| 439 | https://historysoa.com/items/show/439 | The Author, Vol. 03 Issue 01 (June 1892) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+03+Issue+01+%28June+1892%29"><em>The Author</em>, Vol. 03 Issue 01 (June 1892)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1892-06-01-The-Author-3-1 | | | | | 1–40 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1892-06-01">1892-06-01</a> | | | | | | | 1 | | | 18920601 | he Muthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
Vou. ITI.—No. 1.] JUNE 1, 1892. [PRIcE SIXPENCE.<br />
<br />
<br />
<br />
ee AT TS<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
CONTENTS.<br />
<br />
SPST<br />
<br />
<br />
<br />
PAGE PAGE<br />
Warnings ae ce as ae mae Boe be ae Sd Se Mixed Maxims... a as sey Sis aD hes on ces<br />
How to Use the Society : eae es ae Boe ee ie Ode to Sleep ... te cee ee et a ao wi Sra LD!<br />
The Authors’ Syndicate... a ae ies ae ce ageless Notes from Paris... “a oo act sar An sas Negrcke<br />
| Notices... eee oe cs ae oes ee ae 2 we To Music eee ce ac on aoe eae wae es ag ek<br />
| International Copyright— The Jew in Literature. By Hall Caine... aes He baz eee ae<br />
i I—Working of the Law in France axe ey ees ae es On Literature—<br />
Tl.—American Piracy... a ave a aN Sy ee I.—At the Royal Literary Fund ... a aes os nec oe<br />
Ill.—Literary Theft ... ae ase aus aes as at oe Il.—At the Royal Academy Dinner See See ahs ees eore<br />
| On Royalties ... ee Ss es any ey ee Ree ee F From the Papers—<br />
| On Deferred Royalties eo as a ere ae she 8 I.—Fiction Manufactured by the Yard ... ies Se was oe Fi :<br />
Two Cases of Conveying ... a a aus as a eae IL—A Curious Experiment ... ae mee aes ae eee, 028 5<br />
A Literary Bureau ... ies es sae — wai oe cia IiI.—Personal ... ve ea nee bed my oe we 22k i<br />
erertperatieinmn cece a D¥:—Bhomas Moore ..0 ic oa ca a ee ,<br />
‘‘Uneut Leaves” .... os <i = ae se pS od Correspondence— 4<br />
Useful Books ... a Dis ie oe uae <n cay an I.—Was there a Contract to Publish? ... a ai men ae<br />
Notes and News aa coe ae ae isd nec a cone be II.—Magazines and Editors... oon , res met aan ae i<br />
Fenilleton—His One Story ae oe bux zoe ire dase III.—Translations aes ne ps a ote waa 2 a<br />
| The Literary Handmaid of the Church ... ae = aA sae kG IV.—The Literary and Art Agency... eos aS Se wae? |<br />
| In the Name of the Prophet—Gloves_ ... oe ae a aw ele ‘*At the Author’s Head” .,, ae oe me ote srs en 220.<br />
| Shakespeare or Bacon eee oe os oS os a -. 17 | New Books and New Editions... oe eta oe ae san OL<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
PUBLICATIONS OF THE SOCIETY. |<br />
<br />
. The Annual Report. That for January 1892 can be had on application to the Secretary.<br />
<br />
. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary * f<br />
Property. Issued to all Members.<br />
<br />
. The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on<br />
the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887,<br />
<br />
1<br />
2<br />
3<br />
4, Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher,<br />
9<br />
6<br />
<br />
95, Strand, W.C.) 3s.<br />
<br />
. The 2 of the Societe des Gens de Lettres. By S. Squire Sprrace, Secretary to the<br />
ociety. Is.<br />
. The Cost of Production. In this work specimens are given of the most important forms of type,<br />
size of page, &c., with estimates showing what it costs to produce the more common kinds of<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d. a#<br />
<br />
7. The Various Methods of Publication. By S. Squire Spriaar. In this work, compiled from the<br />
papers in the Society’s offices, the various kinds of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 3s.<br />
<br />
8. Copyright Law. Reform, An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lexy. Eyre<br />
and Spottiswoode, 1s. 6d.<br />
<br />
<br />
<br />
<br />
2<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
The Society of Authors (Sncorporated).<br />
<br />
Tur Riant Hon. tHe LORD TENNYSON, D.C.L.<br />
<br />
Sir Epwin ARNOLD, K.C.LE., C.S.I.<br />
ALFRED AUSTIN.<br />
<br />
J. M. BaRRie£.<br />
<br />
A. W. A BECKETT.<br />
<br />
RosBert BATEMAN.<br />
<br />
Sir Henry Berene, K.C.M.G.<br />
WALTER BESANT.<br />
<br />
AUGUSTINE BIRRELL, M.P.<br />
<br />
R. D. BuackMoreE.<br />
<br />
Rev: Pror. Bonney, F.R.S.<br />
Lord BRABOURNE.<br />
<br />
James Bryce, M.P.<br />
<br />
Haxu Carine.<br />
<br />
P. W. CLAYDEN.<br />
<br />
EpWwaRrpD CLODD.<br />
<br />
W. Morris Couuezs.<br />
<br />
Hon. JoHN COLLIER.<br />
<br />
W. Martin Conway.<br />
<br />
