although several of the leading&lt;br /&gt;
publishers are in negotiation for foreign works, we&lt;br /&gt;
believe that only one of these transactions has been&lt;br /&gt;
concluded. We understand that the Cassells have&lt;br /&gt;
purchased tin; right to bring out an American&lt;br /&gt;
edition of Zola&amp;#039;s &amp;quot;La Guerre,&amp;quot; and this work will&lt;br /&gt;
be the first sold in our market under the new&lt;br /&gt;
regime. Recent interviews with a number of New&lt;br /&gt;
York publishers show that several important works&lt;br /&gt;
are soon to follow, among them a volume by Pro-&lt;br /&gt;
fessor Bryce. It will take some time, however,&lt;br /&gt;
before the law modifies to any obvious extent exist-&lt;br /&gt;
ing conditions, and, as we said at the start, the Act&lt;br /&gt;
is of consequence more because it inaugurates a&lt;br /&gt;
new era than because it involves any very dramatic&lt;br /&gt;
change in the publishing business. That these&lt;br /&gt;
changes will come in their proper time is now&lt;br /&gt;
generally believed by both authors, publishers, and&lt;br /&gt;
booksellers, but the habit of a trade is not often&lt;br /&gt;
revolutionised at a blow.&lt;br /&gt;
The official indorsement of the Act by the British&lt;br /&gt;
authors comes in the nick of time to place in the&lt;br /&gt;
right view the selfish opposition to the law de-&lt;br /&gt;
veloped by certain elements of the printing and&lt;br /&gt;
publishing trades in England. These interests&lt;br /&gt;
are bestirring themselves to arouse a sentiment of&lt;br /&gt;
hostility to the law, as they fear&mdash;with some reason-&lt;br /&gt;
that what is known as the &amp;quot;printing clause&amp;quot; in the&lt;br /&gt;
law will have the effect of transferring to New&lt;br /&gt;
York a considerable part of the mechanical work&lt;br /&gt;
in current, literature now done abroad. The friends&lt;br /&gt;
of the Chace Bill have always maintained that one&lt;br /&gt;
of its effects might be to make New York the&lt;br /&gt;
centre of the publishing trade of the world. The&lt;br /&gt;
anxiety of the craft in England would go to show&lt;br /&gt;
that this claim may have some solid basis. To&lt;br /&gt;
obstruct any such tendency, the English printers&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 105 (#509) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
are demanding of their Government that Parlia-&lt;br /&gt;
ment shall require that the printing of American&lt;br /&gt;
works having an English copyright shall be done in&lt;br /&gt;
tluvt country. Thus far, however, the Government&lt;br /&gt;
has turned the cold shoulder to these demands. Sir&lt;br /&gt;
Michael Hicks Beach, replying to a deputation who&lt;br /&gt;
had an interview with him a few days ago on this&lt;br /&gt;
subject, said he did not think that in the present state&lt;br /&gt;
of the case it would be necessary for the Government&lt;br /&gt;
to take any action; that the printing clause in the&lt;br /&gt;
Bill affected only 5 per cent, of printed matter,&lt;br /&gt;
and it was too early yet to see what its operation&lt;br /&gt;
would be, even within this narrow area. The em-&lt;br /&gt;
phatic ratification of the law by the authors, coming&lt;br /&gt;
on top of this snub from the Government, will&lt;br /&gt;
probably put a quietus on this movement, certainly&lt;br /&gt;
until the law has a fair chance to show its merits.&lt;br /&gt;
We may assume, therefore, that a new principle&lt;br /&gt;
has l&amp;gt;een established and a new epoch opened.&lt;br /&gt;
Intel-national property in literary ideas is recog-&lt;br /&gt;
nised and imbedded in the law of the land, and&lt;br /&gt;
America joins hands with the principal nations of&lt;br /&gt;
Christendom in securing to authors the full and&lt;br /&gt;
just reward of their labour.&lt;br /&gt;
Henry B. Elliot.&lt;br /&gt;
&lt;br /&gt;
ASSOCIATION LITT&Eacute;RAIRE ET ARTISTIQUE&lt;br /&gt;
INTERNATIONALE.&lt;br /&gt;
AGENERAL invitation has been extended&lt;br /&gt;
to the Members of this Society for the&lt;br /&gt;
Congress which meets at Neufch&acirc;tel on the&lt;br /&gt;
26th of September and continues its sittings to&lt;br /&gt;
the 3rd of October. It will be remembered that&lt;br /&gt;
the Association held a Congress at London two&lt;br /&gt;
years ago, which began by ignoring the existence of&lt;br /&gt;
this Society, and in consequence was not attended&lt;br /&gt;
by one single English man of letters. This&lt;br /&gt;
omission, there is reason to believe, was not&lt;br /&gt;
occidental but intentional, and suggested by&lt;br /&gt;
certain warm friends of the Society. It is not&lt;br /&gt;
probable that the omission will be repeated. As&lt;br /&gt;
regards the journey to the Congress of this year, a&lt;br /&gt;
reduction of 5o per cent, is made on the French&lt;br /&gt;
and Swiss lines for Members, and the daily expenses&lt;br /&gt;
at the hotels, the secretary informs inquirers, may&lt;br /&gt;
be set down at a maximum of 10 or 12 francs.&lt;br /&gt;
The following is the official programme of the&lt;br /&gt;
Congress :&mdash;&lt;br /&gt;
Programme des Travaux.&lt;br /&gt;
i&deg; Rapport sur les travaux de l&amp;#039;ann&eacute;e. Rap-&lt;br /&gt;
porteur: M. Jules Lennina.&lt;br /&gt;
2&deg; Etude sur le projet de loi anglais. Copyright.&lt;br /&gt;
Rapporteurs: MM. Henri Morel et Rothlisberger.&lt;br /&gt;
VOL. 11.&lt;br /&gt;
3&deg; Etude sur la nouvelle loi Copyright, pro-&lt;br /&gt;
mulgu&eacute;e aux Etats-Unis. Rapporteurs: MM.&lt;br /&gt;
Darras et Maillard.&lt;br /&gt;
40 De la propri&eacute;t&eacute; artistique. Peinture et&lt;br /&gt;
sculpture. Ripporteur: M. Armand Dumaresq.&lt;br /&gt;
5&deg; De la propri&eacute;t&eacute; artistique. Musique. Rap-&lt;br /&gt;
porteur: M. Victor Souchon.&lt;br /&gt;
6&deg; De la propri&eacute;t&eacute; artistique en mati&egrave;re de&lt;br /&gt;
photographie. Rapporteur: M. Bulloz.&lt;br /&gt;
70 Essai de l&eacute;gislation en mati&egrave;re de contrat&lt;br /&gt;
d&amp;#039;&eacute;dition. Rapporteurs: MM. Ocainpo et Max&lt;br /&gt;
Nordau.&lt;br /&gt;
8&amp;quot; De l&amp;#039;&eacute;tat de la propri&eacute;t&eacute; intellectuelle dans&lt;br /&gt;
les pays qui n&amp;#039;ont pas adh&eacute;r&eacute; &agrave; la Convention de&lt;br /&gt;
Berne. Rapporteur: M. Fr&eacute;d&eacute;ric B&oelig;tzmann.&lt;br /&gt;
90 De la revision de la Convention de Berne.&lt;br /&gt;
De la Conf&eacute;rence diplomatique de 1892, &agrave; Paris.&lt;br /&gt;
Rapporteur: M. Eug&egrave;ne Pouillet.&lt;br /&gt;
R&eacute;union pr&eacute;paratoire, Samedi 26 Septembre, &agrave;&lt;br /&gt;
dix heures du matin, au Cercle du Mus&eacute;e.&lt;br /&gt;
La s&eacute;ance solennelle de r&eacute;ception des membres&lt;br /&gt;
du Congr&egrave;s aura lieu le Samedi 26 Septembre en&lt;br /&gt;
pr&eacute;sence des autorit&eacute;s, &agrave; la Salle &laquo;les Etats, au&lt;br /&gt;
ch&acirc;teau de Neuch&acirc;tel. Tenue de soir&eacute;e.&lt;br /&gt;
Le soir r&eacute;ception et concert, au Cercle du Mus&eacute;e.&lt;br /&gt;
Les s&eacute;ances pl&eacute;ni&egrave;res et les Commissions se&lt;br /&gt;
tiendront dans l&amp;#039;ancienne salle du Conseil d&amp;#039;Etat&lt;br /&gt;
et des annexes.&lt;br /&gt;
Dimanche 27 Septembre. Excursion sur le lac&lt;br /&gt;
de Neuch&acirc;tel, &agrave; l&amp;#039;&icirc;le Saint-Pierre.&lt;br /&gt;
Du Lundi 28 Septembre au Samedi 3 Octobre.&lt;br /&gt;
S&eacute;ances de travail.&lt;br /&gt;
Mardi. Banquet offert par la ville de Neuch&acirc;tel.&lt;br /&gt;
Jeudi. Excursion &agrave; la Chaux-de-Fonds et au&lt;br /&gt;
Saut-du-Doubs.&lt;br /&gt;
Samedi. S&eacute;ance de cl&ocirc;ture et banquet (l&amp;#039;adieu.&lt;br /&gt;
La langue officielle du Congr&egrave;s est la langue&lt;br /&gt;
fran&ccedil;aise: mais chacun a le droit de s&amp;#039;exprimer&lt;br /&gt;
dans sa langue nationale. Des programmes seront&lt;br /&gt;
imprim&eacute;s chaque jour et adress&eacute;s par la poste aux&lt;br /&gt;
congressistes, &agrave; la premi&egrave;re distribution.&lt;br /&gt;
THE DUBLIN CONFERENCE OF THE&lt;br /&gt;
INSTITUTE OF JOURNALISTS.&lt;br /&gt;
fl^HE Conference of Journalists in the Irish&lt;br /&gt;
I capital, which took place on August the 20th&lt;br /&gt;
and following days, proved to be one of the&lt;br /&gt;
most interesting meetings the Institute has ever&lt;br /&gt;
held. The Dublin Reception Committee had made&lt;br /&gt;
strenuous efforts to enhance the pleasure of their&lt;br /&gt;
visitors, and the military, civic, and learned autho-&lt;br /&gt;
rities seconded them so ably, that the whole time&lt;br /&gt;
of five days was fully filled with the most pleasur-&lt;br /&gt;
able incidents. On the day of arrival visits were&lt;br /&gt;
H&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 106 (#510) ############################################&lt;br /&gt;
&lt;br /&gt;
io6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
made to the historic and commercial monuments of&lt;br /&gt;
Dublin, and in the evening the Royal Hibernian&lt;br /&gt;
Academy gave a charming reception in their rooms,&lt;br /&gt;
which were hung with the work of the members&lt;br /&gt;
especially for the occasion. Many knotty points&lt;br /&gt;
of journalistic laws were acutely and thoroughly&lt;br /&gt;
discussed at the meetings held in the City Hall;&lt;br /&gt;
upon one or two points, especially upon the&lt;br /&gt;
Orphans&amp;#039; Fund question, ladies taking a noteworthy&lt;br /&gt;
part. Miss Drew&amp;#039;s sj&amp;gt;eech upon the system of&lt;br /&gt;
foster parents versus large orphanages, eliciting&lt;br /&gt;
much sympathy and applause. At the Annual&lt;br /&gt;
Dinner most of the principal dignities of Dublin&lt;br /&gt;
were present, the Lord Mayor being on Mr.&lt;br /&gt;
Gilzean Reid&amp;#039;s right, whilst upon his left-hand sat&lt;br /&gt;
the Lord Chancellor of Ireland. From Lord&lt;br /&gt;
Ashbourne&amp;#039;s lips fell one of the brightest and&lt;br /&gt;
wittiest speeches that it could fall to the lot of&lt;br /&gt;
journalists to listen to, and yet it embodied much&lt;br /&gt;
sound and useful advice as to the usage of the&lt;br /&gt;
mighty power of the Press. The Royal Dublin&lt;br /&gt;
Society met the members at their premises at&lt;br /&gt;
Ralls Bridge, and conducted them over the admir-&lt;br /&gt;
able premises which were prepared for the great&lt;br /&gt;
horse show. On the Saturday evening the Lord&lt;br /&gt;
Mayor gave a banquet to some 5oo guests in the&lt;br /&gt;
great circular hall of the Mansion House, which&lt;br /&gt;
was built to entertain George the Fourth, and a&lt;br /&gt;
most interesting sight was this crowded hall, when&lt;br /&gt;
the Lord Mayor from beneath the canopy, above&lt;br /&gt;
which in light blazed the Irish Harp and Shamrock,&lt;br /&gt;
gave most heartily the toast of &amp;quot; The Queen &amp;quot;; that&lt;br /&gt;
was received with ringing and renewed cheering.&lt;br /&gt;
On the evening before, this toast was accompanied by&lt;br /&gt;
the singing of the first two verses of the National&lt;br /&gt;
Anthem. &amp;#039; The Sunday was devoted by some of our&lt;br /&gt;
members to visits to the Cathedrals and Churches&lt;br /&gt;
of Dublin, and by others to short excursions to&lt;br /&gt;
such spots as Bray, and the Seven Churches of&lt;br /&gt;
Qlendalough. One of the most marked instances&lt;br /&gt;
of Irish hospitality to the United Journalists was&lt;br /&gt;
the invitation of a large body of them by Lord and&lt;br /&gt;
Lady Wolseley to lunch at Kihnainham Hospital.&lt;br /&gt;
Lady Wolseley afterwards receiving a still larger&lt;br /&gt;
number of the meml&amp;gt;ers at an &amp;quot; At Home,&amp;quot; giving&lt;br /&gt;
all an opportunity to inspect the Hospital grounds&lt;br /&gt;
and pictures under the guidance of Lord Wolseley.&lt;br /&gt;
This brought the Dublin proceedings to a close,&lt;br /&gt;
but Irishmen had not vet exhausted their generous,&lt;br /&gt;
cordial greeting to the &amp;quot;Strangers within their&lt;br /&gt;
gates,&amp;quot; for the great railway companies had&lt;br /&gt;
signified their wish that all members should visit&lt;br /&gt;
other parts of Ireland, and hail placed free passes&lt;br /&gt;
at their disposal to the Western Highlands and&lt;br /&gt;
to Belfast; and the Cork ami Bandon Railway also&lt;br /&gt;
threw open the Glengariff route to Killarney. The&lt;br /&gt;
Great Northern Railway even provided lunch at&lt;br /&gt;
the Giant&amp;#039;s Causeway. In short, all Ireland&lt;br /&gt;
welcomed the English, Scottish, anil Welsh press-&lt;br /&gt;
men with true Irish generosity and warmth,&lt;br /&gt;
hoping only in return for fair, generous descrip-&lt;br /&gt;
tion and criticism of Ireland and her people; and&lt;br /&gt;
most assuredly those who had the pleasure of being&lt;br /&gt;
at the Conference must leave Ireland with increased&lt;br /&gt;
knowledge of her country and her people, and with&lt;br /&gt;
hearty longings for the happiness of so warm-&lt;br /&gt;
hearted a people, and with pens steeped in friendship&lt;br /&gt;
towards their generous hosts.&lt;br /&gt;
James Baker. &diams;■&raquo;■&raquo;&lt;br /&gt;
AN OLD NEW WORD.&lt;br /&gt;
IREGRET to see that there has been some talk,&lt;br /&gt;
in late numbers of the Author, about &amp;quot;a&lt;br /&gt;
slating with slates.&amp;quot; It looks as if some&lt;br /&gt;
people actually suppose that &amp;quot;to slate &amp;quot; means &amp;quot; to&lt;br /&gt;
pelt with slates.&amp;quot; That is not it at all.&lt;br /&gt;
I cannot go into the whole matter, as I regret to&lt;br /&gt;
say that it involves delicate questions of vowel-&lt;br /&gt;
gradation, in which the general public cannot be&lt;br /&gt;
expected to take much interest. I will merely sav&lt;br /&gt;
that I &amp;quot;happen to know&amp;quot;; because, though the&lt;br /&gt;
verb is not in any Anglo-Saxon dictionary, it&lt;br /&gt;
happened to turn up in an Anglo-Saxon text which&lt;br /&gt;
it was my business to edit; and I can give chapter&lt;br /&gt;
anil verse for every statement I shall make.&lt;br /&gt;
The net result is just this : There was once a verb&lt;br /&gt;
to slitc (now obsolete), past tense slotc, past parti-&lt;br /&gt;
ciple stiffen. It now remains only in two deriva-&lt;br /&gt;
tives; one, is, to slit, and the other is to slait or&lt;br /&gt;
sleat (rhyming with great), or (phonetically) to&lt;br /&gt;
slate.&lt;br /&gt;
To slite meant to tear; to slit means much the&lt;br /&gt;
same. To slait was the causal verb, to cause to&lt;br /&gt;
tear. It is precisely parallel to bait, the causal of&lt;br /&gt;
bite. To bait a bull is to set on dogs to bile him.&lt;br /&gt;
The Anglo-Saxon text I spoke of talks of slatting&lt;br /&gt;
a bull, or setting on dogs to slite or rend him.&lt;br /&gt;
That&amp;#039;s just what it means, viz., to set on dogs to&lt;br /&gt;
harass, worry, and the like ; much the same as bait.&lt;br /&gt;
But to talk of slatting &amp;quot; with slates &amp;quot; is mere igno-&lt;br /&gt;
rance. Thev would be quite ineffectual as against&lt;br /&gt;
a bull.&lt;br /&gt;
Nevertheless, the word slate is ultimately from&lt;br /&gt;
the same root; but that is a lucre chance, and does&lt;br /&gt;
not justify the use of a slip-shod expression.&lt;br /&gt;
By all means let us use good old words, but let&lt;br /&gt;
us do it intelligently. There would be a mighty&lt;br /&gt;
fuss if we were to misuse a word of Greek origin;&lt;br /&gt;
but when it is only good English, why, then&mdash;&mdash;■&lt;br /&gt;
Walter W. Skeat.&lt;br /&gt;
■&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 107 (#511) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
THE AUTHORS&amp;#039; CLUB.&lt;br /&gt;
AGREAT many letters have been received on&lt;br /&gt;
the subject of the proposed club. They&lt;br /&gt;
will all be placed in the hands of the com-&lt;br /&gt;
mittee, and will be duly considered by them. One&lt;br /&gt;
or two contributors are anxious that ladies should&lt;br /&gt;
be admitted. Well, it must be understood that the&lt;br /&gt;
Resolutions published in the last number of the&lt;br /&gt;
Author were preliminary and tentative onlv.&lt;br /&gt;
Meantime, two or three ladies, Meml&amp;gt;ers of the&lt;br /&gt;
Society, have written to ask for a reconsideration&lt;br /&gt;
of this point, but only two or three. Many more&lt;br /&gt;
have stated their inability to pay a five-guinea sub-&lt;br /&gt;
scription. Clearly, an ideal club of authors should&lt;br /&gt;
admit women as well as men. Literature is, above&lt;br /&gt;
all others, a profession open to both sexes. Yet&lt;br /&gt;
literary women are even more mercilessly sweated,&lt;br /&gt;
especially by religious societies, who pretend not to&lt;br /&gt;
know that this sweating was specially contemplated&lt;br /&gt;
in framing the Eighth Commandment; and the&lt;br /&gt;
number of ladies who live by their literary work,&lt;br /&gt;
and can afford even so reasonable a subscription as&lt;br /&gt;
five guineas, is very small.&lt;br /&gt;
A learned Professor, whose works are manv,&lt;br /&gt;
writes to invite a reconsideration of Clause VIII.&lt;br /&gt;
He says, &amp;quot; Instead of a ride that all members are&lt;br /&gt;
to give copies of their works, let it Ik: worded that&lt;br /&gt;
members be invited to give copies of their works.&amp;quot;&lt;br /&gt;
In any case the rule could not be retrospective, and&lt;br /&gt;
the ease might arise of a costly work with a limited&lt;br /&gt;
edition, the presentation of which would be onerous.&lt;br /&gt;
These notes are only meant to mark the tirst stage.&lt;br /&gt;
We are still in full vacation, and it is enough that&lt;br /&gt;
the Authors&amp;#039; Club is no longer a mere suggestion,&lt;br /&gt;
but has advanced to the stage of practical&lt;br /&gt;
consideration.&lt;br /&gt;
The American Club, it may be noted, is not an&lt;br /&gt;
Authors&amp;#039; Club, but an Authors Club.&lt;br /&gt;
NOTES AND NEWS.&lt;br /&gt;
LET the Author, though late, lay a wreath upon&lt;br /&gt;
the grave of James Russell Lowell, if only&lt;br /&gt;
as a personal friend of many of our Members,&lt;br /&gt;
and a strong well-wisher to the Society. As a&lt;br /&gt;
writer, he was the lineal descendant of the good&lt;br /&gt;