F, Marion CRAWFORD.<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
COUNCIL.<br />
<br />
OswALD CRAWFURD, C.M.G.<br />
THE Hart or DEsaRt.<br />
<br />
AusTIN DOBSON.<br />
<br />
A. W. Dupovura.<br />
<br />
J. Eric Ericusen, F.R.S8.<br />
<br />
Pror. MicHarn Foster, F.R.S8.<br />
HERBERT GARDNER, M.P.<br />
RicHARD GARNETT, LL.D.<br />
EDMUND GOSSE.<br />
<br />
H. Riper Haga@arp.<br />
<br />
THomas Harpy.<br />
<br />
JEROME K. JEROME.<br />
<br />
RupDYARD KIPLING.<br />
<br />
Pror. EH. Ray LAnKEsSTER, F.R.S.<br />
J. M. Lexy. a<br />
Rev. W. J. Lorrie, F.S.A.<br />
<br />
Pror. J. M. D. MerkLEJOoHN.<br />
GrorGE MEREDITH.<br />
<br />
Herman C. MERIVALE.<br />
<br />
<br />
<br />
<br />
<br />
Hon. Counsel—E. M. UNDERDOWN, Q.C.<br />
<br />
Rev. OC. H. Mrppieton-Wakg, F.L.S.<br />
<br />
Lewis Morzis.<br />
<br />
Pror. Max MUuuER.<br />
<br />
J.C. PARKINSON.<br />
<br />
THE EARL OF PEMBROKE AND Mont-<br />
GOMERY.<br />
<br />
Siz FREDERICK PoLiock, Bart., LL.D.<br />
<br />
WALTER HERRIES POLLOCK.<br />
<br />
A. G. Ross.<br />
<br />
GEORGE AUGUSTUS SALA.<br />
<br />
W. Baptiste ScoonEs.<br />
<br />
G. R. Sims.<br />
<br />
J. J. STEVENSON.<br />
<br />
Jas. SULLY.<br />
<br />
WiuiiaAm Moy THomas.<br />
<br />
H. D. Trartt, D.C.L.<br />
<br />
Baron HENRY DE Worms,<br />
E.R.S.<br />
<br />
EpmunpD YATES.<br />
<br />
M.P.,<br />
<br />
Solicitors—Messrs Frmup, Roscoz, and Co., Lincoln’s Inn Fields.<br />
<br />
Secretary—C. Hurprert Turine, B.A.<br />
<br />
OFFICES.<br />
<br />
4, PortueaL StreEtT, Lincoun’s Inn Finxtps, W.C.<br />
<br />
Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br />
<br />
AN ANECDOTAL HISTORY OF THE BRITISH PARLIAMENT,<br />
<br />
From the Earliest Periods to the Present Time.<br />
<br />
WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br />
<br />
CoMPILED FROM AUTHENTIC SOURCES BY<br />
<br />
GHORGH HENRY JENNINGS.<br />
<br />
CONTENTS.<br />
<br />
sesamin<br />
<br />
<br />
<br />
<br />
<br />
Part I.—Rise and Progress of Parliamentary Institutions.<br />
<br />
Part TI.—Personal Anecdotes: Sir Thomas More to John<br />
Morley.<br />
<br />
Parr JII.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br />
clusion of Strangers; Publication of Debates.<br />
3. Parliamentary Usages, &c. 4. Varieties.<br />
<br />
Apprnpix.—(A) Lists of the Parliaments of England and<br />
of the United Kingdom.<br />
(B) Speakers of the House of Commons.<br />
(C) Prime Ministers, Lord Chancellors, and<br />
Secretaries of State from 1715 to<br />
1892. :<br />
<br />
Opinions of the Press of the Previous Edition.<br />
<br />
Ts will be in its right place either on the drawing-room table, to be<br />
taken up in the odd ten minutes before dinner, or on the library<br />
shelves, to serve as a permanently useful work of reference.’—<br />
Spectator.<br />
<br />
‘* It would be sheer affectation to deny the fascination exercised b<br />
the ‘Anecdotal History of Darliamene! nq in our hands. It will<br />
prove useful to many and agreeable to more.”’—Saturday Review.<br />
<br />
‘As pleasant a companion for the leisure hours of a studious and<br />
thoughtful man as anything in book shape since Selden.” — Daily<br />
Telegraph.<br />
<br />
“Contains a great deal of information about our representative<br />
<br />
institutions in past and present times which it beh<br />
know.”—Daily News. Pp oves all persons to<br />
<br />
<br />
<br />
‘*May be read with pleasure and profit by Conservative and Liberal<br />
alike.” —Manchester Courier.<br />
<br />
‘““A succession of anecdotes sparkling with wit, bristling with<br />
humour, or instinct with imperishable vitality of historic oratory.”<br />
Liverpool Albion.<br />
<br />
“Such a capital fund of instruction and amusement, that it is<br />
impossible to take up the book without letting one’s eye fall on some<br />
good anecdote or some remarkable speech.” — Shefield Daily Tele-<br />
graph.<br />
<br />
Also mentioned by Mr. G. A, Sala, in ‘'The Author” of May 2, as<br />
one among a dozen “really useful books.”<br />
<br />
eS" Orders may now be sent to HORACE COX, “Law Times” Office, Bream’s-buildings, E.C.<br />
<br />
Sab sc D ocean emanate<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
apenveenneeeinteESHEN<br />
<br />
<br />
<br />
Che<br />
<br />
<br />
<br />
ufthbor,<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. III—No. 1.]<br />
<br />
JUNE 1, 1892.<br />
<br />
[PRICE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
Lor the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible.<br />
<br />
a<br />
<br />
WARNINGS.<br />
<br />