old English stock; he might have contributed a&lt;br /&gt;
paper for Addison&amp;#039;s Spectator, or, later on, he&lt;br /&gt;
might have added a chapter to Washington Irving&amp;#039;s&lt;br /&gt;
Sketch Booh. He had nothing in common with the&lt;br /&gt;
modern writers of his own country&mdash;Bret Harte,&lt;br /&gt;
Mark Twain, Howell, Stockton, and others who have&lt;br /&gt;
broken off with the old English traditions. Lowell&lt;br /&gt;
was an Englishman, who was lwrn, and mostly&lt;br /&gt;
lived, in America. Yet an Englishman who was&lt;br /&gt;
attached to republican principles, and never ceased&lt;br /&gt;
to see in his own country the beginnings of every&lt;br /&gt;
kind of greatness. It will be remembered that he&lt;br /&gt;
made a speech at one of our dinners, a speech&lt;br /&gt;
whose common sense, humour, and simple eloquence&lt;br /&gt;
deeply impressed themselves upon all who heard it.&lt;br /&gt;
It should be reprinted for our own keeping. He&lt;br /&gt;
came to that dinner from the couch where he had&lt;br /&gt;
been confined by gout; it was a greater effort than&lt;br /&gt;
most of the guests suspected for him to stand up at&lt;br /&gt;
all. Yet he came out of pure love for literature,&lt;br /&gt;
and liecause he wanted to encourage those who&lt;br /&gt;
follow literature to unite for their own advantage,&lt;br /&gt;
and to form a corporation for their own protection.&lt;br /&gt;
He could speak. That fact alone placed him&lt;br /&gt;
above the British author, of whom it may 1m&amp;gt; said,&lt;br /&gt;
as a general rule, that he cannot speak. There are&lt;br /&gt;
brilliant exceptions, but, as a rule, the English&lt;br /&gt;
author cannot speak. The fact is a difficulty&lt;br /&gt;
which constantly faces us when we meet. The&lt;br /&gt;
English author cannot speak. If he rises to pro-&lt;br /&gt;
pose a toast, he says what he has to say without&lt;br /&gt;
art, without preparation; he stammers, he boggles,&lt;br /&gt;
he hesitates. Nay, sometimes he refuses abso-&lt;br /&gt;
lutely to speak. For example: we were once&lt;br /&gt;
anxious that a certain well-known writer should&lt;br /&gt;
preside at a certain gathering. We represented to&lt;br /&gt;
him that it was his proper place, that he ought to&lt;br /&gt;
be in that chair; that he should claim the prece-&lt;br /&gt;
dency he had won. He refused; he said that he&lt;br /&gt;
could not speak. He came to the meeting, but he&lt;br /&gt;
sat down below with the rank and file. As for the&lt;br /&gt;
exceptions: Lord Lytton is a statesman, and there-&lt;br /&gt;
fore accustomed to speaking; Mr. James Bryce is&lt;br /&gt;
also a statesman; Professor Jebb is, or was, the.&lt;br /&gt;
Public Orator of Cambridge, and therefore always&lt;br /&gt;
speaking; Mr. Edmund Yates is well known as&lt;br /&gt;
one of the best after-dinner speakers that we have;&lt;br /&gt;
Mr. Hermann Merivale is an eloquent speaker;&lt;br /&gt;
Mr. George Augustus Sala is full of wit and anec-&lt;br /&gt;
dote; Professor Michael Foster s[&amp;gt;eaks genially&lt;br /&gt;
and cordially. There are, of course, many others,&lt;br /&gt;
but the broad fact remains&mdash;the English author&lt;br /&gt;
cannot speak. Why not? Simply because he will&lt;br /&gt;
not take the trouble to study the art of elocution,&lt;br /&gt;
and to practise a little. Authors are always getting&lt;br /&gt;
up subjects for their own purposes. Sometimes&lt;br /&gt;
they know a great deal more than the mass of&lt;br /&gt;
mankind. What an addition to their strength&lt;br /&gt;
and their influence it would 1k&amp;gt; if they could speak&lt;br /&gt;
upon their subjects as well as write aliout them!&lt;br /&gt;
All educated men&mdash;that is, all those who ought to&lt;br /&gt;
lead&mdash;should practise the art of speaking. Not to&lt;br /&gt;
ir 2&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 108 (#512) ############################################&lt;br /&gt;
&lt;br /&gt;
io8&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
do so is to leave the leading of the people to the&lt;br /&gt;
uncultivated&mdash;the men who can speak, but do not&lt;br /&gt;
know&mdash;who mislead because they do not know.&lt;br /&gt;
Lord Cranbrook sends to the Times some grace-&lt;br /&gt;
ful lines written to him by Lowell, apropos of his&lt;br /&gt;
own lines:&lt;br /&gt;
Life is a leaf of paper white,&lt;br /&gt;
Whereon each one of us may write&lt;br /&gt;
His word or two&mdash;then conies the night.&lt;br /&gt;
They arc called &amp;quot; Cuivis cunque &amp;quot; :&mdash;&lt;br /&gt;
On earth Columbus wrote his name:&lt;br /&gt;
Montgolfier on the circling air:&lt;br /&gt;
Lesseps in water did the same:&lt;br /&gt;
Franklin traced his in living flame:&lt;br /&gt;
Newton on space&amp;#039;s desert bare.&lt;br /&gt;
Safe with the primal elements&lt;br /&gt;
Their signatures august remain:&lt;br /&gt;
While the fierce hurtle of events&lt;br /&gt;
Whirls us and our ephemeral tents&lt;br /&gt;
Beyond oblivion&amp;#039;s mere disdain.&lt;br /&gt;
Our names, as what we write are frail,&lt;br /&gt;
Time spunges out like hopeless scores,&lt;br /&gt;
Unless for mine it should prevail&lt;br /&gt;
To turn awhile the faltering scale&lt;br /&gt;
Of memory, thus to make it yours.&lt;br /&gt;
Qcivis.&lt;br /&gt;
Many notices, biographies, and appreciations&lt;br /&gt;
more or less critical have appeared on James&lt;br /&gt;
Russell Lowell since his death. That written by&lt;br /&gt;
Mr. Theodore Watts for the Athenaum of&lt;br /&gt;
August 22nd, stands out above all those that I have&lt;br /&gt;
seen. It is simply an excellent paper. It is&lt;br /&gt;
especially valuable for its analysis of the Puritan&lt;br /&gt;
element in the man, and of what that Puritan&lt;br /&gt;
element really means &mdash; the teaching of self-&lt;br /&gt;
restraint and self-governance as opposed to the&lt;br /&gt;
Pagan instinct of self-indulgence. It is a paper&lt;br /&gt;
filled with admiration of the man, yet capable of&lt;br /&gt;
acknowledging weak points in the poet. In spite&lt;br /&gt;
of the occasional ruggedness of his verse, the&lt;br /&gt;
world will continue to read Lowell when they&lt;br /&gt;
have quite forgotten poets of greater dexterity and&lt;br /&gt;
finer music, and this, for the sake of the things he&lt;br /&gt;
has to say.&lt;br /&gt;
Once more our old friend Bogey turns up. The&lt;br /&gt;
Spectatoi; in a little notice of &amp;quot;The Cost of Pro-&lt;br /&gt;
duction &amp;quot;&mdash;better late than never; it is just in time&lt;br /&gt;
for the third edition&mdash;reproduces this good old fraud&lt;br /&gt;
&amp;quot;If,&amp;quot; it says, &amp;quot; the author of a shilling shocker&lt;br /&gt;
receives &pound;o on a thousand copies, the publisher&lt;br /&gt;
receives a little more. Not more, it may lie&lt;br /&gt;
readily admitted, than is fair, considering the risk.&amp;quot;&lt;br /&gt;
What risk? My dear Spectator, you have been&lt;br /&gt;
told over and over again that there is very, very&lt;br /&gt;
seldom any risk, and that there need be none at all.&lt;br /&gt;
Again, suppose there was risk. What is the pub-&lt;br /&gt;
lisher&amp;#039;s risk compared witli the author&amp;#039;s? The&lt;br /&gt;
author risks his labour, risks months of hard work&lt;br /&gt;
and time. Is that a less or a greater risk than tin-&lt;br /&gt;
publisher&amp;#039;s &pound;100, which, mind, he docs not pay&lt;br /&gt;
until the returns of the book come in? Now, tin;&lt;br /&gt;
author does advance his risk beforehand. As we&lt;br /&gt;
have pointed out and proved over and over again,&lt;br /&gt;
the great mass of published books carry no risk.&lt;br /&gt;
But I suppose it is quite impossible to drown this&lt;br /&gt;
Bogey in the Bed Sea.&lt;br /&gt;
It was the Spectator which, after admitting a&lt;br /&gt;
letter by me, signed, on this very subject&mdash;a letter&lt;br /&gt;
in which I advanced the undeniable fact that&lt;br /&gt;
nowadays publishers take very, very few risks, and&lt;br /&gt;
that many publishers simply cannot afford to take&lt;br /&gt;
any&mdash;published a letter which stated that &amp;quot; the man&lt;br /&gt;
who says that publishers never take risks must be&lt;br /&gt;
insane.&amp;quot; The writer did not sign his name. But&lt;br /&gt;
observe: his letter conveyed a falsehood: he&lt;br /&gt;
meant people to believe that I had said that no&lt;br /&gt;
publishers ever take; any risks. It was not worth&lt;br /&gt;
while to complain or to explain. At the sauie time&lt;br /&gt;
two questions arise: (i) Howr far an editor is justi-&lt;br /&gt;
fied in allowing an anonymous writer to attack a&lt;br /&gt;
man who openly signs himself? and (2) How far&lt;br /&gt;
an editor is justified in inserting a letter which is&lt;br /&gt;
carefully worded so as to convey a falsehood? The&lt;br /&gt;
season is approaching when the lists of new books&lt;br /&gt;
will appear. We will then again proceed with&lt;br /&gt;
the analysis of the new books published, in order&lt;br /&gt;
to find out what is the proportion of books which&lt;br /&gt;
ma}&amp;#039; carry risk.&lt;br /&gt;
Meantime, here is a very good illustration of what&lt;br /&gt;
they sometimes call risk. A correspondent writes&lt;br /&gt;
to us: &amp;quot;Among publishers who do sometimes&lt;br /&gt;
take risks, you must include Mr. A. B. The&lt;br /&gt;
book called , recently published, was&lt;br /&gt;
actually bought by him at a good price. He gave&lt;br /&gt;
&pound;&mdash; for it. Yet it was the work of a perfectly&lt;br /&gt;
unknown writer. If this was not risk, what is?&amp;quot;&lt;br /&gt;
Very good. Let us see. The publisher bought&lt;br /&gt;
the book for a certain sum. He then ran it&lt;br /&gt;
through his magazine. The sum given for the&lt;br /&gt;
book was about half that which he would have had&lt;br /&gt;
to pay at the current, rate of payment per page.&lt;br /&gt;
The other half, which he saved, paid for the&lt;br /&gt;
printing, paper, and binding of the book. Thus,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 109 (#513) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
you see, lie brought out the book for nothing, and&lt;br /&gt;
got all the credit of a publisher who dares to take&lt;br /&gt;
a new writer in hand and to give him a start. It&lt;br /&gt;
was good business all round: very good for the&lt;br /&gt;
new writer, who got a capital start, for which he&lt;br /&gt;
must thank the publisher; and since, if he turns&lt;br /&gt;
out well, he will be under an endless debt of&lt;br /&gt;
gratitude to that publisher, it will prove very good&lt;br /&gt;
business for him as well. But, you s&amp;lt;&laquo;, it is not&lt;br /&gt;
taking a risk.&lt;br /&gt;
I wonder if English as well as French hooks are&lt;br /&gt;
going to be put up for auction in New York.&lt;br /&gt;
Zola&amp;#039;s last work is reported to have l)cen offered&lt;br /&gt;
in this way and to have been knocked down&lt;br /&gt;
for &pound;2,000, or &pound;400. This is not much, as it&lt;br /&gt;
includes the right of selling it in French as well&lt;br /&gt;
lus in English. If the practice is to lie extended&lt;br /&gt;
to English books, there will be, I fear, considerable&lt;br /&gt;
bumbling and considerable shamefaeedness, because&lt;br /&gt;
there arc writers who wrap up the question of&lt;br /&gt;
dollars in mystery which magnifies.&lt;br /&gt;
Certain Americans are said, by the Critic of&lt;br /&gt;
New York, to be patriotically indignant because&lt;br /&gt;
Lord Tennyson has been invited to write an ode&lt;br /&gt;
for the opening of the Chicago Exhibition. The&lt;br /&gt;
President of the World&amp;#039;s Congress Auxiliary thus&lt;br /&gt;
explains the invitation: &amp;quot;I thought it was not&lt;br /&gt;
improper to make some allusion to his long and&lt;br /&gt;
splendid career of half a century as Wordsworth&amp;#039;s&lt;br /&gt;
successor in the office of Poet Laureate of England,&lt;br /&gt;
and I added the hope that it might please him to&lt;br /&gt;
send a song to be sung at the opening of the great&lt;br /&gt;
Exposition. This, to my mind, was certainly a&lt;br /&gt;
becoming courtesy. It by no means excludes from&lt;br /&gt;
the list any other poet of the world. It always&lt;br /&gt;
has been and still is the intention to extend a&lt;br /&gt;
similar invitation to other adepts in the divine art&lt;br /&gt;
of poesy.&amp;quot; At the same time, one would have&lt;br /&gt;
thought that the Americans were prepared to ac-&lt;br /&gt;
knowledge that the greatest living figure in English&lt;br /&gt;
poetry is Lord Tennyson.&lt;br /&gt;
The Spectator, I read somewhere, thinks that a&lt;br /&gt;
great proportion of the upper and middle classes&lt;br /&gt;
of England never buy a book from one year&amp;#039;s&lt;br /&gt;
end to another. I do not remember the paper&lt;br /&gt;
saying this. If it did say so&mdash;if it does think so&mdash;&lt;br /&gt;
it is quite wrong, as readers of the Author will&lt;br /&gt;
understand. The investigation which we recently&lt;br /&gt;
conducted into the extent of the home lxjok trade&lt;br /&gt;
proved conclusively that the upper and middle&lt;br /&gt;
class buv books very largely. There are, of course.&lt;br /&gt;
many houses where the head of the family never&lt;br /&gt;
reads a book, but even there his wife, his&lt;br /&gt;
daughters, his sons read and buy. For whom are&lt;br /&gt;
the six-shilling books published? For the poor?&lt;br /&gt;
For the lower middle class? And when we read&lt;br /&gt;
of 10,000, 20,000, copies of a six-shilling liook&lt;br /&gt;
being sold, who, pray, are the buyers? The lower&lt;br /&gt;
middle class? Look again at the lwokstall&mdash;say,&lt;br /&gt;
at the Great Western&mdash;a line which seems to l&amp;gt;c.&lt;br /&gt;
used by the upper class more than any other. All&lt;br /&gt;
day long the books are being taken by passengers.&lt;br /&gt;
Look at Stoneham&amp;#039;s place in the Poultry, in the&lt;br /&gt;
City, or at Glaishers in the Strand. All day&lt;br /&gt;
long the passers by are dropping in for books.&lt;br /&gt;
Not the poor passers by, if you please, but&lt;br /&gt;
the better sort. The truth is, that people are&lt;br /&gt;
enabled to read a great deal more than they would&lt;br /&gt;
otherwise afford to do, by the existence of the cir-&lt;br /&gt;
culating library; they do not, certainly, buy as&lt;br /&gt;
much as they should, but Ihey buy a great deal,&lt;br /&gt;
and they are learning to buy more. The opinion&lt;br /&gt;
that middle-class people never buy books is one of&lt;br /&gt;
the numerous conventional opinions which arc a&lt;br /&gt;
kind of stock-in-trade of journalists who are too&lt;br /&gt;
lazy or are unable to examine for themselves. The&lt;br /&gt;
notion that every book involves an awfid risk to&lt;br /&gt;
publish is another. The Spectator certainly&lt;br /&gt;
believes that as an article of Christian faith. I&lt;br /&gt;
wish someone would make a little collection of&lt;br /&gt;
stock conventional opinions.&lt;br /&gt;
Mr. H. Schiitz Wilson reminds lovers of&lt;br /&gt;
Germany and German poets that on .September&lt;br /&gt;
the 21st, the centenary of the birth of the patriot&lt;br /&gt;
poet Theodor Korner is to be celebrated. Here&lt;br /&gt;
is an excellent opportunity for a paper on the&lt;br /&gt;
young soldier who died fighting in the liefreiungs&lt;br /&gt;
Krieg. Such a life as that of Korner, with such&lt;br /&gt;
a death after such achievements, needs to be told&lt;br /&gt;
for every generation.&lt;br /&gt;
Especially does his verse need to be re-translated,&lt;br /&gt;
or in some way brought ljefore the world at a time&lt;br /&gt;
when people are asking why German is so little&lt;br /&gt;
read. The fact is certain: German liooks are not&lt;br /&gt;
asked for in libraries so much as they were 20&lt;br /&gt;
years ago, although German is taught in schools&lt;br /&gt;
more extensively and more thoroughly than at that&lt;br /&gt;
time. There are several reasons for this falling off.&lt;br /&gt;
One is a prevalent belief that when one has read&lt;br /&gt;
half-a-dozen great German writers, there remain&lt;br /&gt;
no more worth reading. I refer to belles lettres,&lt;br /&gt;
because German is indispensable to scientific men&lt;br /&gt;
and scholars. Next, German historians mav be&lt;br /&gt;
valuable, but they are certainly heavy to read.&lt;br /&gt;
Thirdly, the reviews which try to follow modern&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 110 (#514) ############################################&lt;br /&gt;
&lt;br /&gt;
I IO&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
German literature do not, somehow, succeed in&lt;br /&gt;
attracting people to read the books. Perhaps, if&lt;br /&gt;
some of them were to adopt the plan of recom-&lt;br /&gt;
mending special books withan account of them, the&lt;br /&gt;
reader might be stimulated to order them. Lastly,&lt;br /&gt;
our own literature, with American literature and&lt;br /&gt;
French literature, is so rich that it takes all our&lt;br /&gt;
&bull;time to read even the most remarkable books.&lt;br /&gt;
The administration of the Free Libraries in&lt;br /&gt;
Paris recently made the deplorable discovery that&lt;br /&gt;
their readers prefer novels to any other branch of&lt;br /&gt;
literature. They thereupon instructed the librarians&lt;br /&gt;
to coax, guide, lead, and persuade the people&lt;br /&gt;
into more serious reading. The librarians obeyed&lt;br /&gt;
and exhorted. All the people walked out. The&lt;br /&gt;
librarians desisted. All the people came back.&lt;br /&gt;
They are now again diligently engaged in read-&lt;br /&gt;
ing nothing but novels. Humanity is the same&lt;br /&gt;
everywhere&mdash;both otheial humanity and natural&lt;br /&gt;
humanity. Official humanity laments the tendency&lt;br /&gt;
to read novels, because oflieial humanity cannot&lt;br /&gt;
understand that the average man reads for amuse-&lt;br /&gt;
ment, and that when he lias done his day&amp;#039;s work&lt;br /&gt;
he does not want to work any longer at&lt;br /&gt;
anything. Also official humanity has never&lt;br /&gt;
arrived at the least conception of the fact that&lt;br /&gt;
fiction is the greatest of all the forces now in&lt;br /&gt;
existence for refinement of manners and for edu-&lt;br /&gt;
cation in ideas. Official humanity never gets&lt;br /&gt;
beyond the copybook maxims. Natural humanity,&lt;br /&gt;
no doubt, learns these and straightway forgets&lt;br /&gt;
them. The copybook view of a public library is&lt;br /&gt;
of a place where the eager youth, longing for art&lt;br /&gt;
and letters and learning for their own sakes, sits&lt;br /&gt;
every evening&mdash;or, as the schoolboy hath it, swots&lt;br /&gt;
every evening after a hard 12 hours&amp;#039; day. The&lt;br /&gt;
simple and unconventional truth is that the&lt;br /&gt;
average man finds here only a place of amusement&lt;br /&gt;
which has the advantage of being warm, quiet,&lt;br /&gt;
light, and costing nothing.&lt;br /&gt;
The Victorian Exhibition is to have a portrait&lt;br /&gt;
gallery of 400 distinguished persons, belonging to&lt;br /&gt;
the present reign, now deceased. Four hundred is a&lt;br /&gt;
considerable number. Probably the whole of the&lt;br /&gt;
period covered by Gibbon&amp;#039;s &amp;quot; Decline and Fall &amp;quot; does&lt;br /&gt;
not contain many more, yet here we have 400, all&lt;br /&gt;
adorning a period of one short half-century, so that we&lt;br /&gt;
ought to be a proud and happy nation indeed. Nay,&lt;br /&gt;
since none of the living are included, and there&lt;br /&gt;
must be a great many more than 400 capable of&lt;br /&gt;
calling themselves illustrious, the Victorian age is,&lt;br /&gt;
indeed, in advance of all preceding ages put together.&lt;br /&gt;
The Victorian literature shows, among the dead:&lt;br /&gt;
Browning, Landor, Tom Moore, Southev, Words-&lt;br /&gt;
worth, Carlyle, Dickens, Thackeray, Charles Reade,&lt;br /&gt;
Wilkie Collins, George Eliot, Charlotte Bronte,&lt;br /&gt;
Rogers, Grote, Hallam, Mill, Lightfoot, Trench,&lt;br /&gt;
Stanley, Wilberforce, Liddon, Keble, Newman,&lt;br /&gt;
Arnold, Darwin, Faraday, Herschel, Lyell, Mur-&lt;br /&gt;
ehison, Fox Talbot, J. R. Green, Mark Pattison,&lt;br /&gt;
Mrs. Gaskell, Edward Fitzgerald, Lord Strangford,&lt;br /&gt;
Edward Palmer, not to speak of a mighty host of&lt;br /&gt;
men of every science and art who have by their&lt;br /&gt;
books adorned this great and wonderful Victorian&lt;br /&gt;
age. It is, of course, absurd to confine the word&lt;br /&gt;
literature any longer to poetry, fiction, and essays;&lt;br /&gt;
it now includes every kind of book on every kind&lt;br /&gt;
of subject &mdash; scientific, technical, educational&mdash;I&lt;br /&gt;
think one would only except BraiLshaw, the Army&lt;br /&gt;
and Navy lists, the Law lists, the Oxford and&lt;br /&gt;
Cambridge Calendar, Crockford&amp;#039;s Clerical Dire torv,&lt;br /&gt;
and the Report of the S.P.C.K. This splendid&lt;br /&gt;
growth of science and of letters&mdash;the true glory of&lt;br /&gt;
the Victorian period&mdash;will, one hopes, be adequately&lt;br /&gt;
illustrated bv the portrait gallery. One also hopes&lt;br /&gt;
that no one will ask the very awkward question of&lt;br /&gt;
how the Court has been advised to recognize and&lt;br /&gt;
to honour the men by whom the time and the reign&lt;br /&gt;
have been made famous.&lt;br /&gt;
The fashion of advertising publishers&amp;#039; lists at the&lt;br /&gt;
end of books seems falling into disuse. This is a&lt;br /&gt;
pity for one reason: namely, that the lists a few&lt;br /&gt;
years later afford such excellent food for reflection.&lt;br /&gt;
Here, for instance, is a book issued in the year&lt;br /&gt;
188-3 by a publisher who at that time produced&lt;br /&gt;
much, in quantity at least. At the end is his&lt;br /&gt;
current list of works. It contains 40 new three-&lt;br /&gt;
volume novels. Many of these books are by writers&lt;br /&gt;
then, and now, more or less known, who have&lt;br /&gt;
continued to write novels, and, therefore, it is pre-&lt;br /&gt;
sumed have found their practice of the art remune-&lt;br /&gt;
rative, or at least pleasant. Out of the 40 which&lt;br /&gt;
were all apparently published in the years 18S2&lt;br /&gt;
and |883, there are one or two which had then&lt;br /&gt;
advanced to a second edition. But not one of the&lt;br /&gt;
whole 40 has ever made the least impression 011 the&lt;br /&gt;
mind of the public. Every one of them is stone&lt;br /&gt;
dead. So that of 40 average novels not one has&lt;br /&gt;
managed to live in memory or on the bookshelves&lt;br /&gt;
for eight years. I do not put this forward as a&lt;br /&gt;
proof that they were all bad. Many novels, of&lt;br /&gt;
good workmanship are written with no other object&lt;br /&gt;
than to amuse for the moment. It is, however,&lt;br /&gt;
pleasing to read some of the extracts from friendly&lt;br /&gt;
reviewers on these immortal works : &mdash; &amp;quot; Fresh,&lt;br /&gt;
free, powerful &amp;quot;; &amp;quot;The work of a master-hand&amp;quot;;&lt;br /&gt;
&amp;quot;A romance of the most fascinating description &amp;quot;;&lt;br /&gt;
&amp;quot;Will be received with delight by all classes&amp;quot;:&lt;br /&gt;
these praises seem, after this short lapse of time,&lt;br /&gt;
somewhat extravagant. They are better, however,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 111 (#515) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
111&lt;br /&gt;
than the work of the scarifier. The authors should&lt;br /&gt;
at least be thankful that their critics were easily&lt;br /&gt;
pleased.&lt;br /&gt;
The French &amp;quot; Syndicat pour la protect ion de la&lt;br /&gt;
proprietd litteraire et artistique &amp;quot; has presented a&lt;br /&gt;
gold medal to Senator Piatt for the part which he&lt;br /&gt;
has taken &amp;quot;in the triumph of a just cause.&amp;quot;&lt;br /&gt;
Certain American publishers have presented a&lt;br /&gt;
loving cup to Mr. Robert Underwood Johnson for&lt;br /&gt;
his exertions in the cause of International Copy-&lt;br /&gt;
right, and the French Government has conferred&lt;br /&gt;
upon Messrs. Johnson, Putnam, Adams, and&lt;br /&gt;
Simonds the Grand Cross of the Legion of Honour.&lt;br /&gt;
What have we done? What had our Government&lt;br /&gt;
done? Nothing. Yet the benefit conferred upon&lt;br /&gt;
us by this Act are a thousand times greater than&lt;br /&gt;
those conferred upon the French. It is useless, I&lt;br /&gt;
suppose, to think that any English Government&lt;br /&gt;
will ever act, under any circumstances, as if&lt;br /&gt;
Literature and Art were things of any value or&lt;br /&gt;
importance. No other country so deeply indebted&lt;br /&gt;
to four foreigners as we are to the four gentlemen&lt;br /&gt;
who have received the Grand Cross of the Legion of&lt;br /&gt;
Honour would neglect them; no other country&lt;br /&gt;
could afford to be so boorish; in every other&lt;br /&gt;
country thev would at least l&amp;gt;e offered something&lt;br /&gt;
equivalent to our knighthood of the Bath. Such&lt;br /&gt;
an act of courtesy, such a sense of gratitude, we&lt;br /&gt;
may expect in vain. It is not, however, too late&lt;br /&gt;
for ourselves to do something. Let us do it, and&lt;br /&gt;
that at once. The time approaches when we shall&lt;br /&gt;
be all back in our places; let the first step taken&lt;br /&gt;
by the Society after the vacation be one of simple&lt;br /&gt;
justice and acknowledgment of gratitude.&lt;br /&gt;
The Folk Lore Congress of October promises to&lt;br /&gt;
be the most literary event of the year. Mr. Andrew&lt;br /&gt;
Lang, the President, will open it with an address.&lt;br /&gt;
Mr. Sidney Hart land is tin; Chairman of the Folk-&lt;br /&gt;
tale Section; Professor John Rhys, of the Mytho-&lt;br /&gt;
logical Section; Sir Frederick Pollock, of the&lt;br /&gt;
Institutions Section. At the meeting of the Mytho-&lt;br /&gt;
logical Section there will be a representation of an&lt;br /&gt;
old English mumming play, with children&amp;#039;s games,&lt;br /&gt;
sword dances, savage music, and folk songs. The&lt;br /&gt;
savage music ought to prove very attractive. I&lt;br /&gt;
hope the Society is increasing in numbers and&lt;br /&gt;
support. No transactions of any society are half&lt;br /&gt;
so interesting as those of the Folk Lore. The&lt;br /&gt;
wonder is that they keep up and show no abate-&lt;br /&gt;
ment in material or in interest. But the Society&lt;br /&gt;
deals with an inexhaustible mass of subjects. Con-&lt;br /&gt;
sider, for instance, how one single fact, the existence&lt;br /&gt;
of the king of the Arician Grove, has been shown, in&lt;br /&gt;
&amp;quot;The Golden Bough,&amp;quot; to require two great volumes&lt;br /&gt;
full of illustrations, explanations, and history.&lt;br /&gt;
This wonderful work, as interesting as any novel,&lt;br /&gt;
should have been kept for the Folk Lore Congress.&lt;br /&gt;
A general invitation to the Members of our&lt;br /&gt;
Society has been received from the Council of the&lt;br /&gt;
German Authors&amp;#039; Society&mdash;iDeutscher Schriftsteller-&lt;br /&gt;
Verband. The Association holds a Congress at&lt;br /&gt;
Berlin on September 12th, i3th, and 14th. The&lt;br /&gt;
programme is a business-like document. The&lt;br /&gt;
members will be chiefly occupied with various&lt;br /&gt;
changes in their statutes. With them we are not&lt;br /&gt;
greatly concerned. Two or three proposal*, how-&lt;br /&gt;
ever, are interesting:&mdash;&lt;br /&gt;
That the Council shall every year offer a prize&lt;br /&gt;
for an original novel and one for a drama.&lt;br /&gt;
That strenuous efforts shall be made to receive&lt;br /&gt;
the recognition of the State.&lt;br /&gt;
That all German writers of eminence shall be&lt;br /&gt;
urged to join the Society.&lt;br /&gt;
I do not think that any prize which the Society&lt;br /&gt;
could offer would do much to advance the cause of&lt;br /&gt;
dramatic or fictional art. We cannot imagine a&lt;br /&gt;
good writer competing for a prize unless it was&lt;br /&gt;
a prize in four figures. And there seems to us&lt;br /&gt;
something ridiculous in the &amp;quot;crowning &amp;quot; of a work&lt;br /&gt;
by a writer of established reputation. But I have&lt;br /&gt;
sometimes thought that a gold medal bestowed,&lt;br /&gt;
not every year, but whenever a really good first&lt;br /&gt;
work by a young writer appeared&mdash;which is not&lt;br /&gt;
every year&mdash;might do something in smoothing the&lt;br /&gt;
way for that young writer&amp;#039;s future success.&lt;br /&gt;
The German Society has local centres and local&lt;br /&gt;
committees. Some time ago we asked for and&lt;br /&gt;
received the names of Members willing to act as&lt;br /&gt;
honorary secretaries in their own centres. We&lt;br /&gt;
shall probably ask for their services this Autumn.&lt;br /&gt;
Will any others willing to help us, should the&lt;br /&gt;
occasion arise, send up their names?&lt;br /&gt;
The Germans will vary their dry business with a&lt;br /&gt;
little festivity. On Sunday they propose to have a&lt;br /&gt;
dinner and a ball; on Monday they will meet at the&lt;br /&gt;
opera; on Tuesday they will go for an excursion.&lt;br /&gt;
If we have a Congress, which has been some time&lt;br /&gt;
suggested, let us have these good things as well.&lt;br /&gt;
Walter Besant.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 112 (#516) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
ON A NEW NOVELIST.&lt;br /&gt;
UNTIL Mr. Edmund Gosse&amp;#039;s delightful intro-&lt;br /&gt;
duction to &amp;quot;The Footsteps of Fate,&amp;quot; of&lt;br /&gt;
Louis Couperus on the, Dutch Sensitivists,&lt;br /&gt;
with other ignorant people I had l&amp;gt;een under the&lt;br /&gt;
impression that Holland possessed a language that&lt;br /&gt;
was inarticulate, and that the Dutch had found Art&lt;br /&gt;
their only medium of expression. Their grait&lt;br /&gt;
traditions of painting, like those of the Flemish,&lt;br /&gt;
have eclipsed any claims they may have had to a&lt;br /&gt;
literature.. While the names of the Maris Brothers,&lt;br /&gt;
Josef Israels, and others are known throughout&lt;br /&gt;
Europe, the young men of whom Mr. Gosse writes&lt;br /&gt;
so pleasantly (and, alas, so briefly) are almost&lt;br /&gt;
unknown in England, except to those enviable&lt;br /&gt;
persons who can master the northern languages of&lt;br /&gt;
Europe. Apparently, we have been wronging the&lt;br /&gt;
Dutch in denying them the parts of speech. They&lt;br /&gt;
have been having literary revolutions and aesthetic&lt;br /&gt;
movement*!, and slashing reviews like any other&lt;br /&gt;
Christian nation. It will, doubtless, shock many&lt;br /&gt;
respectable English critics when they learn that&lt;br /&gt;
much of this morbid, unwholesome, intellectual&lt;br /&gt;
activity is due to a deal of &amp;quot;poisoned honey&amp;quot;&lt;br /&gt;
stolen from England! Our authors it seems can&lt;br /&gt;
corrupt another nation no less than the insidious&lt;br /&gt;
writers of another land are able to do.&lt;br /&gt;
Now our insular appreciations have been roused&lt;br /&gt;
by the appearance of two novels in English by a&lt;br /&gt;
Dutch writer, Maarten Maartens: &amp;quot; The Sin of Joost&lt;br /&gt;
Avelingh,&amp;quot; and &amp;quot;An Old Maid&amp;#039;s Love.&amp;quot; They are&lt;br /&gt;
two novels which promise to place their author in&lt;br /&gt;
the first rank of English novelists now living. I&lt;br /&gt;
say English, for these are riot translations from the&lt;br /&gt;
Dutch as some reviewers had supposed, but were&lt;br /&gt;
written in English&mdash;in a style which some of our&lt;br /&gt;
native writers would do well to emulate. Though&lt;br /&gt;
it is not given to everyone to form a style so&lt;br /&gt;
exquisite as that of Maarten Maartens; who,&lt;br /&gt;
furthermore, is endowed with that rare faculty of&lt;br /&gt;
writing with felicity in a foreign language&mdash;in a&lt;br /&gt;
manner, that is to say, that will deceive a foreigner.&lt;br /&gt;
Raging Anglo-Saxons may not find in his books a&lt;br /&gt;
phrase or idiom not to be found in Beowulf, but&lt;br /&gt;
for reasonable Englishmen the language is as pure&lt;br /&gt;
as Buskin&amp;#039;s, as English as Thackeray&amp;#039;s, as facile as&lt;br /&gt;
Fronde&amp;#039;s.&lt;br /&gt;
In &amp;quot; The Sin of Joost Avelingh &amp;#039;&amp;#039; the author has,&lt;br /&gt;
consciously or unconsciously, proposed a conun-&lt;br /&gt;
drum. It is a story of moral murder, but as to&lt;br /&gt;
whether Joost was guilty or not, psychologists and&lt;br /&gt;
theologians might argue till Doomsday. To avoid&lt;br /&gt;
all sensation, this author deliberately gives the ma])&lt;br /&gt;
of the plot in a prologue, and the story is simply a&lt;br /&gt;
study and development of character. In absolute&lt;br /&gt;
narrative power it is deficient, as in the pictures of&lt;br /&gt;
the author&amp;#039;s great compatriots we do not look for&lt;br /&gt;
a story, but for the purely pictorial&mdash;characteri-&lt;br /&gt;
sation, light and shadow, or the incidents of daily&lt;br /&gt;
life around us. Mutual antipathy like that of&lt;br /&gt;
Baron van Trotsem and Joost Avelingh, where&lt;br /&gt;
one&amp;#039;s sympathies are enlisted for the antipathy of&lt;br /&gt;
each for the other though a common combination&lt;br /&gt;
in life has not often been treated of in fiction.&lt;br /&gt;
The Baron is not a brute, but a charming old-&lt;br /&gt;
fashioned Dutch landowner given to drinking and&lt;br /&gt;
swearing a little too hard, perhaps. Yet his&lt;br /&gt;
temperament is entirely opposed to that of his&lt;br /&gt;
nephew Joost, of whom he is the guardian, that&lt;br /&gt;
their dislike of each other is conceivable and&lt;br /&gt;
natural. For the murder of his uncle, Joost would&lt;br /&gt;
have had every excuse. He had refinement, edu-&lt;br /&gt;
cation, and something of the idealist, things which&lt;br /&gt;
the Baron considered vices. The misunder-&lt;br /&gt;
standings of uncle and nephew are told with&lt;br /&gt;
consummate skill, always bringing out some new&lt;br /&gt;
trait or idiosyncrasy. Bound the dignified and&lt;br /&gt;
gracious character of Joost Avelingh, the minor&lt;br /&gt;
characters group themselves naturally from the&lt;br /&gt;
members of the Hessel family to the untidy black-&lt;br /&gt;
guard, Van Asvcld. While the book throughout is&lt;br /&gt;
a perfect picture of contemporary life and landscape&lt;br /&gt;
in Holland, it would be mere cavilling to quarrel&lt;br /&gt;
with the author about the public confession of&lt;br /&gt;
Joost, but he seems to hold some theories on the&lt;br /&gt;
ethics of murder which he has not elaborated suffi-&lt;br /&gt;
ciently to be entirely convincing in either of his&lt;br /&gt;
stories.&lt;br /&gt;
In &amp;quot;An Old Maid&amp;#039;s Love&amp;quot; we are asked to&lt;br /&gt;
believe that a respectable and upright, country&lt;br /&gt;
Dutch lady does not hesitate to murder a French&lt;br /&gt;
woman with whom her adopted nephew is carrying&lt;br /&gt;
on a flirtation. Until the attempted murder we&lt;br /&gt;
are not given to understand that any immoral&lt;br /&gt;
intercourse has taken place between them. Yet,&lt;br /&gt;
where is the book in which we could not find&lt;br /&gt;
something to alter or elaborate? Not even that&lt;br /&gt;
great trilogy of Shakspeare, Bradshaw, and the&lt;br /&gt;
Bible would answer the question.&lt;br /&gt;
&amp;quot;An Old Maid&amp;#039;s Love,&amp;quot; if not so strong a storv&lt;br /&gt;
as &amp;quot;Joost Avelingh,&amp;quot; shows the great gifts of&lt;br /&gt;
Maarten Maartens to a better advantage. The&lt;br /&gt;
characterisation is even more varied, while the&lt;br /&gt;
humour, which he has to a high degree, is more&lt;br /&gt;
frequent. By a sentence, a speech, or an incident,&lt;br /&gt;
the author gives us all the individualities of half-a-&lt;br /&gt;
dozen people. We know Mynheer Van Donselaar&lt;br /&gt;
and Jakob te Bekel directly they are introduced to&lt;br /&gt;
us&mdash;a dangerous quality in real life, but in art and&lt;br /&gt;
fiction an indispensable one. The author does not&lt;br /&gt;
indulge in stale analysis, nor does he come forward&lt;br /&gt;
as a kind of chorus to help on the story, or give a&lt;br /&gt;
lift to characters who cannot explain themselves.&lt;br /&gt;