<br />
<br />
Reavers of the Author are earnestly desired to<br />
make the following warnings as widely known as<br />
possible. They are based on the experience of<br />
seven years’ work upon the dangers to which literary<br />
property is exposed :—<br />
<br />
(1.) Never sign any agreement of which the<br />
alleged cost of production forms an<br />
integral part, until you have proved the<br />
figures.<br />
<br />
(2.) Never enter into any correspondence with<br />
publishers, especially with those who<br />
advertise for MSS., who are not recom-<br />
mended by experienced friends or by this<br />
Society.<br />
<br />
(3.) Never, on any account whatever, bind<br />
yourself down for future work to anyone.<br />
<br />
(4.) Never accept any proposal of royalty<br />
until you have ascertained exactly what<br />
the agreement gives to the author and<br />
what to the publisher.<br />
<br />
(5.) Never accept any pecuniary risk or respon-<br />
sibility whatever without advice.<br />
<br />
(6.) Never, when a MS. has been refused by<br />
respectable houses, pay others, whatever<br />
promises they may put forward, for the<br />
production of the work.<br />
<br />
(7.) Nuvur sign away American rights. Keep<br />
them. Refuse to sign an agreement<br />
containing a clause which reserves them<br />
for the publisher. If the publisher<br />
insists, take away the MS. and offer it<br />
to another.<br />
<br />
VOL, III,<br />
<br />
(8.) Never sign an agreement or a receipt<br />
which gives away copyright without<br />
advice.<br />
<br />
(9.) Keep control over the advertisements by<br />
clause in the agreement. Reservea veto.<br />
If you are yourself ignorant of the sub-<br />
ject, make the Society your agent.<br />
<br />
(10.) Never forget that publishing is a busi-<br />
ness, like any other business, totally un-<br />
connected with philanthropy, charity, or<br />
pure love of literature. You have to do<br />
with business men.<br />
<br />
Society’s Offices :—<br />
4, Portuaat Street, Lincoun’s Inn Frexps.<br />
<br />
ree<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—————<br />
<br />
1. Send to the office copies of past agreements<br />
and past accounts with the loan of the books repre-<br />
sented. This is in order to ascertain what has<br />
been the nature of your agreements and the<br />
results to author and publisher respectively so<br />
far. The secretary will always be glad to have<br />
any agreements for inspection and note. The<br />
information thus obtainable is invaluable.<br />
<br />
2. If the examination of the business trans-<br />
actions by the Secretary proves unfavourable, you<br />
should take advice as to a change of publishers.<br />
<br />
3. Before signing any agreement whatever,<br />
send the proposed form to the Society for<br />
examination.<br />
<br />
4. The Society is acquainted with the methods,<br />
and—in the case of fraudulent houses—the tricks,<br />
of every publishing firm in the country.<br />
Remember that there are certain houses which live<br />
entirely by trickery. .<br />
<br />
A<br />
<br />
Re Le er<br />
<br />
<br />
<br />
<br />
<br />
<br />
4 THE AUTHOR.<br />
<br />
5. The outward and visible signs of the<br />
fraudulent- publisher are—(1) a virtuous and<br />
benevolent wish to have the unquestioned conduct<br />
of your business; (2) a virtuous, good man’s pain<br />
at being told that his accounts must be audited ;<br />
(3) a virtuous indignation at being asked what<br />
his proposal gives him compared with what it<br />
gives the author; and (4) irrepressible irritation<br />
at any mention of the Society of Authors.<br />
<br />
6. Remember always that in belonging to the<br />
Society you are fighting the battles of other<br />
writers, even if you are reaping no benefit to<br />
yourself, and that you are advancing the best<br />
interests of literature in promoting the inde-<br />
pendence of the writer.<br />
<br />
7. Send to the Editor of the Author notes of<br />
anything important to literature that you may<br />
hear or meet with.<br />
<br />
Oe<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
R. Colles desires to inform readers of the<br />
Author— i<br />
<br />
1. That the Authors’ Syndicate is now in .a<br />
position to take charge in whole or in part<br />
of the business of members of the Society.<br />
With, when necessary, the assistance of<br />
the advisers of the Society it will conclude<br />
agreements, collect royalties, examine and<br />
pass accounts, and, generally, relieve mem-<br />
bers of the trouble of managing business<br />