There is no tedious word-painting, so dear to the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 113 (#517) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
&amp;quot;3&lt;br /&gt;
second-rate story-teller. Mr. Maarteiis is a master&lt;br /&gt;
of descriptive writing; but he is always restrained,&lt;br /&gt;
and never takes up the camel&amp;#039;s-hair brush in mistake&lt;br /&gt;
for the grey goose quill. In brief, let those who still&lt;br /&gt;
doubt his place among English novelists purchase&lt;br /&gt;
and read &amp;quot;The Sin of Joost Avelingh&amp;quot; and &amp;quot;An&lt;br /&gt;
Old Maid&amp;#039;s Love.&amp;quot; They will at least make the&lt;br /&gt;
acquaintance of some of the most delightful people&lt;br /&gt;
in the most reputable Dutch society. The Widow&lt;br /&gt;
liarsselius has never been excelled even by&lt;br /&gt;
Dickens, while Mynheer Van Donselaar is the&lt;br /&gt;
most diverting paterfamilias I ever met. The&lt;br /&gt;
British matron will find heaps of things in common&lt;br /&gt;
with Mevrouw van Hessel, a lady who does not&lt;br /&gt;
think braces lit subjects for conversation, or fit&lt;br /&gt;
objects for presentation. Those who, like Arnout&lt;br /&gt;
Oostrum, prefer even lighter company, will meet&lt;br /&gt;
that dangerous enchantress, Dorine de Mongelas,&lt;br /&gt;
whose charms melted even the cynical Calvinist&lt;br /&gt;
pastor, Jakob te Bekel. Like all live people,&lt;br /&gt;
Dorine is just a little unreal. If ever I meet her&lt;br /&gt;
again, I must ask her whether she really thought&lt;br /&gt;
the proprietor of the hotel at Lugano believed that&lt;br /&gt;
Arnout was her brother. If so, she was not so&lt;br /&gt;
bad as Miss Varelkamp believed her to be. I&lt;br /&gt;
shall never forgive the author for having killed&lt;br /&gt;
the Widow Barsselius. I should like still to have&lt;br /&gt;
thought of her, quarrelling with Adelaida Vonk,&lt;br /&gt;
disinheriting Arnout, or altering her will every three&lt;br /&gt;
or four months, scolding Sussana, and lecturing&lt;br /&gt;
Dorothy Donselaar.&lt;br /&gt;
C. P.&lt;br /&gt;
&lt;br /&gt;
A DAY AT OLYMPIA.&lt;br /&gt;
MAY had just set in. The brushwood of the&lt;br /&gt;
Peloponnesus wore its softest vesture:&lt;br /&gt;
each fertile valley exhaled the fresh odours&lt;br /&gt;
of early Spring. As I drove out of Pyrgos in the&lt;br /&gt;
early sunshine, I saw around me a region richer&lt;br /&gt;
and more beautiful than any I had hitherto explored&lt;br /&gt;
in Greece. The road to Olympia at first extended&lt;br /&gt;
itself across a plain festooned with tender garlands&lt;br /&gt;
of the vine, where the carefully cultivated fields&lt;br /&gt;
imparted now an unwonted air of civilisation to this&lt;br /&gt;
visually wild and barren country, which here never-&lt;br /&gt;
theless might rival with its vegetation an Italian&lt;br /&gt;
landscape in the marshes or by the fat city of&lt;br /&gt;
Bologna. Then, winding over the hills it passed&lt;br /&gt;
through several hamlets, that clung to the heights&lt;br /&gt;
like eagle&amp;#039;s nests, and breathed beyond reach of&lt;br /&gt;
malaria from the valleys, the fresh cool breath of&lt;br /&gt;
the sea. We rested the horses awhile at a wayside&lt;br /&gt;
inn, where some dozen dark-haired brown-featured&lt;br /&gt;
peasant* were eating lentil soup and dry bread, for&lt;br /&gt;
it was the Thursday Wore the Greek Easter.&lt;br /&gt;
A fierce light darted from their black eyes, as they&lt;br /&gt;
conversed jauntily among themselves. Caricatures&lt;br /&gt;
of the reigning family and M. Tricoupis pasted on&lt;br /&gt;
the walls proclaimed the political sympathies of&lt;br /&gt;
the usual customers. These pictures very much&lt;br /&gt;
resembled in their style of draughtsmanship I lie&lt;br /&gt;
cartoons of United Ireland, and gave another&lt;br /&gt;
proof of the curious likeness I had discovered in&lt;br /&gt;
many ways between the people of the Morea and&lt;br /&gt;
my unconquerable fellow-countrymen of Erin.&lt;br /&gt;
I had by this time penetrated far into the region&lt;br /&gt;
of blue mountains, through which the road some-&lt;br /&gt;
times climbed tortuously, and sometimes flew&lt;br /&gt;
straight as an arrow along low-lying level meadows&lt;br /&gt;
radiant with wild flowers in the sunlight, and shrill&lt;br /&gt;
with the voices of secret fertilizing streams. Thus,&lt;br /&gt;
having driven in all about 12 miles, I at length&lt;br /&gt;
reached the plain of Olympia bounded on the&lt;br /&gt;
south by the famous river Alpheios, and on the&lt;br /&gt;
west by its tributary the Kladeos, and enclosed by&lt;br /&gt;
chains of wooded hills which guard from its sight&lt;br /&gt;
the modern dwellings of men.&lt;br /&gt;
The first impression on the beholder of this&lt;br /&gt;
revered site, where our civilization may be said to&lt;br /&gt;
have parsed the golden days of its youth, is an&lt;br /&gt;
impression of sublimity, desolation, and repose.&lt;br /&gt;
For fifteen centuries these grand ruins lay buried in&lt;br /&gt;
the earth, and are now, thanks to the scholarly disin-&lt;br /&gt;
terestedness of the great German nation, exhumed&lt;br /&gt;
to bask once more beneath that same sun, whose&lt;br /&gt;
white brilliance in the beginning inspired the happy&lt;br /&gt;
genius of their architects. Not a voice, not a sound&lt;br /&gt;
disturbs their monumental stillness, save perchance&lt;br /&gt;
the hum of a solitary bee, as it wanders among the&lt;br /&gt;
briars and poppies that grow out from the clefts of&lt;br /&gt;
ancient wall or pavement. Verily here, more than&lt;br /&gt;
anywhere on earth, a resurrection of old Greek life&lt;br /&gt;
has been accomplished&mdash;life public and patriotic,&lt;br /&gt;
not private and domestic, as Roman life is revealed&lt;br /&gt;
to us at Pompeii. For here, as through the rest of&lt;br /&gt;
the land, there remains no trace of any private&lt;br /&gt;
dwelling of the Hellenic age. Thus, it seems that&lt;br /&gt;
the Greek must have been content with a fragile,&lt;br /&gt;
temporary house, passing most of his time in the&lt;br /&gt;
sunlight, or among those beautiful public edifices,&lt;br /&gt;
upon which he chiefly prided himself. In truth,&lt;br /&gt;
he knew of no existence apart from that of the.&lt;br /&gt;
State. At Olympia then, in this secluded vale the&lt;br /&gt;
Hellenic States assembled every four years for the&lt;br /&gt;
celebration of those sacred games, which compelled&lt;br /&gt;
their divers peoples to cease from all strife, and&lt;br /&gt;
united them in one grand body politic, the Greek&lt;br /&gt;
Race. Here, therefore, we are brought into the&lt;br /&gt;
dead presence of a civilisation, whose incomiKirable&lt;br /&gt;
beautv has imralyzed all subsequent rivalry in the&lt;br /&gt;
realization of the beautiful in life or art. And the&lt;br /&gt;
incomparable beauty in Greek art still lives. It has&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 114 (#518) ############################################&lt;br /&gt;
&lt;br /&gt;
I [4&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
re-arisen here with the Hermes of Praxiteles, which&lt;br /&gt;
stands in the museum hard by, rescued from the&lt;br /&gt;
long night of centuries. You see it, and are at&lt;br /&gt;
once convinced that it is the greatest statue in the&lt;br /&gt;
world, so perfect its type, so faultless its execution.&lt;br /&gt;
For like all works of the highest class, such as the&lt;br /&gt;
Laocoon, the ceiling of the Nistine Chapel, the&lt;br /&gt;
Virgin among the Rocks, its superb qualities at&lt;br /&gt;
once strike the eve, and ever increase in excellence&lt;br /&gt;
with prolonged attention. In order to experience&lt;br /&gt;
these sensations, the original must, of course, be&lt;br /&gt;
examined. No cast of this great statue throughout&lt;br /&gt;
Europe adequately reproduces the marvellous&lt;br /&gt;
modelling of the chest and body, which fashioned&lt;br /&gt;
in marble, delicate as alabaster, seem to throb with&lt;br /&gt;
the life of eternal youth. All the intense vitality&lt;br /&gt;
of Michael Angclo&amp;#039;s figure of Night pulsates&lt;br /&gt;
in the triumphant execution that has here lent&lt;br /&gt;
substantial being to an ideal type of beauty,&lt;br /&gt;
loftier, more perfect, than any portrayed in extant&lt;br /&gt;
representatives of the human form.&lt;br /&gt;
Beautiful, indeed, is this fleet messenger of&lt;br /&gt;
Olympos &mdash; fresh as a white sunbeam in the&lt;br /&gt;
morning, piercing the green and sombre shade of&lt;br /&gt;
the olives, in the philosophic groves of Hellas.&lt;br /&gt;
There is a subtle charm in a youth&amp;#039;s protection of&lt;br /&gt;
a child, a charm born of the ethereal purity and&lt;br /&gt;
idealism which gleam through the clean gold light&lt;br /&gt;
of fairyland. The old Greeks knew this sentiment&lt;br /&gt;
by their delicate instinct, that fathomed the philo-&lt;br /&gt;
sophy of the l&amp;gt;eautiful to its secret depths. Thus&lt;br /&gt;
it is that their most exquisite artist, in his delinea-&lt;br /&gt;
tion of Hermes with that half affectionate, half&lt;br /&gt;
amused smile, as of an elder brother, upon the&lt;br /&gt;
confiding childish Dionvsos, has recorded but one&lt;br /&gt;
instance of the poetic feeling of his luminous&lt;br /&gt;
When lH&amp;#039;holding this treasure, preserved for us&lt;br /&gt;
from the fairest days of Greece, it is impossible not&lt;br /&gt;
to think of the Apollo of Belvedere, which espe-&lt;br /&gt;
cially, in the masterful beauty of workmanship on&lt;br /&gt;
the torso, approaches nearer to this Hermes, than&lt;br /&gt;
any other statue I have ever seen. The arrival of&lt;br /&gt;
the Elgin marbles in our midst with their reve-&lt;br /&gt;
lation of austere idealism and stern execution, led&lt;br /&gt;
archa&amp;#039;ologists to look somewhat contemptuously&lt;br /&gt;
upon the Vatican masterpiece, and to censure&lt;br /&gt;
Winckelmann for his sublime eulogy of its perfec-&lt;br /&gt;
tions. But the discovery of this incomparable&lt;br /&gt;
work bv Praxiteles has proved how inspired was&lt;br /&gt;
the sentiment of the supremely beautiful manifested&lt;br /&gt;
bv that great Father of Archaeology, whose mag-&lt;br /&gt;
nificent imagery and glowing eloquence, arc a&lt;br /&gt;
continual welcome relief to the student, from the&lt;br /&gt;
colourless and prosaic diction of his learned&lt;br /&gt;
successors.&lt;br /&gt;
As I stood in the lonesome plain I pictured to&lt;br /&gt;
myself what that noble spirit Mould see, if he were&lt;br /&gt;
to wander through the ruins of Olympia. We&lt;br /&gt;
read in those volumes of vast information and&lt;br /&gt;
erudition, published by the German Government,&lt;br /&gt;
what modern archaeologists have seen. But Winckel-&lt;br /&gt;
mann would have discovered meanings loftier and&lt;br /&gt;
truer in the fittest sense. With prophetic insight&lt;br /&gt;
into the genius of antiquity he would have read&lt;br /&gt;
the dead features of each monument here, laid&lt;br /&gt;
bare of its shroud of clay ; and his wistful gaze&lt;br /&gt;
would have charmed them to answer his soul.&lt;br /&gt;
From their silent voices would he not have learned&lt;br /&gt;
a mystical tale of this fair deail region? And&lt;br /&gt;
then, breaking into periods of sublime impassioned&lt;br /&gt;
poetry, he would have told of glorious sights, as&lt;br /&gt;
one who himself had witnessed them, and had risen&lt;br /&gt;
from the grave to tell. What a description his might&lt;br /&gt;
have been of the famous Temple of Zeus, that lies&lt;br /&gt;
shivered by a mighty earthquake 011 the pavement&lt;br /&gt;
of the Altis, like a huge vase fallen from its&lt;br /&gt;
pedestal. What interest would he not have given&lt;br /&gt;
to this shrine of the wondrous chryselephantine&lt;br /&gt;
Zeus by Pheidias, about which he has written so&lt;br /&gt;
luminously in his monumental History of Ancient&lt;br /&gt;
Art? How he would have descanted on those&lt;br /&gt;
grand pedimental groups by Alcamenes and&lt;br /&gt;
Paionios, whose sculptures massed in bold outline&lt;br /&gt;
and splendid proportion lent majesty to the archi-&lt;br /&gt;
tecture, as a diadem heightens the dignity of a&lt;br /&gt;
king! What a fascination he would have found&lt;br /&gt;
in the stones of the old Heraion that guarded for&lt;br /&gt;
our delight the Hermes of Praxiteles! How subtle&lt;br /&gt;
woidd have been his appreciation of the colossal&lt;br /&gt;
&amp;quot;Victory &amp;quot; that alights on the earth with such swift&lt;br /&gt;
aerial grace! Then standing in the partially exca-&lt;br /&gt;
vated Stadion, what would have been his emotion,&lt;br /&gt;
as he thought of the beautiful contests that inspired&lt;br /&gt;
the matchless art of Greece!&lt;br /&gt;
These were some of my reflections, as I wandered&lt;br /&gt;
a livelong day among the ruins of a region where&lt;br /&gt;
beings once assembled, and sights were witnessed,&lt;br /&gt;
the fairest our aged world has ever known. The&lt;br /&gt;
genius of the place stirred strange sensations of&lt;br /&gt;
contentment within my heart, such as I have never&lt;br /&gt;
felt in other lands and scenes. For here were&lt;br /&gt;
enacted those deeds that lent soul to my ideal of&lt;br /&gt;
plastic perfection. For this reason, other centres&lt;br /&gt;
of art outside of Greece shine in my imagination&lt;br /&gt;
with a paler interest; nor indeed am I very curious&lt;br /&gt;
to travel more, knowing that I can never discover a&lt;br /&gt;
spot with memories of human beauty so sympathetic,&lt;br /&gt;
and so sublime. And what made the old Greek&lt;br /&gt;
civilisation the most beautiful of all civilisations?&lt;br /&gt;
Was it not their profound love of nature which&lt;br /&gt;
they shrank from distorting, with a sort of religious&lt;br /&gt;
awe? Were not all their works designed in obedi-&lt;br /&gt;
ence to the lessons learned of her? Look at the&lt;br /&gt;
Parthenon of Athens. Does it not rise from the&lt;br /&gt;
living rock as a thing of nature itself? hook at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 115 (#519) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
the people&amp;#039;s garments. Are they not absolutely&lt;br /&gt;
subordinate to the natural human form, and thereby&lt;br /&gt;
most lit, most rational? Whereas the costume of&lt;br /&gt;
after ages and modern times, in that it is a dis-&lt;br /&gt;
tortion of nature, is barbarous ami abominable,&lt;br /&gt;
and every whit as grotesque an that of the&lt;br /&gt;
commonest savages who wear rings in their noses,&lt;br /&gt;
and pad their persons in order to create odious,&lt;br /&gt;
lM&amp;#039;cause artificial, excrescences.&lt;br /&gt;
None of the ruins around awake more regretful&lt;br /&gt;
interest than those of the Palaistra, an army of&lt;br /&gt;
pale Ionian columns standing in pathetic stateliness,&lt;br /&gt;
like ghosts of the glorious athletes, who once&lt;br /&gt;
frequented these halls, and with their fair civilisation&lt;br /&gt;
have passed for ever from the world. Here,&lt;br /&gt;
leaning against one of the columns, which doubt-&lt;br /&gt;
less of yore gave support to many a tired youth&lt;br /&gt;
after the toils of the contest, I gazed long and&lt;br /&gt;
earnestly upon the fallen majesty of Olympia. The&lt;br /&gt;
wrath of the white sun which at mid-day had lit&lt;br /&gt;
up the broken architecture like blocks of crystal,&lt;br /&gt;
gradually grew pacified, and over the western hills&lt;br /&gt;
and distant sea the saffron light of a Greek evening&lt;br /&gt;
borne on the fluttering wings of a cool breeze,&lt;br /&gt;
gilded the desolate plain. The genius of the place&lt;br /&gt;
stirred within my soul a host of images,and strange&lt;br /&gt;
emotions of joy and [Miin strove for mastery in my&lt;br /&gt;
heart. I thought of the high deeds that graced these&lt;br /&gt;
sacred precincts, and of the many beautiful beings&lt;br /&gt;
who flourished here awhile and faded&mdash;exquisite&lt;br /&gt;
blossoms that bloomed and fell. I thought of&lt;br /&gt;
each bright fascinating scene here long ago, which&lt;br /&gt;
thrilled with its poetry the beholder for one rare&lt;br /&gt;
moment, and then passed away into the inexorable&lt;br /&gt;
gulf of time, never, never to return. And bitterly&lt;br /&gt;
I thought of this cruel Time, the destroyer of all&lt;br /&gt;
our sweetest impressions on earth.&lt;br /&gt;
Thus haunted with visions of the glorious&lt;br /&gt;
pictures these silent plains had witnessed in the&lt;br /&gt;
past, my mind brooded on the antique life of this&lt;br /&gt;
revered centre of Hellenism, where grew and&lt;br /&gt;
developed that incomparable natural beamy I lane&lt;br /&gt;
ever desired to behold&mdash;in vain. And, as the&lt;br /&gt;
moving shadows, amid fitful gusts of the night,&lt;br /&gt;
spread their dark wings, like angels of death,&lt;br /&gt;
over the valley, forel&amp;gt;odings of ghostly visitations&lt;br /&gt;
filled my imagination, and 1 felt as if transported&lt;br /&gt;
to the golden age of Greece. I gazed at the scene&lt;br /&gt;
before me in wistful contemplation, until gradually&lt;br /&gt;
growing in harmony with its sublime associations,&lt;br /&gt;
I seemed to see the ruins transformed, and the&lt;br /&gt;
glory of Olympia re-arise from the dust of the years.&lt;br /&gt;
Then stood the Temple of Zeus and the Heraion&lt;br /&gt;
once more in antique majesty, and the portico of&lt;br /&gt;
the echo resounded with the footfall of fluttering&lt;br /&gt;
crowds. Impatiently their faces turned towards&lt;br /&gt;
the Sladion, while the variegated and gold-&lt;br /&gt;
embroidered draperies throbbed in the waning&lt;br /&gt;
light like the diamond embers of a log-lire beneath&lt;br /&gt;
the dogs. A joyful shout arose, and from the&lt;br /&gt;
tunnel of the Stadion came forth the competitors&lt;br /&gt;
at the boys&amp;#039; Pentathlon, whose voices, as thev&lt;br /&gt;
talked together, rang like the chiming of silver&lt;br /&gt;
bells. Anon a great concourse of spectators&lt;br /&gt;
appeared overhead, which, opening in twain, made&lt;br /&gt;
way for the youthful victor. He advanced&lt;br /&gt;
dreamily, as one not realising the splendour of his&lt;br /&gt;