details. All accounts opened between the<br />
Syndicate and members are duly audited.<br />
<br />
2. That the establishment expenses of the<br />
Authors’ Syndicate are defrayed entirely<br />
out of the commission charged on rights<br />
placed through its intervention. This<br />
varies, and must vary, according to the<br />
nature of the services rendered, but it is<br />
intended to reduce the rates to the lowest<br />
possible amount compatible with efficiency.<br />
Meanwhile members will please accept this<br />
intimation that they are not entitled to<br />
the services of the Syndicate gratis.<br />
<br />
3. That he undertakes to work for none but<br />
members of the Society.<br />
<br />
4. That his business is not to advise members<br />
of the Society, but to manage their affairs<br />
ae Me if they please to entrust them<br />
<br />
o him.<br />
<br />
5. That when he has any work in hand he<br />
must have it entirely in his own hands;<br />
in other words, that authors must not<br />
<br />
ask him to place certain work, and then<br />
go about endeavouring to .place it by<br />
themselves.<br />
<br />
6. That when a MSS. has been sent from pub-<br />
lisher to publisher, and from editor to<br />
editor, in vain, it is most likely impossible<br />
to place it.<br />
<br />
7. That in the face of the present competition,<br />
authors will do well to moderate their<br />
expectations.<br />
<br />
To this it may be added, that where advice is<br />
sought, the Secretary of the Society, and not the<br />
Syndicate, must be consulted. On his behalf<br />
members are requested—<br />
<br />
1. To place on paper briefly the points on which<br />
<br />
advice is asked.<br />
<br />
2. To send up all the letters and papers con-<br />
nected with the case, if it is a case of<br />
<br />
dispute.<br />
3. Not to conceal or keep back any of the<br />
facts.<br />
ee<br />
NOTICES.<br />
<br />
<br />
<br />
LL persons engaged in literary work of any<br />
kind, whether members of this Society or<br />
not, are invited to communicate to the<br />
<br />
Editor any points connected with their work<br />
which it would be advisable in the general interest<br />
to publish,<br />
<br />
—_—<br />
<br />
- Members and others who wish their MSS. read<br />
are requested not to send them to the Office with-<br />
out previously communicating with the Secretary.<br />
The utmost practicable despatch is aimed at, and<br />
MSS. are read in the order in which they are<br />
received. It must also be distinctly understood<br />
that the Society does not, under any cireum-<br />
stances, undertake the publication of MSS.<br />
<br />
<br />
<br />
The following encouraging advertisement ap-<br />
peared the other day in a London morning paper:<br />
—“ Smart, scholarly, versatile Writer. Expert<br />
verbatim and picturesque descriptive reporter.<br />
Experienced managing editor, daily, weekly.<br />
High personal character. University man. 30s.<br />
per week.”<br />
<br />
<br />
<br />
The Authors’ Club is now opened in temporary<br />
premises, at 17, St. James’s Place, St. James’s<br />
Street. Address the Secretary for information,<br />
rules, admission, &c.<br />
<br />
Ses ese eee<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
—<br />
<br />
|<br />
{<br />
i<br />
<br />
<br />
<br />
wil) |<br />
<br />
tl |<br />
<br />
<br />
<br />
THE AUTHOR. 5<br />
<br />
Will members take the trouble to ascertain<br />
whether they have paid their subscriptions for<br />
the year? If they will do this, and remit the<br />
amount or a banker’s order, it will greatly assist<br />
the Secretary, and save him the trouble of<br />
sending out a reminder.<br />
<br />
So<br />
<br />
Members are invited to forward anything that<br />
may be of interest or value to literature, whether<br />
news, comments, questions, or original contribu-<br />
tions. The short space at the command of the<br />
editor forbids any attempt at reviewing, but<br />
books can always be noticed if they are sent up.<br />
<br />
SS<br />
<br />
Members are most earnestly entreated to attend<br />
to the warning numbered (3). It is a most foolish<br />
and a most disastrous thing to bind yourself to<br />
anyone for a term of years. Let them ask them-<br />
selves if they would give a solicitor the collection<br />
of their rents for five years to come, whatever<br />
his conduct, whether he was honest or dishonest ?<br />
Of course they would not. Why then hesitate<br />
for a moment when they are asked to sign them-<br />
selves into bondage for three or five years ?<br />
<br />
<br />
<br />