achievement which Pindar should immortalise in&lt;br /&gt;
an ode, and slowly descended to the Altis, where,&lt;br /&gt;
when he paused and looked at his garland, I saw&lt;br /&gt;
in him a model of the Praxitelcan Hermes. Then&lt;br /&gt;
white-robed choristers, and youths with festooned&lt;br /&gt;
flutes, and hoary priests formed themselves in&lt;br /&gt;
procession before him, and chanting oriental&lt;br /&gt;
melody they led him towards the Temple of Zeus.&lt;br /&gt;
And as the victor passed the statue of Victory,&lt;br /&gt;
raising the wreath of bay leaves from his golden&lt;br /&gt;
hair, he laid it at her feet, and so passed onward&lt;br /&gt;
to the temple amid the chorus of quivering basses&lt;br /&gt;
and sweet-voiced boys.&lt;br /&gt;
Next, I was surrounded in the Palaistra by&lt;br /&gt;
athletes, who practised for the contest of the&lt;br /&gt;
coming day. Presently one of them came&lt;br /&gt;
and leant against a pillar near to where I was&lt;br /&gt;
standing. Wearily, with the distant gaze of a&lt;br /&gt;
figure in a sepulchral relief, he lookeil towards the&lt;br /&gt;
temple that sheltered the victor, and as he laid his&lt;br /&gt;
cheek upon the cool marble, his features glowed&lt;br /&gt;
with pale transparency, like the cameo of a god. I&lt;br /&gt;
watched him and knew the sorrow that lav on his&lt;br /&gt;
heart. I read in those sad features the soaring&lt;br /&gt;
ambition of youth, that builds for itself a palace in&lt;br /&gt;
a world of phantasm, and is ever thwarted, and&lt;br /&gt;
vexed, and harassed in the life men call realitv.&lt;br /&gt;
I saw how that one passion had mastered him and&lt;br /&gt;
withered all faculty for pleasure; how the sight of&lt;br /&gt;
this lieautiful ceremony caused him only a keener&lt;br /&gt;
pain. And sorrowful at the thought that so bright&lt;br /&gt;
a season as boyhood should thus be changed to&lt;br /&gt;
bitterness and gloom, I looked with pity upon this&lt;br /&gt;
youthful toiler, and sighed because of the lot of&lt;br /&gt;
them that nourish the sublime aspirations of life.&lt;br /&gt;
A rough hand on my shoulder shattered this fair&lt;br /&gt;
picture of Olympia.&lt;br /&gt;
Then I understood I must have slumbered after&lt;br /&gt;
the heat and fatigue of exploring the ruins, when I&lt;br /&gt;
saw beside me my guide, who announced that the&lt;br /&gt;
sun had already set and that now the vallev, as if&lt;br /&gt;
to defend itself from the encroachments of modern&lt;br /&gt;
man, exhaled a cold and pestilential dew. With&lt;br /&gt;
a last regretful look I returned to my carriage, and&lt;br /&gt;
was borne away swiftly through the gathering&lt;br /&gt;
shades of night. And as I watched the purple&lt;br /&gt;
silhouette of the hills against the yellow sky, and&lt;br /&gt;
breathed the damp air of twilight, I drew my cloak&lt;br /&gt;
closer around me with a chill sense of loneliness,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 116 (#520) ############################################&lt;br /&gt;
&lt;br /&gt;
ii6&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
for I knew that the man who yearns for the ideal&lt;br /&gt;
of other ages, while lie still walks among his con-&lt;br /&gt;
temporaries, yet breathes a rarer atmosphere, and&lt;br /&gt;
dwells in a far-off world.&lt;br /&gt;
Edward Maktyn.&lt;br /&gt;
SOME EARLY EXPERIENCES.&lt;br /&gt;
MY passage into the world of literature was&lt;br /&gt;
made through the gateway afforded by the&lt;br /&gt;
&amp;quot;system of prize competitions&mdash;a humble&lt;br /&gt;
enough entrance in very truth, but one which lias&lt;br /&gt;
undoubtedly been the means of bringing to the&lt;br /&gt;
front several very good men of letters, whose talents&lt;br /&gt;
might otherwise have been lost to humanity.&lt;br /&gt;
My feelings, on seeing my first essay in print,&lt;br /&gt;
can be better imagined than described. To those&lt;br /&gt;
of mv readers who have gone through that ex-&lt;br /&gt;
perience, it were useless to waste words in the&lt;br /&gt;
telling of so familiar a story. Needless to say, I&lt;br /&gt;
passed through all the phases of thought usual on&lt;br /&gt;
such an occasion, from the hilarious exultation of&lt;br /&gt;
the first sight right down to the dee]) disgust and&lt;br /&gt;
awful despair felt when, in a more critical moment,&lt;br /&gt;
my work appeared sadly incomplete and unsatis-&lt;br /&gt;
factory.&lt;br /&gt;
Nevertheless, my ambition had now been fired,&lt;br /&gt;
and, come failure or success, I speedily found&lt;br /&gt;
myself launched upon the stormy seas of life in the&lt;br /&gt;
vessel of literary endeavour, struggling for some&lt;br /&gt;
foothold whereon I might take my stand with&lt;br /&gt;
others around me wTho were winning fame and&lt;br /&gt;
fortune by their daring exploits. The only special&lt;br /&gt;
qualification which I possessed for the work set.&lt;br /&gt;
before me was some slight ability in the art of&lt;br /&gt;
composition, coupled perhaps with a fair share of&lt;br /&gt;
common sense.&lt;br /&gt;
When I set out on my literary career, some two&lt;br /&gt;
years ago, I fortunately (lid not do as many others&lt;br /&gt;
before me had done, give up the employment&lt;br /&gt;
which had hitherto been my principal means of&lt;br /&gt;
subsistence, and expect that, by writing an article&lt;br /&gt;
about once a week, the remuneration received&lt;br /&gt;
would at once render me perfectly independent of&lt;br /&gt;
any other support; on the contrary, I knew a little,&lt;br /&gt;
to begin with, about the great difficulties which&lt;br /&gt;
had to be contended with, and the very slight&lt;br /&gt;
acknowledgment which seems the usual remuneration&lt;br /&gt;
for the work of unknown authors. Consequently,&lt;br /&gt;
I very wisely decided to retain my ordinary occu-&lt;br /&gt;
pation, and, for a while at least, to spend only mv&lt;br /&gt;
leisure time in the new pursuit which I had&lt;br /&gt;
taken up.&lt;br /&gt;
One other thing I feel it my duty to mention&lt;br /&gt;
before proceeding further: From the very begin-&lt;br /&gt;
ning of mv acquaintanceship with &amp;quot; the black art,&amp;quot;&lt;br /&gt;
I determined that, amateur though I was in otic&lt;br /&gt;
sense, I should never pay for the insertion of my&lt;br /&gt;
contributions in any magazine, but would demand&lt;br /&gt;
to be remunerated for my work in every possible&lt;br /&gt;
instance. The adoption of this policy may be&lt;br /&gt;
somewhat unusual, and it will probably be thought&lt;br /&gt;
by some that such a course of action as I had&lt;br /&gt;
decided on was essentially grasping, and, therefore,&lt;br /&gt;
extremely foolish for a mere tyro to take. I feel&lt;br /&gt;
sure, however, that this resolution is one which&lt;br /&gt;
should be taken by every literary aspirant to-day;&lt;br /&gt;
and I trust to be able to prove in this paper the&lt;br /&gt;
wisdom of mv decision, and the justice of the&lt;br /&gt;
principle upon which it is based.&lt;br /&gt;
During the first six months, I wrote about a&lt;br /&gt;
dozen articles and short stories, and sent them on&lt;br /&gt;
the rounds. I met with better success than I&lt;br /&gt;
expected; for, by the end of the time .specified,&lt;br /&gt;
seven of my contributions had been accepted,&lt;br /&gt;
published, and paid for. Six of these were ac-&lt;br /&gt;
cepted by the first editors to whom they were&lt;br /&gt;
submitted; the seventh was only out twice; but&lt;br /&gt;
the rest of my dozen were not so eagerly snapped&lt;br /&gt;
up, some of them being on my hands still.&lt;br /&gt;
The next 12 months I did very badly indeed, as&lt;br /&gt;
my leisure time was very fully occupied with other&lt;br /&gt;
matters than the pursuit of my literary inclinations.&lt;br /&gt;
I certainly wrote some eight or nine papers on&lt;br /&gt;
various social and political topics, but only three&lt;br /&gt;
were destined to secure editorial approbation that&lt;br /&gt;
year. The others were declined in various fashions;&lt;br /&gt;
sometimes being returned without comment of any&lt;br /&gt;
kind, sometimes with a curt note, &amp;quot;Declined with&lt;br /&gt;
thanks,&amp;quot; written or printed on an accompanying&lt;br /&gt;
slip; and now and again with a letter or memo-&lt;br /&gt;
randum containing either a short criticism, a word&lt;br /&gt;
of praise, or a half promise for future offers of&lt;br /&gt;
work.&lt;br /&gt;
In October 1890 I received a circular letter pur-&lt;br /&gt;
porting to lie from the sub-editor of a periodical&lt;br /&gt;
which I will call the Literary Mantrap. The receipt&lt;br /&gt;
of this communication was my first direct contact&lt;br /&gt;
with advertising publishers. I had heard a little&lt;br /&gt;
about them and their curious methods before, but&lt;br /&gt;
I now had the pleasure of a more intimate acquaint-&lt;br /&gt;
ance. The letter before me announced that this&lt;br /&gt;
Review had been established with a view to&lt;br /&gt;
obviating the difficulty experienced by unknown&lt;br /&gt;
writers in obtaining publicity for their literary&lt;br /&gt;
efforts, and proceeded to further explain the reason&lt;br /&gt;
for its existence as follows: &amp;quot;It is common know-&lt;br /&gt;
ledge that much undeveloped talent exists anioug&lt;br /&gt;
the English-speaking Dices&mdash;young writers of&lt;br /&gt;
talent, and possibly genius, do not find the ordinary&lt;br /&gt;
and more noted periodicals hospitable to them at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 117 (#521) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
li7&lt;br /&gt;
the commencement of their career, and the best&lt;br /&gt;
publishing firms arc extremely shy in entertaining&lt;br /&gt;
proposals emanating from new comers. Hence the&lt;br /&gt;
urgent necessity for the establishing of a Review&mdash;&lt;br /&gt;
for the purpose of bringing to public notice the&lt;br /&gt;
productions of unknown writers&mdash;conducted upon&lt;br /&gt;
the only honest and possible basis, viz., co-opera-&lt;br /&gt;
tion.&amp;quot; The &amp;quot;co-operation&amp;quot; referred to is then&lt;br /&gt;
unblushingly described in manner following, that is&lt;br /&gt;
to say: &amp;quot;All authors whose contributions are accepted&lt;br /&gt;
for publication are, therefore, required to pay a sum,&lt;br /&gt;
]&amp;gt;ro rata to the amount of matter inserted, to cover&lt;br /&gt;
the cost of printing, paper, editorial revision, &amp;amp;c.&lt;br /&gt;
As a set-off against this charge, 5o per cant, will be&lt;br /&gt;
allowed on all copies of the Review sold by the&lt;br /&gt;
respective authors, i.e., for every 5o copies sold&lt;br /&gt;
through his agency, 25s. goes to the author.&amp;quot; Now,&lt;br /&gt;
prettily worded though this communication was,&lt;br /&gt;
and notwithstanding the fact that it contained&lt;br /&gt;
much of consolation, and smacked of hope for those&lt;br /&gt;
whose talents were yet unappreciated by the reading&lt;br /&gt;
public, I considered its propositions &amp;quot;a bit thick,&amp;quot;&lt;br /&gt;
ami, consequently, declined to be made &amp;quot; fish&amp;quot; for&lt;br /&gt;
this &amp;quot;net.&amp;quot; Had the hook not been so plainly&lt;br /&gt;
visible, and the bait been less clumsily arranged, I&lt;br /&gt;
might have very speedily been properly dressed for&lt;br /&gt;
the carving-knife of the literary chef who headed&lt;br /&gt;
the establishment. As matters stood, I was not&lt;br /&gt;
&amp;quot;having any.&amp;quot;&lt;br /&gt;
In December of the same year, a popular weekly&lt;br /&gt;
journal, belonging to what good churchmen call&lt;br /&gt;
&amp;quot;The Down-Grade School,&amp;quot; and which I shall&lt;br /&gt;
name, the Religious Republic, attracted mv&lt;br /&gt;
attention as a likely medium for the publication of&lt;br /&gt;
some of my work. This paper had a sub-title,&lt;br /&gt;
which intimated that it existed for the advance-&lt;br /&gt;
ment of various Christian virtues; so I thought I&lt;br /&gt;
would be all right in the hands of its editor. I&lt;br /&gt;
sent him a short paper without any accompanying&lt;br /&gt;
note, as I did not deem such necessary in this ciisc.&lt;br /&gt;
On looking through the Christmas number of the&lt;br /&gt;
journal-a fortnight later, I found that my essay&lt;br /&gt;
had been utilised as an editorial, and without any&lt;br /&gt;
indication as to its authorship. I made no com-&lt;br /&gt;
plaint on that score at the time, but simply wrote&lt;br /&gt;
stating that 1 was glad to note the acceptance and&lt;br /&gt;
publication of my contribution, and requesting the&lt;br /&gt;
editor to inform me, when he sent me a remittance&lt;br /&gt;
in payment, whether he considered another article&lt;br /&gt;
which I named would be suitable for his columns,&lt;br /&gt;
and if I might submit it for his perusal. I waited&lt;br /&gt;
for a month, but, as no reply or even remittance&lt;br /&gt;
arrived, I wrote again&mdash;this time in terms less&lt;br /&gt;
likely to be misunderstood. Within four days,&lt;br /&gt;
what I considered a very curious reply from the&lt;br /&gt;
editor came to hand. After remarking on the fact&lt;br /&gt;
that I had sent my contribution without indicating&lt;br /&gt;
that I expected remuneration for it, and stating&lt;br /&gt;
that it had, along with hundreds of other communi-&lt;br /&gt;
cations, passed under editorial notice, and been&lt;br /&gt;
approved and printed accordingly, this worthy&lt;br /&gt;
gentleman summed up the case in the following&lt;br /&gt;
terms: &amp;quot;It appears that you immediately wrote&lt;br /&gt;
asking for remuneration, and as to sending other&lt;br /&gt;
contributions. This was regarded as very unusual&lt;br /&gt;
(!), and so your letters were laid aside. My&lt;br /&gt;
personal attention being called to the matter, I&lt;br /&gt;
now wish to say that our rule lias always been to&lt;br /&gt;
pay for matter when payment is arranged for&lt;br /&gt;
previously. When articles are sent without any&lt;br /&gt;
pre-armngement or stipulation, they are used or&lt;br /&gt;
rejected without any regard to remuneration what-&lt;br /&gt;
ever. Most persons who are strangers are willing&lt;br /&gt;
to serve an apprenticeship to our paper before they&lt;br /&gt;
expect remuneration, &amp;amp;c., &amp;amp;c. Trusting that this&lt;br /&gt;
explanation may prove satisfactory, I am, yours&lt;br /&gt;
truly, the Editor.&amp;quot;&lt;br /&gt;
On perusing this hitter, I found two alternative&lt;br /&gt;
courses open to me: either to quietly submit to&lt;br /&gt;
the editor&amp;#039;s decision and thus forego the just&lt;br /&gt;
principle which I had determined should guide me&lt;br /&gt;
in these matters, or to fight the battle out at all&lt;br /&gt;
costs. The adoption of the first course seemed the&lt;br /&gt;
best policy to pursue, as the letter lwfore me&lt;br /&gt;
suggested that if I was willing to work for nothing&lt;br /&gt;
for a short period, arrangements for remuneration&lt;br /&gt;
for future contributions could then be made; but&lt;br /&gt;
I felt that to do this would be to do not only&lt;br /&gt;
myself, but my fellow-craftsmen an injustice, and&lt;br /&gt;
I therefore resolved to throw over policy for&lt;br /&gt;
principle. In my letter in reply, I argued that the&lt;br /&gt;
fact of my not specially indicating that payment&lt;br /&gt;
was expected when sending my MS. did not alter&lt;br /&gt;
the reasonableness or legality of my claim, and&lt;br /&gt;
pointed out that such a specific statement was not&lt;br /&gt;
necessary, as unless it was announced to contri-&lt;br /&gt;
butors that remuneration was not given, a reason-&lt;br /&gt;
able amount was always payable, and was naturally&lt;br /&gt;
expected. I submitted that if it was not intended&lt;br /&gt;
to pay me for my article, it was the editor&amp;#039;s duty to&lt;br /&gt;
inform me |of that fact before such article was&lt;br /&gt;
published; thus giving me an opportunity to&lt;br /&gt;
withdraw it if I thought proper. As matters stood,&lt;br /&gt;
I held that if an article was worth publishing in a&lt;br /&gt;
journal like the Religious Republic, it was also worth&lt;br /&gt;
paying for. I pointed out that the allegation that&lt;br /&gt;
I immediately wrote for remuneration was untrue,&lt;br /&gt;
and that when my article was published I knew&lt;br /&gt;
nothing of the &amp;quot;rules &amp;quot; which guided the editor in&lt;br /&gt;
literary matters, and consequently could not be&lt;br /&gt;
expected to concur in or agree yvith them so far as&lt;br /&gt;
they related to my contribution. In conclusion, I&lt;br /&gt;
asked that the matter might be reconsidered in all&lt;br /&gt;
its bearings.&lt;br /&gt;
I waited for over a fortnight, but no reply came&lt;br /&gt;
to hand. As my claim was evidently being treated&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 118 (#522) ############################################&lt;br /&gt;
&lt;br /&gt;
118&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
with contempt, I then gave the editor notice that,&lt;br /&gt;
unless it was paid within a week, I would proceed&lt;br /&gt;
to extremities. I told him that I was determined&lt;br /&gt;
to light this question if necessary, not because of&lt;br /&gt;
the small amount at stake, but on account of the&lt;br /&gt;
principle involved. I intimated that I had con-&lt;br /&gt;
sulted legal authority, and was advised that be wan&lt;br /&gt;
clearly liable to pay me at the current rate for the&lt;br /&gt;
article which he had utilised, and that his dealing&lt;br /&gt;
with it as owner, without previously informing me&lt;br /&gt;
that he did not intend to pay for it, legailv im-&lt;br /&gt;
plied a promise on his part to pay me its market&lt;br /&gt;
value. I hoped, therefore, that he would settle my&lt;br /&gt;
claim immediately, in order to avoid the disagree-&lt;br /&gt;
able publicity and other unpleasant consequences&lt;br /&gt;
which would inevitably ensue on my taking legal&lt;br /&gt;
proceedings.&lt;br /&gt;
Within the time mentioned the editorial answer&lt;br /&gt;
came to hand, and with it the amount of my claim.&lt;br /&gt;
The editor had evidently found himself in a bad&lt;br /&gt;