Here is another illustration of the reckless way in<br />
which accusations are flung abroad. We are in-<br />
formed that a writerinacertain Scotch paper, about<br />
two months ago, stated that “a curious debate has<br />
been raging in.a small section of the literary<br />
world as to the right of every author to have his<br />
works reviewed by the press.” That is the first<br />
statement. Where has that claim been advanced ?<br />
Noone knows. The next statement is, that it origi-<br />
natedin the Author. Such aclaim has never been<br />
advocated by the Author. One writer did, so far<br />
back as last August, propose the abolition of “ press<br />
copies,” but he was on the spot challenged by the<br />
editor, who pointed out, in a few words, the mani-<br />
fest objections to his proposals. Then follows a<br />
quarter of a column devoted to cheap sarcasm<br />
and indignation against the folly of such a claim.<br />
Once advance a preposterous falsehood, and, until<br />
it is contradicted, nothing is easier than to fly<br />
into a rage over it. Will not editors, who have<br />
no interest at all in the propagation of literary<br />
slanders, step in to protect the truth? Andis it<br />
not the case that the law of libel includes all<br />
those statements which are made wilfully, with the<br />
intention of damaging the reputation of an insti-<br />
tution or a person?<br />
<br />
“T hear it alleged against our Society,” writes<br />
a correspondent, “ that it is doing great harm in<br />
encouraging incompetent writers to persevere, and<br />
im increasing the output of bad and mediocre<br />
literature. What reply am I to make ?”<br />
<br />
The first reply that occurs is a flat denial—the<br />
Lie Absolute. But it is as well to give the<br />
reasons. It may be advanced (1) that the<br />
Society has always advised, and warned, and<br />
exhorted young writers never, on any considera-<br />
tion whatever, to pay money on account of or<br />
towards the costs of production. Now it is only<br />
by the authors consenting to pay for them that<br />
bad books can be produced. Publishers, cer-<br />
tainly, are not so foolish as to run the risk—the<br />
certain loss—of producing them; (2) next, that<br />
the Society has a department which reads and<br />
advises on MSS., and stops the publication of a<br />
great deal of rubbish; and (3) that in letters to<br />
those who seek our help—as well as in its pub-<br />
lished papers—the Society is always doing its<br />
best to dissuade the unprepared and the incom-<br />
petent. But of lies about the work of the<br />
Society there is no end, and will be none until<br />
one falsehood after another has become patent<br />
and proverbial. Those of our readers who find<br />
any lies about us, new or old, advanced in any<br />
paper, might do good service by sending them up<br />
to the Secretary, with the name and date of the<br />
paper.<br />
<br />
<br />
<br />
“ AUTHOR, 30, fair, tall, wishes to Meet Lady, who could<br />
capitalise production of his plays. View Matrimony.—<br />
Address,<br />
<br />
The above cutting, from a provincial paper,<br />
may be of interest to our readers: Literary<br />
aspirants have tried many paths to fame, but<br />
this looks like a new departure.<br />
<br />
<br />
<br />
<br />
<br />
How, we are asked almost every day, is the young<br />
writer to make a beginning? He should first get<br />
an opinion from one of the Society’s readers as to<br />
the merits and chances of his book. It may be that<br />
certain points would be suggested for alteration.<br />
It may be that he finds himself recommended<br />
to put his MS. in the fire. He should then,<br />
if encouraged, offer his MS. to a list of houses or<br />
of magazines recommended by the Society. There<br />
is nothing else to be done. No one, we repeat;<br />
can possibly help him. If those houses all refuse<br />
him, it is not the least use trying others, and, if<br />
he is a wise man, he will refuse to pay for the<br />
production of his own work. If, however, as too<br />
often happens, he is not a wise man, but believes<br />
that he has written a great thing, and is prepared<br />
to back his opinion to the extent of paying for<br />
his book, then let him place his work in the hands<br />
<br />
ere ST eee a<br />
<br />
a<br />
<br />
<br />
6 THE<br />
<br />
of the Society, and it shall be arranged for him<br />
without greater loss than the actual cost of pro-<br />
duction. At least he will not be deluded by false<br />
hopes and promises which can end in nothing.<br />
<br />
— 1<br />
<br />
The following advertisement is cut from a daily<br />
paper :—<br />
<br />
“An Author can OFFER either sex constant<br />
(spare time) Home EMPLOYMENT: remunerative<br />
author’s work and instructions, twelve stamps.—<br />
Letters at once to Author.”<br />
<br />
A correspondent answered it, and obtained the<br />
information required. The method offers up an<br />
endless prospect of fortune. The “ Author’ has<br />
written a book—hence his name and title. The<br />
constant and remunerative employment consists<br />
in selling copies of that book. Anybody can<br />
apply to be made an agent. In case of appoint-<br />
ment he inserts an advertisement in the local<br />
paper, and invites applicants to sell the book for<br />
him. He pays the Author 3s. 45d. a dozen, and<br />
gets 8d. a piece for them—profit 4s. 73d. a dozen,<br />
out of which he pays, one supposes, for his<br />
advertisement. One can but give publicity to<br />
this magnificent opening.<br />
<br />
<br />
<br />
Several correspondents have asked whether Mr.<br />
P. F. Collier, who has already been mentioned in<br />
connexion with an advertisement offering to give<br />
English authors an immense circulation, is a<br />
person to be trusted. There seems little doubt<br />
that he can do what he promises, which is to runa<br />
novel through his journal. What more he will do<br />
is quite uncertain. We therefore repeat the<br />
warning given in our last number. Let authors<br />
be careful to secure the usual business arrange-<br />
ment in an agreement before sending their work<br />
across the Atlantic.<br />
<br />
mee<br />
<br />
INTERNATIONAL COPYRIGHT.<br />
<br />
<br />
<br />
i<br />
<br />
UNSATISFACTORY WoRKING OF THE Law IN<br />
FRANCE.<br />
<br />
: (The New York Tribune.)<br />
ARIS, March 5.—A year’s experience of the<br />
<br />
American International Copyright law’<br />
<br />
has proved rather disappointing to French<br />
authors and publishers. Armand Templier, of<br />
Hachette and Co. ; Georges Charpentier, Eugéne<br />
Plon and Paul Delalain, four of the leading pub-<br />
lishers of Paris, say the law has not produced<br />
the good effects expected. Paul Calmann-Levy,<br />
<br />
AUTHOR.<br />
<br />
another well-known publisher, said :—‘The law<br />
is of too recent date for French authors and<br />
publishers to be able thoroughly to appreciate its<br />
advantages or discover its defects. We are not<br />
yet sufficiently familiar with the details of its<br />
application to judge it by experience or to obtain<br />
from it all the good it may have in store for us.<br />
In the meantime we can only look forward to its<br />
yielding advantageous results in the future and<br />
express our satisfaction that literary property<br />
was at last recognised in the United States.”<br />
Felix Aloan, publisher of scientific works, said :<br />
“Up to the present the law has not produced<br />
any practical results, so far as I am concerned ;<br />
but the measure has been in operation too short<br />
a time for me to say what may be expected<br />
from it.”<br />
<br />
Count de Kératry’s part in bringing about the<br />
passage of the law is well remembered in.<br />
America. He is now here, and was asked his<br />
views on the subject. The Count said: ‘The<br />
‘manufacture clause’ in the law prevents my<br />
country from getting any benefit from it. It is<br />
perfectly natural that the United States should<br />
want to protect home printing interests against<br />
English publishers; but in France, the language<br />
being different, our publishers can do nothing to<br />
hurt American printers. This ‘manufacture<br />
clause’ has raised up a Chinese wall which pre-<br />
vents literary and artistic intercourse between<br />
France and the United States. To secure to<br />
Americans the printing of perhaps thirty books<br />
per annum, it kills copyright on innumerable<br />
works. Only two French writers have sold<br />
American copyrights under the ngw law, and one<br />
of themis M. Zola. But he has had such difficulty<br />
in getting the manuscript finished in time for the<br />
American edition to be copyrighted before publi-<br />
cation began here that he declares he will never<br />
again undertake to do the same thing at any<br />
price. So far as French novels are concerned,<br />
the new law has done nothing more nor less<br />
than to legalise literary piracy. And this is true<br />
also of plays. I have written to the American<br />
friends of International Copyright begging them<br />
to have this ‘manufacture clause ’ modified.”<br />
<br />
<br />