place, and his last letter was, from first to last,&lt;br /&gt;
a miserable attempt to extricate himself from his&lt;br /&gt;
difficulties with some show of dignity. He said he&lt;br /&gt;
was not in the. least disturbed by mv threats, and&lt;br /&gt;
thought it would do him good to appear in court&lt;br /&gt;
and say a few words about men like myself who&lt;br /&gt;
wished to secure a hearing before the public, and&lt;br /&gt;
then demanded pay for the insertion of their&lt;br /&gt;
articles! He would like to expose such men to&lt;br /&gt;
the public! However, he had no time for this&lt;br /&gt;
unlovely sort of business, and therefore sent the&lt;br /&gt;
amount asked for in settlement. He intimated&lt;br /&gt;
that the amount sent wa-s more than the article&lt;br /&gt;
was worth, &amp;quot;but,&amp;quot; he went on, &amp;quot;I suppose you&lt;br /&gt;
are hard up and I am sending you this as a matter&lt;br /&gt;
of charity.&amp;quot; (How truly Christ-like !) He con-&lt;br /&gt;
tinued, &amp;quot;Now a word of candid advice. I have&lt;br /&gt;
been connected with the Press for over 3o years,&lt;br /&gt;
and have never had dealing before with such a&lt;br /&gt;
bore. Had you treated the matter in the right&lt;br /&gt;
spirit you might have secured permanent work on&lt;br /&gt;
the lieligioxts Republic at a reasonable remune-&lt;br /&gt;
ration, but (mark how calmly, how deliberately&lt;br /&gt;
the man lies) I am not in the habit&mdash;nor is any&lt;br /&gt;
editor &mdash; of paying contributors for articles until&lt;br /&gt;
they have won their spurs, unless some prior&lt;br /&gt;
arrangement is made. Then follows this charming&lt;br /&gt;
piece of hypocrisy: &amp;quot;I am taking up considerable&lt;br /&gt;
space in the hope that it may do you some good.&lt;br /&gt;
You have some ability, but your love of money&lt;br /&gt;
is the root of your evil.&amp;quot; In conclusion, the editor&lt;br /&gt;
makes another attempt to justify himself, and,&lt;br /&gt;
at the same time, to insult me, and once more&lt;br /&gt;
ho fails ignoniiniously: &amp;quot;I hope you will not&lt;br /&gt;
consider my sending you the money is the result&lt;br /&gt;
of your threats. I simply have a contempt for&lt;br /&gt;
your plea on legal grounds, but I am tired of&lt;br /&gt;
getting letters from you, and suppose you are&lt;br /&gt;
actually in need or you would not take the course&lt;br /&gt;
vou are taking.&amp;quot;&lt;br /&gt;
I have taken the trouble to record the last&lt;br /&gt;
experience very fully, because I now know it to&lt;br /&gt;
be typical of many more. Since the time when&lt;br /&gt;
the case described came before me I have often&lt;br /&gt;
had occasion to remember that publishing is a&lt;br /&gt;
business which is conducted for the sake of prolit&lt;br /&gt;
alone, and that in the pursuit of it men&amp;#039;s con-&lt;br /&gt;
sciences are apt to become very elastic indeed.&lt;br /&gt;
Many a time have I been very forcibly reminded&lt;br /&gt;
that with many publishers the virtues of philan-&lt;br /&gt;
thropy, justice, and even common honesty arc&lt;br /&gt;
practically unknown. I have had dealings with&lt;br /&gt;
several men&mdash;editors as well as publishers&mdash;whose&lt;br /&gt;
ideas of right and wrong had become so hopelessly&lt;br /&gt;
confused that they would actually steal your goods,&lt;br /&gt;
and believe in their inmost hearts that by so doing&lt;br /&gt;
they had done you a great favour. Others, not&lt;br /&gt;
so well versed in the tricks of their trade, satisfy&lt;br /&gt;
their consciences by paying merely a nominal&lt;br /&gt;
acknowledgment for your good services. For some&lt;br /&gt;
time I worked for a magazine which paid me at&lt;br /&gt;
the rate of io#. for articles of from 1,000 to&lt;br /&gt;
l,5oo words. As a proof that they were worth&lt;br /&gt;
much more a reviewer once said of one of them&lt;br /&gt;
that my four columns had arrested his attention&lt;br /&gt;
in a way which even the elaborate criticism of&lt;br /&gt;
a very popular writer had failed to do, while other&lt;br /&gt;
papers would copy or take extracts from my articles&lt;br /&gt;
as they appeared. It is scarcely necessary to say&lt;br /&gt;
that in due time I &amp;quot;struck&amp;quot; for a higher rate of&lt;br /&gt;
remuneration, and, as my reasonable demand was&lt;br /&gt;
refused, I declined to work any longer on the old&lt;br /&gt;
terms.&lt;br /&gt;
I was very much shocked and surprised once at&lt;br /&gt;
the way in which the prize competitions of a&lt;br /&gt;
&amp;quot;Labour &amp;quot; paper were carried on. I hail written&lt;br /&gt;
for information as to whether I might send a cer-&lt;br /&gt;
tain article for the editorial consideration, and also&lt;br /&gt;
as to the remuneration offered for such work. The&lt;br /&gt;
reply I received was to the effect that they did not&lt;br /&gt;
&amp;quot;order&amp;quot; contributions in advance, but I was at&lt;br /&gt;
liberty to start a competition. I found that this&lt;br /&gt;
really meant that my article would be published&lt;br /&gt;
along with many others on the same subject, but&lt;br /&gt;
that only one would be paid for. Of course I&lt;br /&gt;
could not, with a good conscience, work under any&lt;br /&gt;
such conditions, and I therefore declined the offer&lt;br /&gt;
with thanks. In my reply I endeavoured to point&lt;br /&gt;
out to the editor the iniquity of the system which&lt;br /&gt;
he had adopted, and illustrated my argument a.s&lt;br /&gt;
follows: &amp;quot;If I was successful in the competition&lt;br /&gt;
which vou propose, I should feel that I had&lt;br /&gt;
deprived others of their righteous reward; if I was&lt;br /&gt;
defeated, I would know that I had been robbed of&lt;br /&gt;
the fruits of my toil. In conclusion, allow me to&lt;br /&gt;
express my surprise that you&mdash;of all men most&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 119 (#523) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
119&lt;br /&gt;
enthusiastic in the cause of labour, in endeavouring&lt;br /&gt;
to gain for the workers &amp;#039;a fair dav&amp;#039;s wage for a fail-&lt;br /&gt;
day&amp;#039;s work &amp;#039;&mdash;should stoop to such a method of&lt;br /&gt;
filling the pages of your paper.&amp;quot; Unfortunately,&lt;br /&gt;
this direct appeal failed to awaken the editorial&lt;br /&gt;
conscience, and only served to harden his heart.&lt;br /&gt;
He even went so far as to denounce my strictures&lt;br /&gt;
as unjust! I never doubted the honesty of his&lt;br /&gt;
intentions, but&amp;quot; evil is wrought by want of thought&lt;br /&gt;
as well as want of heart.&amp;quot; I still maintain that&lt;br /&gt;
competitions in literature, conducted in the fashion&lt;br /&gt;
referred to, are a direct encouragement of literary&lt;br /&gt;
&amp;quot;blacklegs,&amp;quot; who arc willing to work for nothing,&lt;br /&gt;
and thus take away the bond fide workers&amp;#039;&lt;br /&gt;
livelihood.&lt;br /&gt;
I have yet another instance in proof of the theory&lt;br /&gt;
that editors and publishers are specially subject&lt;br /&gt;
to jH&amp;#039;culiar temptations, which need all a man&amp;#039;s&lt;br /&gt;
respectability and honesty of purpose to overthrow.&lt;br /&gt;
In March of this year I received a note from the&lt;br /&gt;
editor of one of the minor monthly reviews, which&lt;br /&gt;
was attracting the attention of the reading public&lt;br /&gt;
at the time, explaining the terms on which he&lt;br /&gt;
accepted contributions. He intimated that all his&lt;br /&gt;
contributors had agreed to allow their fees to stand&lt;br /&gt;
over until profits began to be realised, and that, if I&lt;br /&gt;
agreed to these terms, he would insert such of my&lt;br /&gt;
contributions as he found suitable for the magazine.&lt;br /&gt;
In reply, I stated my acceptance of the terms men-&lt;br /&gt;
tioned, subject to a satisfactory answer being given&lt;br /&gt;
to the following queries, which, considering the&lt;br /&gt;
vague nature of the proposil, I thought it neces-&lt;br /&gt;
sary to make: &amp;quot;What is the amount which you&lt;br /&gt;
propose to put to the credit of your contributors in&lt;br /&gt;
return for each of their contributions; that is to&lt;br /&gt;
say, what sum will represent the &amp;#039;fee&amp;#039; to which&lt;br /&gt;
you refer, when the magazine begins to pay? Will&lt;br /&gt;
the contributors be paid for their articles in&lt;br /&gt;
the order of publication? How long do you&lt;br /&gt;
think it will be before any profits are realised?&amp;quot;&lt;br /&gt;
The only answer I ever received to these questions&lt;br /&gt;
was of a very significant character: my MS. was&lt;br /&gt;
sent lmck, apparently unread, and without a word&lt;br /&gt;
of comment, by return of post.&lt;br /&gt;
I am, however, very glad to be able to sav, also&lt;br /&gt;
from experience, that all editors are not like those&lt;br /&gt;
whose treatment of their contributors I have just&lt;br /&gt;
deseriU&amp;#039;d. I have treasured up in my memory a&lt;br /&gt;
few instances of most kindly actions on the part of&lt;br /&gt;
editors towards me in my struggle for recognition&lt;br /&gt;
by the reading public. In one case, on the sus-&lt;br /&gt;
pension of a weekly magazine to which I had been&lt;br /&gt;
contributing, the publishers refused to pay the&lt;br /&gt;
contributors a farthing for their work; but the&lt;br /&gt;
editor took up their cause, and, after a great deal&lt;br /&gt;
of trouble, necessitating the employment of a&lt;br /&gt;
solicitor, succeeded in wresting from these sharks&lt;br /&gt;
a portion of their ill-gotten gains, with which he&lt;br /&gt;
settled the righteous claims of those whose labours&lt;br /&gt;
had created the wealth in the first instance.&lt;br /&gt;
Many, too, are the eases in which editors,&lt;br /&gt;
being unable to accept my work, have returned it&lt;br /&gt;
to me as soon as possible, together with a letter&lt;br /&gt;
containing a few words of encouragement, a kindly-&lt;br /&gt;
expressed criticism, or a useful suggestion for&lt;br /&gt;
improvement. Here, for instance, is a letter which&lt;br /&gt;
I received some three or four months ago from&lt;br /&gt;
Mr. Arthur Stannard, who conducts &amp;quot; John Strange&lt;br /&gt;
Winter&amp;#039;s&amp;quot; correspondence in connexion with her&lt;br /&gt;
new venture :&mdash;&amp;quot; The editor has carefully read your&lt;br /&gt;
article, and much regrets that she cannot make use&lt;br /&gt;
of it in Golden Gates. She would like to do&lt;br /&gt;
so (if only because of the beautiful manuscript),&lt;br /&gt;
but the subject is not treated in a way that appeals&lt;br /&gt;
to her sympathies, and it may cause undesirable&lt;br /&gt;
controversy if she puts it in.&amp;quot; This sympathetic&lt;br /&gt;
and kindly treatment has several advantages; it&lt;br /&gt;
quite takes the sting out of the editorial rejection,&lt;br /&gt;
costs nothing, and helps to maintain that feeling of&lt;br /&gt;
interdependence and mutual good will iK&amp;#039;tween&lt;br /&gt;
author and editor which is so essential a feature&lt;br /&gt;
of good magazine work.&lt;br /&gt;
In conclusion, let me say that I trust this faithful&lt;br /&gt;
record of my adventures &amp;quot;on the troubled sea&lt;br /&gt;
of letters&amp;quot; will not lie without its effect. If the&lt;br /&gt;
literary aspirant who reads it is made to think twice&lt;br /&gt;
before launching out on a similar errand; if those&lt;br /&gt;
already embarked will take to heart the hints which&lt;br /&gt;
it contains, and determine to adopt a similar course&lt;br /&gt;
to that which I have pursued; and if I have suc-&lt;br /&gt;
ceeded in pointing out to editors and publishers the&lt;br /&gt;
dangers which beset them on every hand, and they&lt;br /&gt;
resolve to be more rigid in their attitude towards&lt;br /&gt;
amateurs, and more tolerant, more charitable, more&lt;br /&gt;
just towards the true worker, this which I have&lt;br /&gt;
written will not have been written in vain.&lt;br /&gt;
C. E. M.&lt;br /&gt;
&lt;br /&gt;
ENEMIES OP LITERATURE.&lt;br /&gt;
WHO are the enemies of Literature &amp;#039;i Time,&lt;br /&gt;
fire, indifference, ignorance, bigotry, and&lt;br /&gt;
such notorieties as the Caliph Omar, the&lt;br /&gt;
handmaid of John Stuart Mill and of Mr. War-&lt;br /&gt;
burton. The late Mr. Matthew Arnold woidd&lt;br /&gt;
have added Puritanism, Lord Grimthorpe would&lt;br /&gt;
add Popery, and Freethinkers, religion of all&lt;br /&gt;
kinds; while the talented and popular novelist&lt;br /&gt;
Ouida would unhesitatingly write the &amp;quot;Society of&lt;br /&gt;
Authors.&amp;quot; Then; are, of course, Optimists who&lt;br /&gt;
believe tbit the Literary millennium has begun at&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 120 (#524) ############################################&lt;br /&gt;
&lt;br /&gt;
120&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
last&mdash;that Puritan orgies in the Bodleian&mdash;mobs&lt;br /&gt;
destroying ducal libraries, Popes burning the&lt;br /&gt;
classics, and reforming Monarchs dispersing&lt;br /&gt;
monastic collections are things of the past.&lt;br /&gt;
Puritanism will, perhaps, exercise the principle of&lt;br /&gt;
selection when it next gets into the Bodleian.&lt;br /&gt;
The people, already prepared by Mr. William Morris,&lt;br /&gt;
when it attacks Althorpe, will only convert it into a&lt;br /&gt;
free lending library or a committee room for the&lt;br /&gt;
Fabian Society, while its quondam owner will supply,&lt;br /&gt;
free of charge, a catalogue. The Pope, instead of&lt;br /&gt;
sending a Jesuit mission to England &amp;quot; to consign to&lt;br /&gt;
the flames all works of heresy,&amp;quot; will giye his emis-&lt;br /&gt;
saries full power to purchase the minute books of&lt;br /&gt;
the Church Association and the works of General&lt;br /&gt;
Booth. He will then be elected an honorary&lt;br /&gt;
member of the S.P.C.K. for his services to our&lt;br /&gt;
national religious literature. Authors and pub-&lt;br /&gt;
lishers will never quarrel about prolits, the former&lt;br /&gt;
will write for nothing and the latter will publish&lt;br /&gt;
for love. Filthy lucre shall no longer stain these&lt;br /&gt;
ancient and honourable professions. It will be&lt;br /&gt;
a question not of half profits but half expenses;&lt;br /&gt;
while Ouida, if she is still spared to us, will supply&lt;br /&gt;
gratis, serial and short stories to all the magazines,&lt;br /&gt;
including the Author. Drowsy governments, who&lt;br /&gt;
arc already awakening to a literary sense, will levy&lt;br /&gt;
a tax on ink to support the profession of letters.&lt;br /&gt;
Those who are murmuring the words of Shelley&lt;br /&gt;
(if they have the time) will murmur still&mdash;■&lt;br /&gt;
&amp;quot;The world&amp;#039;s great age begins anew.&amp;quot;&lt;br /&gt;
Society, of course, must lead the way instead&lt;br /&gt;
of playing baccarat. It will try to answer papers&lt;br /&gt;
on Bowdler&amp;#039;s Shakspere, and on Marlowe, set by&lt;br /&gt;
extended University lecturers.&lt;br /&gt;
All this is, of course, only a hasty peep into the&lt;br /&gt;
future, the pleasant side of the picture, for I confess&lt;br /&gt;
to taking a more gloomy view. I also take the&lt;br /&gt;
vulgar view of literature. I think an author or&lt;br /&gt;
poet has as much right to put a price on his work&lt;br /&gt;
as a painter does on his picture, a lawyer on his&lt;br /&gt;
opinion, a doctor on his diagnosis. Literature is&lt;br /&gt;
a market where bad things and good things are&lt;br /&gt;
sold. There are pickpockets and pirates walking&lt;br /&gt;
round like any other market, and critics are&lt;br /&gt;
strolling in the bazaar. Some are grave, full of&lt;br /&gt;
good advice (a thing we all dislike), others arc gay&lt;br /&gt;
and flippant (we like them, however wrong they&lt;br /&gt;
may be). Then there are those conceited fops&lt;br /&gt;
who go about talking a jargon no man can under-&lt;br /&gt;
stand; they deal in catchwords, and their pens are&lt;br /&gt;
made of slate pencil. Their affected phraseology,&lt;br /&gt;
hybrid epithets, and ridiculous mannerism is mis-&lt;br /&gt;
taken for style, their vulgar personalities for&lt;br /&gt;
scholarly invective. They admire nothing and&lt;br /&gt;
none, and can abuse their friends with little&lt;br /&gt;
compunction, thanking God they arc not as other&lt;br /&gt;
men, Logrollers.&lt;br /&gt;
These are some of the enemies of literature;&lt;br /&gt;
the bastard offspring of Gifford and Christopher&lt;br /&gt;
North. Budding genius, especially when it lakes&lt;br /&gt;
to authorship, is not to be encouraged, and no&lt;br /&gt;
one should l&amp;gt;e scared into admiration of a writer,&lt;br /&gt;
because two or three centuries have praised him;&lt;br /&gt;
but personal abuse of the dead or living, interlarded&lt;br /&gt;
with literary shibboleths, is not criticism, and&lt;br /&gt;
merely degrades a public palate that even relishes&lt;br /&gt;
the aroma of Mr. Pater&amp;#039;s delightful essays. I&lt;br /&gt;
believe that this writer reminds us how short our&lt;br /&gt;
time for intellectual excitement is. Then why should&lt;br /&gt;
we waste this short time in finding out only what&lt;br /&gt;
is indifferent or bad? And the critics of whom I&lt;br /&gt;
speak should remember that it is as ea&laquo;y to be&lt;br /&gt;
funnv over Professor Buskin as over the Bible, and&lt;br /&gt;
that the humour is not of a very fine order in&lt;br /&gt;
consequence.&lt;br /&gt;
A certain section of English people go into a&lt;br /&gt;
far extreme by a kind of stupid conservatism in&lt;br /&gt;
taste. They believe that English literature began&lt;br /&gt;
with Spenser, and ended with Byron ; that Shakes-&lt;br /&gt;
peare never wrote a bad play; that Maeauluy was&lt;br /&gt;
the only English critic by virtue of his judicial&lt;br /&gt;
summing-up of the English language. They will&lt;br /&gt;
give nothing for an idea that was not stale when&lt;br /&gt;
Charles Land) wa.s in his cradle. They read&lt;br /&gt;
nothing more modern than &amp;quot;The Excursion,&amp;quot; and&lt;br /&gt;
try to end all discussions by saying that Pope was&lt;br /&gt;
a greater poet than Shelley. No less dangerous,&lt;br /&gt;