<br />
II.<br />
More Prracy. .<br />
<br />
John Strange Winter writes:—<Apropos to your<br />
comments inthe Author for May on piracy by the<br />
New York Sunday News, you may like to knowthat<br />
this precious publication recently issued the whole<br />
of my story “ That Imp” (published here in 1887<br />
as a shilling book) as a complete supplement and<br />
under a different title. As I own the copyright of<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
the story I wrote to the editor asking him whether<br />
the story had been offered to him, and informing<br />
him that, whatever remuneration was credited to<br />
the story should be sent to me. I have had no<br />
<br />
reply !<br />
<br />
<br />
<br />
ERT,<br />
Literary THEFT.<br />
<br />
In relation to literary theft the editor of the<br />
Nineteenth Century has published, in a recent<br />
number of his magazine, an emphatic condem-<br />
nation of the “monstrous extent to which<br />
an organised system of plunder is carried in<br />
certain quarters.” ‘ Under pretence,” writes he,<br />
“ of criticism, and the transparent guise of sample<br />
extracts, the whole value of articles and essays<br />
which may and frequently have cost a review<br />
hundreds of pounds—is offered to the public for<br />
a penny or even a halfpenny,” and he adds that<br />
‘a determination has been arrived at to make an<br />
example of such pilferers. The cases are nume-<br />
rous in which the defence of literary piracy on the<br />
ground of “comment, criticism, or illustration”<br />
has been unsuccessfully raised. Perhaps the<br />
best example is Campbell v. Scott (11 Simon,<br />
31). In that case (as cited in “Scrutton<br />
on Copyright,’ 2nd edit. p. 123) the de-<br />
fendant had published a volume of 790<br />
pages, thirty-four of which pages were taken<br />
up with a critical essay on English poetry, while<br />
the remaining 738 were filled with complete<br />
pieces and extracts as illustrative specimens. Six<br />
poems and extracts, amounting to only 733 lines<br />
in all, were taken from copyright works of the<br />
plaintiff, who obtained an injunction against the<br />
continued publication, on the ground that no<br />
sufficient critical labour or original work on the<br />
defendant’s part was shown to justify his<br />
selection. Not a few of these thieves think<br />
that an acknowledgment of the source from<br />
which they steal will excuse them. This view<br />
is quite unsound, as was shown by Scott v.<br />
Stanford (36 L. J. Rep. Chance. 729). There the<br />
plaintiff had published certain statistical returns of<br />
London imports of coal, and the defendant,<br />
“with a full acknowledgment of his indebted-<br />
ness” to the plaintiff, published these returns as<br />
part of a work on the mineral statistics of the<br />
United Kingdom, the extracted matter forming a<br />
third of the defendant’s work. ‘The court,’<br />
said Vice-Chancellor Page Wood, “can only look<br />
at the result, and not at the intention,” and he<br />
granted an injunction without hesitation. Simi-<br />
larly the verbatim extracts from law reports in<br />
Sweet v. Benning (16 C. B. 459), which Chief<br />
Justice Jervis described as a “mere mechanical<br />
stringing together of marginal or side-notes<br />
<br />
<br />
<br />
AUTHOR. ri<br />
<br />
‘which the labour of the author had fashioned<br />
<br />
ready to the compiler’s hands,” were declared by<br />
the Court of Common Pleas to be piratical, and<br />
it 1s impossible to glance at the cases without<br />
seeing that, if examples are really about to be<br />
made, the pilferers will have a hard time of it,—<br />
Law Journal.<br />
<br />
<br />
<br />
recs<br />
<br />
ON ROYALTIES.<br />
<br />
HE agreements of the future will undoubtedly<br />
be based upon a system of Royalties. The<br />
old method of half profits—a very fair<br />
<br />
method.in the case of books whose circulation is<br />
limited—has fallen hopelessly into discredit by<br />
reason of the shameless frauds which have been<br />
practised under its cover. The old pretence that<br />
a successful book must be made to pay for an<br />
unsuccessful book is now no longer advanced.<br />
There remains the one reasonable plan that the<br />
author and publisher divide the proceeds of each<br />
book on some recognised scale. If it be the half<br />
profit plan as of old, the publisher must be honest.<br />
That is to say, he must not cheat—the explana-<br />
tion is elementary but necessary: he must not<br />
set down £120 as the cost when £100 was the<br />