and more numerous, are those who hanker after&lt;br /&gt;
annotated Miltons, and read Shakespeare only&lt;br /&gt;
through the medium of a text-book. They are&lt;br /&gt;
anxious that everyone should go through a &amp;quot; course&lt;br /&gt;
of the Poets,&amp;quot; asking and answering questions on&lt;br /&gt;
Robert Browning, and reducing our writers to&lt;br /&gt;
schoolroom classics. Not content with making&lt;br /&gt;
boys hate Chaucer as much as Csesar, they want to&lt;br /&gt;
spoil Lord Tennyson for them too. Shakespeare&lt;br /&gt;
has been ruined long ago by the Clarendon Press&lt;br /&gt;
Series, and our modern poets, too, must be sacrificed&lt;br /&gt;
to the pedagogic fetish. Mr. Kipling will live to&lt;br /&gt;
see the day when Civil Service candidates may be&lt;br /&gt;
asked to analyse Mrs. Hunksbee&amp;#039;s character, and&lt;br /&gt;
an Extension lecture on the Ethics of Plain Tales as&lt;br /&gt;
applied to the Russian question in India. Tom&lt;br /&gt;
Moore burning the autobiography of Lord Byron&lt;br /&gt;
is a less melancholy event than a number of half-&lt;br /&gt;
educated graduates turning English literature into&lt;br /&gt;
a round game of conundrums.&lt;br /&gt;
In Constantinople, the dogs who scavenge the&lt;br /&gt;
streets become such a nuisance that occasional&lt;br /&gt;
holocausts of those well-intentioned animals are&lt;br /&gt;
necessary. In England the so-called Purity&lt;br /&gt;
societies, who institute proceedings against the&lt;br /&gt;
vendors of Zola are no less harmful. Like the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 121 (#525) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
121&lt;br /&gt;
niun with the muek rake, they draw attention to&lt;br /&gt;
an evil formerly unapparcnt, and literature ia&lt;br /&gt;
practically chained by a false morality, the relic&lt;br /&gt;
of that old Puritanism that purged the Bodleian in&lt;br /&gt;
the 17th Century. The enemy of literature is with&lt;br /&gt;
us always, be he Puritan or Prig.&lt;br /&gt;
&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
I.&lt;br /&gt;
&amp;quot;O Word of Feab.&amp;quot;&lt;br /&gt;
TN last month&amp;#039;s Author it is noted that a letter&lt;br /&gt;
I from the Secretary of the Society may cause an&lt;br /&gt;
unwilling editor or proprietor to discharge his&lt;br /&gt;
liabilities. In my ca.se even so slight a measure was&lt;br /&gt;
unnecessary, and the mere mention of the name of&lt;br /&gt;
the Society was sufficient. I had three short stories&lt;br /&gt;
accepted by a certain weekly journal, but when I&lt;br /&gt;
suggested remuneration, my letters remained un-&lt;br /&gt;
answered. Finally, I wrote saying that unless I&lt;br /&gt;
received a prompt and satisfactory reply I should&lt;br /&gt;
place the matter in the hands of the Society of&lt;br /&gt;
Authors. It was, clearly, a word to the wise.&lt;br /&gt;
Almost by return of post came a cheque which&mdash;&lt;br /&gt;
had the Society been non-existent&mdash;would have&lt;br /&gt;
been signed somewhere in the Greek Calends.&lt;br /&gt;
Ignotus.&lt;br /&gt;
II.&lt;br /&gt;
Foreign Reprints.&lt;br /&gt;
It may interest our fellow Meml&amp;gt;ers of the&lt;br /&gt;
Society of Authors to learn that the Excise is&lt;br /&gt;
awakening to their interests. On arriving on the&lt;br /&gt;
Cornish coast last week in a small schooner from&lt;br /&gt;
the coast of Spain, the excise officer specially&lt;br /&gt;
inquired after, and searched for, foreign reprints&lt;br /&gt;
of Copyright works. I have reached this country&lt;br /&gt;
by most possible routes, and never before had such&lt;br /&gt;
an examination made. Naturally, therefore, I&lt;br /&gt;
was much gratified, and in reply to inquiries&lt;br /&gt;
I learned that particular directions had been&lt;br /&gt;
recently issued to the officers with regard to such&lt;br /&gt;
works. This is the practical and tangible proof of&lt;br /&gt;
the attention being directed to Copyright since the&lt;br /&gt;
Society of Authors took the matter up with spirit.&lt;br /&gt;
W. Anderson Smith.&lt;br /&gt;
■&lt;br /&gt;
&amp;quot;AT THE AUTHOR&amp;#039;S HEAD.&lt;br /&gt;
MR. Lewis Morris writes to the Times&lt;br /&gt;
as follows :&mdash;&lt;br /&gt;
Tlie paragraph which you copy from the&lt;br /&gt;
Athcnmtm with reference to my ]&amp;gt;oem &amp;quot;A Vision&lt;br /&gt;
of Saints&amp;quot; is only partially correct. The idea of&lt;br /&gt;
doing for the Christian legends and records what&lt;br /&gt;
had been done so often for the mythology of&lt;br /&gt;
ancient Greece occurred to me very soon after the&lt;br /&gt;
publication of the &amp;quot;Epic of Hades,&amp;quot; when the&lt;br /&gt;
legend of St. Christopher appeared in Fraser&amp;#039;s&lt;br /&gt;
Magazine, about 10 years ago, and the other&lt;br /&gt;
stories composing the &amp;quot;Vision of Saints&amp;quot; were&lt;br /&gt;
written subsequently. Last summer, after the&lt;br /&gt;
book was finished, Cardinal Manning most kindly&lt;br /&gt;
suggested that I should write such a book, and I&lt;br /&gt;
was happy to be able to inform him that I had&lt;br /&gt;
already done so.&lt;br /&gt;
The death of Miss Jessie Fothergill is a distinct&lt;br /&gt;
loss to modern literature. Her best novel, &amp;quot;The&lt;br /&gt;
First Violin,&amp;quot; was very good indeed, without having&lt;br /&gt;
any pretensions to first-rate work. She belonged&lt;br /&gt;
to a small class, which seems to be growing, but&lt;br /&gt;
not very rapidly, of those whose work is natural,&lt;br /&gt;
wholesome, and pure, without being strong. It is&lt;br /&gt;
like a school of painters who have at least learned&lt;br /&gt;
to avoid convention, and who try to paint what they&lt;br /&gt;
see, and have acquired a creditable amount of&lt;br /&gt;
dexterity. The Victorian age has, for the first&lt;br /&gt;
time in literature, produced such a school of&lt;br /&gt;
novelists. No one perhaps would read their works&lt;br /&gt;
twice; there is nothing to carry away; there is no&lt;br /&gt;
character to live in the memory; there are no&lt;br /&gt;
wise or witty things to quote; one is never moved&lt;br /&gt;
to tears or laughter; yet their novels are readable,&lt;br /&gt;
interesting, and cleverly constructed. To such a&lt;br /&gt;
school belonged Miss Jessie Fothergill.&lt;br /&gt;
Miss Robina Hardy, a well-known writer of&lt;br /&gt;
stories connected with Scottish life, is dead.&lt;br /&gt;
Miss Mary E. Wilkins&amp;#039;s &amp;quot;New England Nun&amp;quot;&lt;br /&gt;
appears in a second English edition. It is pub-&lt;br /&gt;
lished by Osgood, Mcllvaine, &amp;amp; Co. Very few&lt;br /&gt;
writers have so rapidly stepped to the front as Miss&lt;br /&gt;
Mary Wilkins. Her stories have the great charm of&lt;br /&gt;
sincerity; they are true pictures; they are pathetic&lt;br /&gt;
in their fidelity; and they represent a set of people&lt;br /&gt;
who are not in the least like any we know. It&lt;br /&gt;
remains to lie seen whether she will keep up to&lt;br /&gt;
her present level, and whether she is capable of a&lt;br /&gt;
stronger flight.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 122 (#526) ############################################&lt;br /&gt;
&lt;br /&gt;
I 22&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
Messrs. Hutchinson are about to issue Vols. II.&lt;br /&gt;
and III. of &amp;quot;Poets and Poetry of the Century.&amp;quot;&lt;br /&gt;
Among the contributors of critical articles are&lt;br /&gt;
Mr. Austin Dobson, the Hon. Roden Noel, Mr.&lt;br /&gt;
Buxtou Forman, Dr. Garnett, and Mr. Mackenzie&lt;br /&gt;
Bell.&lt;br /&gt;
The Society has sent round for signature a&lt;br /&gt;
Petition to the First Lord of the Admiralty for a&lt;br /&gt;
pension for the widow and the children of James&lt;br /&gt;
Runciman, one of its Members. The Petition was&lt;br /&gt;
suggested by Mr. Ruuciman&amp;#039;s friend, Mr. W. E.&lt;br /&gt;
Henley, editor of the National Observer.&lt;br /&gt;
It is stated that Dr. Ullathorne, late Roman&lt;br /&gt;
Catholic Bishop of Birmingham, has left behind him&lt;br /&gt;
an autobiography. Dr. Ullathorne was chaplain to&lt;br /&gt;
the convict establishment of Sydney during the last&lt;br /&gt;
years of that horrible institution. This should make&lt;br /&gt;
his reminiscences more interesting than those of&lt;br /&gt;
most Catholic priests.&lt;br /&gt;
Everybody ought to read Mr. Howells&amp;#039; little 1kx&amp;gt;1c&lt;br /&gt;
called &amp;quot; Criticism and Fiction &amp;quot;; first, because it. is&lt;br /&gt;
a very clever book, and, secondly, because it illus-&lt;br /&gt;
trates the real weakness in American literature.&lt;br /&gt;
This is shown in the fact that a man of Mr. Howells&amp;#039;&lt;br /&gt;
ability cannot write about literature without con-&lt;br /&gt;
tinually measuring himself and comparing his&lt;br /&gt;
stature with that of our English masters, and&lt;br /&gt;
mis-stating the inches of the latter so as to&lt;br /&gt;
bring himself the nearer. Thackeray&amp;#039;s six feet, for&lt;br /&gt;
instance, must be brought down to five feet five to&lt;br /&gt;
get anywhere near the stature of Howells.&lt;br /&gt;
Mr. Stanley Little contributes an article entitled,&lt;br /&gt;
&amp;quot;The Future of Landscape Art,&amp;quot; to the August&lt;br /&gt;
number of the Nineteenth Century.&lt;br /&gt;
Mr. Arthur Dillon will publish a book of verse&lt;br /&gt;
shortly, which will contain his drama in blank&lt;br /&gt;
verse: &amp;quot;King Cophetua and the Beggar Maiden.&amp;quot;&lt;br /&gt;
Mr. Rennell Rodd has two volumes in the press,&lt;br /&gt;
&amp;quot;The Customs and Lore of Modern Greece,&amp;quot; and a&lt;br /&gt;
volume of poems ul&amp;gt;out Greece, entitled &amp;quot;The Violet&lt;br /&gt;
Crown.&amp;quot; Mr. David Stott is the publisher.&lt;br /&gt;
Mrs. A. Phillips, author of &amp;quot;Benedicta,&amp;quot; &amp;quot; Man&lt;br /&gt;
Proposes,&amp;quot; Ac, will produce early in October a&lt;br /&gt;
romance called &amp;quot;A Rude Awakening.&amp;quot; The&lt;br /&gt;
publishers are Trischler and Co. It is significant&lt;br /&gt;
of recent controversy that the motto chosen for&lt;br /&gt;
the title page is from the verses of Mr. T. L. Harris,&lt;br /&gt;
the poet and &amp;quot;prophet,&amp;quot; with whom Laurence&lt;br /&gt;
Oliphaut&amp;#039;s life was so closely connected.&lt;br /&gt;
All seeming goods that end in self are base:&lt;br /&gt;
Stay thou, O man : then meet God face to face.&lt;br /&gt;
Two men were discussing a book that had just&lt;br /&gt;
been handed to them by the newsboy. First Man:&lt;br /&gt;
&amp;quot;That&amp;#039;s a great l&amp;gt;ook, sir, a masterpiece of&lt;br /&gt;
work.&amp;quot; Second Man: &amp;quot; I wonder how it is&lt;br /&gt;
selling.&amp;quot; First man: &amp;quot;Selling? I never saw&lt;br /&gt;
anything like it. You see I am the publisher, and&lt;br /&gt;
ought to know.&amp;quot; Second Man: &amp;quot;Your informa-&lt;br /&gt;
tion delights me. I am the author.&amp;quot; First Man&lt;br /&gt;
(with fallen countenance): &amp;quot;Well, that is, it hasn&amp;#039;t&lt;br /&gt;
had much of a side yet, hut I think it will have.&lt;br /&gt;
A great deal of risk, you know, getting out this&lt;br /&gt;
sort of book.&amp;quot;&lt;br /&gt;
■+&bull;*&bull;■*&lt;br /&gt;
WOMEN BOOKSELLERS.&lt;br /&gt;
IN New York City there are at least two women&lt;br /&gt;
who deal in second-hand books. They are itin-&lt;br /&gt;
&bull; erants&mdash;peddlers, if you like&mdash;but dealers in&lt;br /&gt;
second-hand books, nevertheless, shrewd and enter-&lt;br /&gt;
prising, with a scent for rarities and bargains as&lt;br /&gt;
keen as that of a Stevens, Philes, Sabin, or any&lt;br /&gt;
modern book-hunter regularly established in&lt;br /&gt;
business.&lt;br /&gt;
They are characters, too, each in her own way.&lt;br /&gt;
The older one&mdash;and the senior in the business, if&lt;br /&gt;
we are not mistaken&mdash;is a typical bookworm, tall,&lt;br /&gt;
spare of build, with a piercing, nervous eye. The&lt;br /&gt;
other is short, stout, and phlegmatic in everything&lt;br /&gt;
excepting the striking of a bargain. Both have&lt;br /&gt;
their headquarters in some second-hand bookstore;&lt;br /&gt;
that is, a place where letters may be addressed to&lt;br /&gt;
them, and where, they leave an occasional parcel;&lt;br /&gt;
but their business is done &amp;quot;out of hand,&amp;quot; if we may-&lt;br /&gt;
use the expression in this connexion. Making&lt;br /&gt;
specialties of certain lines, they keep track of what&lt;br /&gt;
their customers want, and supply them as they pick&lt;br /&gt;
14) bargains and desired volumes. This necessi-&lt;br /&gt;
tates their being on the wing nearly all the time,&lt;br /&gt;
so that they would have very little use for a shop&lt;br /&gt;
of their own. Both realize, a handsome income.&lt;br /&gt;
Then there is another woman who figures as the&lt;br /&gt;
&amp;quot;company&amp;quot; of an anything but insignificant&lt;br /&gt;
second-hand book business in New York, but who&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 123 (#527) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
123&lt;br /&gt;
is really the mainspring of the establishment, if&lt;br /&gt;
buying ami selling the stock, and looking after the&lt;br /&gt;
finances single-handed, may be considered doing&lt;br /&gt;
the business. She has an unerring eye for a mre&lt;br /&gt;
book, and most decidedly &amp;quot; knows beans when the&lt;br /&gt;
bag is opened.&amp;quot; There is still another woman in&lt;br /&gt;
New York City who is making an experiment in&lt;br /&gt;
dealing in old art works. Thus far her efforts&lt;br /&gt;
have met with encouragement if not success; but&lt;br /&gt;
as she is only a beginner we will not yet count her&lt;br /&gt;
as belonging to the ranks.&lt;br /&gt;
In addition to the above, we are safe in saying&lt;br /&gt;
that there are over a dozen women in the United&lt;br /&gt;
States who, while not dealers exclusively in second-&lt;br /&gt;
hand books, deal more or less in them in connexion&lt;br /&gt;
with the book and stationery stores, of which they&lt;br /&gt;
are the sole proprietors.&lt;br /&gt;
We do not feel justified in giving the names of&lt;br /&gt;
the women alluded to, because we have misgivings&lt;br /&gt;
as to how they might take to notoriety thrust upon&lt;br /&gt;
tlieui in this manner. All of them, while eschew-&lt;br /&gt;
ing consideration for themselves on account of their&lt;br /&gt;
sex, are extremely modest, but women nevertheless.&lt;br /&gt;
And women&mdash;well, they sometimes will be women,&lt;br /&gt;
and no one can foresee where it will break out.&lt;br /&gt;
American Paper.&lt;br /&gt;
&bull;&lt;br /&gt;
SOME OP THE INDIGNITIES OF&lt;br /&gt;
LITERATURE.&lt;br /&gt;
IT is observable that in all these points we are&lt;br /&gt;
becoming a little more candid, and in this&lt;br /&gt;
respect our country is beginning to take the&lt;br /&gt;
lead. Our leading journals, for instance, are learn-&lt;br /&gt;
ing to criticise frankly the works of their own contri-&lt;br /&gt;
butors, a thing formerly unknown in America, as&lt;br /&gt;
it still seems to be in Europe. This helps greatly&lt;br /&gt;
to keep up the dignity of the literary profession,&lt;br /&gt;
though not always the felicity of the individual&lt;br /&gt;
author. The greatest indignity which he and his&lt;br /&gt;
vocation have now to suffer, lies in the constant&lt;br /&gt;
assumption, even by otherwise well-informed&lt;br /&gt;
people, that it is a profession of tricks and adver-&lt;br /&gt;
tising devices, and that the main object of the&lt;br /&gt;
author is not to do good work, but to keep himself&lt;br /&gt;
as much as possible l&amp;gt;efore the public. The&lt;br /&gt;
author receives, not merely an annoyance, but a&lt;br /&gt;
distinct indignity when it is assumed by enter-&lt;br /&gt;
prising publishers that he is willing to pay money&lt;br /&gt;
to have his picture appear in their forthcoming&lt;br /&gt;
work; to buy a l&amp;gt;ook he does not want, liecause&lt;br /&gt;
his name occurs in it; to supply a new biography&lt;br /&gt;
of himself for each new cyclopaxlia, as if the old&lt;br /&gt;
facts were not sufficient, and the public wished&lt;br /&gt;
him this time to select a new birthday and birth-&lt;br /&gt;
place for this publication only; to furnish particulars&lt;br /&gt;
as to his height, weight, and the colour of his&lt;br /&gt;
hair, with the same particulars as to his wife,&lt;br /&gt;
children, and grandparents. These discourtesies&lt;br /&gt;
would not be so bad, were they not based obviously&lt;br /&gt;
on the assumption that all these requests are a&lt;br /&gt;
favour to the author himself, and the carrying&lt;br /&gt;
out of his most cherished desire. It is hard&lt;br /&gt;
enough to keep one&amp;#039;s privacy, amid the publicity of&lt;br /&gt;
our modern life; but it is still harder to have&lt;br /&gt;
all preference for privacy dismissed as a base&lt;br /&gt;
hyprocrisy. It may happen at last that as some one&lt;br /&gt;
felicitously defined &amp;quot;society people&amp;quot; as including&lt;br /&gt;
only those whose names one never sees in the&lt;br /&gt;
&amp;quot;society columns,&amp;quot; so we may at some future day.&lt;br /&gt;
limit the department of celebrated authors to those&lt;br /&gt;
of whose personality we know almost as little as if&lt;br /&gt;
they had written the Letters of Junius.&lt;br /&gt;
New York Independent.&lt;br /&gt;
&lt;br /&gt;
PARISIANS AND THEIR FICTION.&lt;br /&gt;
PARISIANS&mdash;if we are to judge from some&lt;br /&gt;
statistics published&mdash;do not take so kindly at&lt;br /&gt;
present to fiction in book form. Formerly the&lt;br /&gt;
yellow-covered novel, which costs usually about half-&lt;br /&gt;
a-erown, or a little more when just issued, was to l&amp;gt;e&lt;br /&gt;
seen on every table, and in the hands of numerous&lt;br /&gt;
travellers by boat, rail, or car. There is now, how-&lt;br /&gt;
ever, a crisis threatened in the lx&amp;gt;ok trade, and novels&lt;br /&gt;
are at a considerable discount. It is estimated that&lt;br /&gt;
there are from fifteen to twenty popular authors,&lt;br /&gt;
whose books fulfil the requirements of the pub-&lt;br /&gt;
lishers. To attain this end, at least 3o,ooo copies&lt;br /&gt;
of a work must be sold. Zola and a few others&lt;br /&gt;
reach this point easily, but it has happened lately&lt;br /&gt;
that one of the most celebrated of the latter-day&lt;br /&gt;
fictionists had the misfortune to find that 40,000&lt;br /&gt;
copies of his last production were returned to the&lt;br /&gt;
publishers by the Maison Hachette, which has&lt;br /&gt;
the monopoly of railway bookstalls. It is stated,&lt;br /&gt;
furthermore, that one publisher in Paris has on&lt;br /&gt;
hand three millions of volumes which he cannot&lt;br /&gt;
sell. The fact is, that the authors themselves are&lt;br /&gt;
to blame partly for this threatened crisis in the&lt;br /&gt;
book trade by allowing their works to appear in&lt;br /&gt;
serial form in newspapers and reviews before linal&lt;br /&gt;
publication. People read feuilletons as eagerly as&lt;br /&gt;
ever in France, and, what is more they cut them&lt;br /&gt;
out and sew them together, so as to avoid having to&lt;br /&gt;
buy the stories eventually in book form.&lt;br /&gt;
Pall Mall Gazette.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 124 (#528) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
NIGHT-TEMPEST.&lt;br /&gt;
Wild night of mists and driving flakes of foam!&lt;br /&gt;
The south-west Tyrant of the Deep unbound&lt;br /&gt;
Rendcth thy breast; with grim discordant sound&lt;br /&gt;
Piles up the mountainous waters, till thy home&lt;br /&gt;
(Sands, rocks, and caverns where I love to roam)&lt;br /&gt;
Seems held by demon voices, which resound&lt;br /&gt;
From crag to crag, from cliff to cliff, and bound&lt;br /&gt;
Afar once more across the waste of foam.&lt;br /&gt;
Storm-ruled and cruel is thy voice, O Night;&lt;br /&gt;
The breakers boom on yonder sea-girt rock&lt;br /&gt;
And dark thy mantle hides the sight of Death:&lt;br /&gt;
From thy black depths, O Night, the tempest&amp;#039;s&lt;br /&gt;
breath&lt;br /&gt;
Bears wail of souls and one long quivering shock:&lt;br /&gt;
And onlv thou hast seen, O cruel Night!&lt;br /&gt;
* JO&lt;br /&gt;
Thomas Folliott.&lt;br /&gt;
NEW BOOKS AND NEW EDITIONS.&lt;br /&gt;
Theology.&lt;br /&gt;
Brook, A. The Creed of the Christian Church.&lt;br /&gt;
Mowbray. 2S.&lt;br /&gt;
Canning, A. S. G. Thoughts on Religious History.&lt;br /&gt;
Eden, Remington, &amp;amp; Co. 5s.&lt;br /&gt;
Dix, M. The Authority of the Church. W. Gardner.&lt;br /&gt;
2.V. 6(/.&lt;br /&gt;
Hamilton, Kkv. W. F. Words of Peace, Sermons,&lt;br /&gt;
edited by Kcv. J. A. Alloway, 8vo. \V. H. Allen&lt;br /&gt;
&amp;amp; Co. 7&raquo;. 6d.&lt;br /&gt;
Nye, G. H. F. The Story of the Church of England.&lt;br /&gt;
Illustrated. Fifth Edition. Griffith, Farran. Cloth,&lt;br /&gt;
is.&lt;br /&gt;
Owen, J. W. Common Salvation of Our Lord. I&amp;#039;etherick.&lt;br /&gt;
5s.&lt;br /&gt;
Singer, Rev. S. The Authorized Daily Prayer Hook of&lt;br /&gt;
the United Hebrew Congregations of the British&lt;br /&gt;
Empire. With a new Translation by the. Published&lt;br /&gt;
under the Sanction of the Chief Kubhi. Second&lt;br /&gt;
Edition, carefully revised. Wertheimer Lea, Circus&lt;br /&gt;
dace, London Wall.&lt;br /&gt;
Soden, J. J. Six Sermons on the Apostles&amp;#039; Creed.&lt;br /&gt;
Skeffington. is. 6rf.&lt;br /&gt;
History and Biography.&lt;br /&gt;
Baigent, F. J. The Crondal Records : a Collection of&lt;br /&gt;
Records and Documents relating to the Hundred and&lt;br /&gt;
Manor of Crondal, in the county of Southampton.&lt;br /&gt;
Part [., Historical and Manorial. Simpkin, Stationers&amp;#039;&lt;br /&gt;
Hall Court.&lt;br /&gt;
Brett (Robert) of Stoke Newington, his Life and&lt;br /&gt;
Work. By T. W. Belcher. Cheaper Edition, Cr. 8vo.&lt;br /&gt;
3.&laquo;. 6//., cloth.&lt;br /&gt;
Home, David Milne. Biographical Sketch, by his&lt;br /&gt;
Daughter, G. M. H. Cr. 8vo. 3s. 6d., cloth.&lt;br /&gt;
Johnson, Samuel. Lives of the English Poets (Waller,&lt;br /&gt;
Milton, and Cowley). Caswell&amp;#039;s National Librarv.&lt;br /&gt;
Cloth, 6d.&lt;br /&gt;
Leadman, A. D. H. Prcclia Ehoracensia: Battles fought&lt;br /&gt;
in Yorkshire treated historically and topographically.&lt;br /&gt;
Bradbury and Agnew.&lt;br /&gt;
MunCkbb, Franz. Richard Wagner: a Sketch of his&lt;br /&gt;
Life and Works. Translated from the German by&lt;br /&gt;
D. Landman, revised by the Author. Illustrations by&lt;br /&gt;
Heinrich Nisle. Williams and Norgate. 14, Henrietta&lt;br /&gt;
Street, Covent Garden. 2.1.&lt;br /&gt;
Newman, Cardinal. Historical Sketches. New Edition.&lt;br /&gt;
3 vols. Longmans. 3s. 6d. a vol.&lt;br /&gt;
Ooilvie, William. Birthright in Land. With Biographical&lt;br /&gt;
Notes by D. C. Macdonald. Kegan Paul.&lt;br /&gt;
Saint Amand, J. D. Marie Louise and the Invasion&lt;br /&gt;
of 1814. Translated by Thomas Serjeant Perry.&lt;br /&gt;
Hutchinson and Co., 2S, Paternoster Square. 5s.&lt;br /&gt;
Seaforth A. Nelson. The last Great Naval War: An&lt;br /&gt;
Historical Retrospect. Cassell. 2*.&lt;br /&gt;
Wagner, R. A Sketch of his Life and Works. By F.&lt;br /&gt;
Muncker. Translated by 1). Landman. Williams&lt;br /&gt;
and Norgate. 2s.&lt;br /&gt;
Educational.&lt;br /&gt;
Baumann, Otto. French Sentences and Syntax. Fourth&lt;br /&gt;
Edition. Crosby Lockwood.&lt;br /&gt;
Bert, Paul. First Year of Scientific Knowledge. Trans-&lt;br /&gt;
lated by .Tosephina Clayton (Mine. Paul Bert). Tenth&lt;br /&gt;
Edition. Relfe, Charterhouse Buildings.&lt;br /&gt;
C&amp;#039;attanes, G. Italian Header. Nutt. 3s.&lt;br /&gt;
Chamiiers, G. F. Pictorial Astronomy for General&lt;br /&gt;
Readers. Whittakcr. 4s.&lt;br /&gt;
Ciiisholm, G. G., and Liebmann, Prof. Longmans&amp;#039;&lt;br /&gt;
School Geography for South Africa. Longmans.&lt;br /&gt;
3s. 6d.&lt;br /&gt;
Flugel, Dr. Felix. A Universal English-German and&lt;br /&gt;
German-English Dictionary. Vol. I. Part 9. Asher,&lt;br /&gt;
Bedford Street, W.C. Paper covers, 3s.&lt;br /&gt;
Hartley, C. S. Natural Elocution. Pitman, Paternoster&lt;br /&gt;
Row. Paper covers, 6d.&lt;br /&gt;
Hewitt, W. Elementary Science Lessons. Standard III.&lt;br /&gt;
Longmans, is. bd.&lt;br /&gt;
Mill, John Stuart. A System of Logic and Principles&lt;br /&gt;
of Political Economy. People&amp;#039;s Edition. Longmans.&lt;br /&gt;
3s. 6&amp;lt;i. each.&lt;br /&gt;
Report of a Visit to several Continental and&lt;br /&gt;
English Technical Schools. By a Deputation&lt;br /&gt;
from the Manchester Technical School in June and&lt;br /&gt;
July, 1891, with Plans. Hey wood, Paternoster&lt;br /&gt;
Buildings. Paper covers, is.&lt;br /&gt;
Sidowick, Henry. The Elements of Politics. Mac-&lt;br /&gt;
millan. 14s.&lt;br /&gt;
M Waterdale.&amp;quot; Fresh Light on the Dynamic Action and&lt;br /&gt;
Ponderosity of Matter. Chapman and Hall.&lt;br /&gt;
&lt;br /&gt;
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## p. 125 (#529) ############################################&lt;br /&gt;
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THE AUTHOR.&lt;br /&gt;
General Literature.&lt;br /&gt;
Adams, P. Strong as Death, liemingtou. is.&lt;br /&gt;
Ainsworth, W. H. Windsor Castle. Pocket vols.&lt;br /&gt;
Koutledge. is. 6d.&lt;br /&gt;
Andukws, William. Old Church Lore. Simpkin. 6s.&lt;br /&gt;
Berlyn, Mrs. Alfred (Vera). Vera in Poppy-Land.&lt;br /&gt;
Illustrated by W. W. liussell. Jarrold, Paternoster&lt;br /&gt;
Buildings, is. 6d.&lt;br /&gt;
Bigelow, J. Principles of Strategy, &amp;amp;c. Folio. Unwin.&lt;br /&gt;
in.&lt;br /&gt;
Boldrewood, R. A Sydney Side Saxon. Crown 8vo.&lt;br /&gt;
Macmillau. 3s. 6d.&lt;br /&gt;
Booth, B. Prom Ocean to Ocean, &amp;amp;c. 8vo. Salvation&lt;br /&gt;
Army. 3s. 6d.&lt;br /&gt;
Broughton, K. Alas: a Novel. Bentley. 6s.&lt;br /&gt;
Campbell, Sir Gilbert. A Fair Freelance: a Story.&lt;br /&gt;
Koutledge.&lt;br /&gt;
Campbell, J. G. Waifs and Strays of Celtic Tradition.&lt;br /&gt;
Nutt. ios. 6d.&lt;br /&gt;
Carr, Mr. Comyns. Buried in the Breakers, or Paul&lt;br /&gt;
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is.&lt;br /&gt;
The Confessions of Vivian Carhuthers: A Tale of&lt;br /&gt;
Hypnotism. Sutton Drowley, Ludgate Hill. Paper&lt;br /&gt;
covers, is.&lt;br /&gt;
Cook, W. The Horse: its Keep, &amp;amp;c. Crown 8vo.&lt;br /&gt;
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Cunningham, W., D.I). The Path towards Knowledge:&lt;br /&gt;
Discourses on some Difficulties of the Day. Methuen&lt;br /&gt;
and Co., 18, Bury Street, W.C.&lt;br /&gt;
Dickens, C. Bleak House. Pictorial Edition. Chapman&lt;br /&gt;
and Hall. 3s. 6rf.&lt;br /&gt;
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3s. 6d.&lt;br /&gt;
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is. 61/.&lt;br /&gt;
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Green, E. E. A Holiday in a Manor House. Biggs&lt;br /&gt;
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Hudson, W. C. The Man with a Thumb. Cassell and Co.&lt;br /&gt;
is.&lt;br /&gt;
Hunuerford, Mus. April&amp;#039;s Lady. F. V. White, is. 6d.&lt;br /&gt;
Jackson, H. K. Stories of Sentiment. E. Stock, is. 6d.&lt;br /&gt;
James, M. H. Bogie Tales of East Anglia. Pawsey and&lt;br /&gt;
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Kipling, B. Life&amp;#039;s Handicap. Macmillan. 6s.&lt;br /&gt;
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Lynch, A. Modern Authors: a Review and a Forecast.&lt;br /&gt;
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Macleod, Norman, D.I)., Works by. The Old Lieutenant&lt;br /&gt;
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Meredith, L. A. Last Series of Bush Friends in Tas-&lt;br /&gt;
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Meredyth, Francis, M.A., &amp;amp;c. &amp;quot;In Base Durance &amp;quot;:&lt;br /&gt;
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Molesworth, Mus. The Red Grange. Methuen. ios. 6d.&lt;br /&gt;
Moore, A. W. Folk-lore of the Isle of Man. Nutt.&lt;br /&gt;
is. bd.&lt;br /&gt;
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ios. 6d.&lt;br /&gt;
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Pollock, W. H., and Ross, A. G. Between the Lines:&lt;br /&gt;
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&lt;br /&gt;
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THE AUTHOR.&lt;br /&gt;
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of the Bankruptcy Act, 1883, 6i/. Return as to&lt;br /&gt;
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Commission during June last, id. The Newfoundland&lt;br /&gt;
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Kingdom during 1890, 3d. Further Papers on the sub-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 127 (#531) ############################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
127&lt;br /&gt;
jcct of Sunday Labour in the Colonies, 2d. Report on the&lt;br /&gt;
Locust Campaign of 1890 in Cyprus, z\d. Correspond-&lt;br /&gt;
ence on the case of the ex-Sultan Abdullah of Perak, yd.&lt;br /&gt;
The Kew Gardens Bulletin of Miscellaneous Information&lt;br /&gt;
for August, 2d. Declaration between the British and&lt;br /&gt;
French Governments as to the disposal of the proceeds&lt;br /&gt;
of wrecks on their respective coasts, jd. Public&lt;br /&gt;
Records in Ireland: The Twenty-third Report of the&lt;br /&gt;
Deputy Keeper. Alexander, Thorn, and Co., Dublin,&lt;br /&gt;
I*, id. Public Records: The Fifty-second Annual&lt;br /&gt;
Report of the Deputy Keeper, is. l^d. Queen&amp;#039;s&lt;br /&gt;
College, Belfast: The Report of the President for the&lt;br /&gt;
Session 1890-91. Alexander, Thorn, and Co., Dublin,&lt;br /&gt;
id. Papers relating to the New Russian Tariff, 2d.&lt;br /&gt;
16th Annual Report of the Public Works Loan Board,&lt;br /&gt;
1890-91, 1 id. 59th Report from the Commissioners&lt;br /&gt;
of Public Works in Ireland, 1890-91, is. 6d. Standing&lt;br /&gt;
Orders of the House of Lords relative to Private Rills&lt;br /&gt;
and Bills for confirming Provisional Orders or Certi-&lt;br /&gt;
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schedule of fees, io\d. Bankruptcy Estates Account,&lt;br /&gt;
\d. Return as to Trustees Savings&amp;#039; Banks Invest-&lt;br /&gt;
ments, l\d. 46th Annual Report of the Commis-&lt;br /&gt;
sioners of Charitable Donations and Bequests in&lt;br /&gt;
Ireland, 2d. Return as to arrivals of Alien Immi-&lt;br /&gt;
grants during July, Id. Correspondence relating to&lt;br /&gt;
Great Britain and Portugal in East Africa, 1.1. 3d.&lt;br /&gt;
Return as to Railway Servants&amp;#039; Hours of Labour, iorf.&lt;br /&gt;
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Rates and Charges Provisional Order Bills, with the&lt;br /&gt;
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mittee, Minutes of Evidence, Appendix, and Index, 4s.&lt;br /&gt;
Foreign Office, Annual Series: Reports for 1890 on&lt;br /&gt;
the Trade of Nagasaki (Japan), id.; and on the&lt;br /&gt;
trade of Bulgaria, 3d. Report and Special Report&lt;br /&gt;
from the Select Committee on Statute Law Revision&lt;br /&gt;
Bill (H.L.), id. Annual Accounts of the Chamberlain&lt;br /&gt;
of the City of London, id. Life Assurance Com-&lt;br /&gt;
panies, 3s. id. Irish Land Commission: Return&lt;br /&gt;
according to provinces and counties of Judicial Rents,&lt;br /&gt;
yd. First and Second Reports of the Committee&lt;br /&gt;
appointed by the Lord Lieutenant of Ireland on&lt;br /&gt;
Lunacy Administration (Ireland), gd. Annual Report&lt;br /&gt;
of the IiOcal Government Hoard for Ireland, 23. 2d.&lt;br /&gt;
13th Report of the General Prisons Board, Ireland,&lt;br /&gt;
1890-91, 8rf. 29th Report of the Inspector of Re-&lt;br /&gt;
formatory and Industrial Schools of Ireland, 4j&amp;lt;/.&lt;br /&gt;
Return as to Naval Courts-Martial and Summary&lt;br /&gt;
Punishments on Seamen during 1890, 2d. Returns&lt;br /&gt;
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Committee, and Minutes of Evidence, 4|rf. General&lt;br /&gt;
Reports for 1890 on Education in the Southern (i jrf.)&lt;br /&gt;
and Western (irf.) Divisions of Scotland. Report of&lt;br /&gt;
the Inspectors of Irish Fisheries on the Sea and Inland&lt;br /&gt;
Fisheries of Ireland for 1890, it. yd. Return as to&lt;br /&gt;
Soldiers and Sailors in Civil Employment, \d. Foreign&lt;br /&gt;
Office, Annual Series: Reports on the trade of&lt;br /&gt;
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British Immigrants, %\d. Eyre and Spottiswoode.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. 128 (#532) ############################################&lt;br /&gt;
&lt;br /&gt;
128&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
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publishers, Messrs. Eyre and Spottiswoode, East&lt;br /&gt;
Harding Street, Fetter Lane.&lt;br /&gt;
A copy will be sent free to any Member of the&lt;br /&gt;
Society for one twelvemonth, dating from May&lt;br /&gt;
1889. It is hoped, however, that most Members&lt;br /&gt;
will subscribe to the paper. The yearly subscrip-&lt;br /&gt;
tion is 6s. 6d., including postage, which may lie sent&lt;br /&gt;
to the Secretary, 4, Portugal Street, W.C.&lt;br /&gt;
With regard to the reading of MSS. for young&lt;br /&gt;
writers, the fee for this service is One Guinea.&lt;br /&gt;
MSS. will be read and reported upon for others&lt;br /&gt;
t han Members, but Members cannot have their works&lt;br /&gt;
read for nothing.&lt;br /&gt;
In all eases where an opinion is desired upon a&lt;br /&gt;
manuscript, the author should send with it a table&lt;br /&gt;
of contents. A type-written scenario is also of&lt;br /&gt;
very great assistance.&lt;br /&gt;
It must lie understood that such a reader&amp;#039;s report,&lt;br /&gt;
however favourable, does not necessarily assist the&lt;br /&gt;
author towards publication.&lt;br /&gt;
Headers of the Author are earnestly desired to&lt;br /&gt;
make the following warnings as widely known as&lt;br /&gt;
possible. They are based on the experience of six&lt;br /&gt;
years&amp;#039; work upon the dangers to which literary&lt;br /&gt;
property is exposed :&mdash;&lt;br /&gt;
(1.) Never sign any agreement of which the&lt;br /&gt;
alleged cost of production forms an&lt;br /&gt;
integral part, unless an opportunity of&lt;br /&gt;
proving the correctness of the figures is&lt;br /&gt;
given them.&lt;br /&gt;
(2.) Never enter into any correspondence with&lt;br /&gt;
publishers, especially with advertising&lt;br /&gt;
publishers, who are not recommended In-&lt;br /&gt;
experienced friends or by this Society.&lt;br /&gt;
(3.) Never, on any account whatever, bind&lt;br /&gt;
yourself down for future work to any&lt;br /&gt;
one firm of publishers.&lt;br /&gt;
(4.) Never accept any proposal of royalty&lt;br /&gt;
without consultation with the Society, or,&lt;br /&gt;
at least, ascertaining exactly what the&lt;br /&gt;
agreement gives to the author and what&lt;br /&gt;
to the publisher.&lt;br /&gt;
(5.) Never accept any offer of money for MSS.,&lt;br /&gt;
without previously taking advice of the&lt;br /&gt;
Society.&lt;br /&gt;
(6.) Never accept any pecuniary risk or respon-&lt;br /&gt;
sibility whatever without advice.&lt;br /&gt;
(7.) Never, when a MS. has been refused by&lt;br /&gt;
respectable houses, pay others, whatever&lt;br /&gt;
promises they may put forward, for the&lt;br /&gt;
production of the work.&lt;br /&gt;
(8.) Never sign away American or foreign&lt;br /&gt;
rights. Keep them. Refuse to sign an&lt;br /&gt;
agreement containing a clause which&lt;br /&gt;
reserves them for the publisher. If the&lt;br /&gt;
publisher insists, take away the MS. and&lt;br /&gt;
offer it to another.&lt;br /&gt;
(9.) Never forget that publishing is a business,&lt;br /&gt;
like any other business, totally unconnected&lt;br /&gt;
with philanthropy, charity, or pure love&lt;br /&gt;
of literature. You have to do with&lt;br /&gt;
business men.&lt;br /&gt;
Society&amp;#039;s Offices:&mdash;&lt;br /&gt;
4, Portugal Street, Lincoln&amp;#039;s Inn Fields.&lt;br /&gt;
London: Printed hy Kyuk and SrorriswoODK, Printers to the Queen&amp;#039;s most Excellent Majesty.</td><td>https://historysoa.com/files/original/5/255/1891-09-01-The-Author-2-4.pdf</td><td>publications, The Author</td></tr></table>