sum actually spent ; he must set down the exact<br />
sum realised, without deductions, and he must<br />
not charge advertisements for which he has not<br />
paid. All this, again, seems elementary, yet there<br />
remains the necessity for saying all this over and<br />
over again. But a royalty plan removes the<br />
temptation to be dishonest—in these ways at<br />
least. All that is wanted is the audit of the<br />
accounts as to two points—the number printed and<br />
the number sold. A table of royalties was given<br />
in the Author (June, 1891, Vol. I., No.2). This is<br />
repeated here, on account of its great importance.<br />
The book taken was an ordinary six-shilling<br />
volume, running from 70,000 to 100,000 words:<br />
We deduct from the amount realised—(1) what<br />
the publisher pays for production, with adver-<br />
tising; (2) what he pays the author. The<br />
percentage is taken on the full published price.<br />
<br />
I.— On THE SALE OF THE FIRST 1000.<br />
<br />
<br />
<br />
Per Cent.<br />
<br />
<br />
<br />
5 10 15 20 25<br />
<br />
<br />
<br />
£ £ £ £ £<br />
(eoblusher 3: 4. ul GO 45 30 15 _—<br />
Author a ee es 30 45 60 75<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
- IJ.—On Sane or THE Next 3000.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Per Cent.<br />
| |<br />
5 | 10 15 | 20 | 25 | 30 | 35<br />
|<br />
giasleiaie\a 2<br />
<br />
<br />
<br />
<br />
<br />
Publisher ..| 330 285 240, 195|150|105| 60<br />
| | |<br />
45| 90 130 180} 225 | 270) 315<br />
<br />
|<br />
<br />
Author ...<br />
<br />
<br />
<br />
<br />
<br />
TII.—On tHe Sane or An EDITION OF 10,000.<br />
<br />
<br />
<br />
Per Cent.<br />
<br />
<br />
<br />
<br />
<br />
|<br />
15 | 20 | 25 30 | 35<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
fi 4 | 21212) 2<br />
|<br />
<br />
Publisher... ...| 1200 | 1050 | 900 — 450} 300<br />
Pe<br />
<br />
Author ... ...| 150] 300 |450 ape 752) 1050<br />
<br />
<br />
<br />
<br />
<br />
These figures ought to be a guide to the author<br />
in a royalty agreement. If his book be one which<br />
will not sell largely, as, e.g., a volume of critical<br />
essays, or a treatise on some subject which<br />
appeals to a limited circle he may consider the<br />
first table only. If it is a book likely to have a<br />
large sale, let him consider all three tables.<br />
<br />
ON DEFERRED ROYALTIES.<br />
<br />
<br />
<br />
T is frequently urged that a book carries with<br />
it a certain risk. We repeat, over and over<br />
again, that the publishers who take risks<br />
<br />
are very, very few, and that the occasions on which<br />
risk is taken are very, very few. However, let it be<br />
granted that a certain book does carry risk—in<br />
other words, that the publisher is not certain of<br />
clearing the cost of production. As before, the<br />
book shall be a six shillmg volume. Here is a<br />
little table—the figures being approximate, but as<br />
regards cost, over, rather than under the mark.<br />
<br />
Cost of production of the Ist edition of 1000<br />
copies—say £100, an exaggerated estimate,<br />
including advertising.<br />
<br />
Trade price of the book—say 3s. 6d.<br />
<br />
Number of books required to clear expenses, 572.<br />
<br />
Every copy that remains up to 950 copies<br />
(allowing 50 for press copies) represents a clear<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
profit of 3s. 6d. The question is, how much of<br />
that should go to the publisher. If we give<br />
him half, the royalty after 572 c»xpies shou!d be<br />
Is, gd. a copy or 29 per cent.<br />
<br />
Tf, however, a larger sale is expected, and a<br />
larger number s‘1uck off, the figures will require<br />
alteration. Suppose an edition of 3000 copies.<br />
In this case the number required to pay the<br />
original cost will be about 850. Then every copy<br />
realises a clear profit of 3s. 6d. What should<br />
the publisher take for his services in distribution,<br />
<br />
collection, and management? Surely a royalty of ©<br />
<br />
1s. 6d. would fairly meet the justice of the case.<br />
‘he author for such a deferred royalty should<br />
claim 2s. a copy, or a royalty of 33 per cent.<br />
<br />
Another plan which is usefully and profitably<br />
employed by some publishers, is to offer a sum<br />
of money down and a royalty to begin when<br />
so many copies have been sold. For instance,<br />
a six-shilling book of which the publisher knows<br />
that he is certain to sell 1000, and will probably<br />
sell 3000. He offers £50 down and a royalty to<br />
commence — when? It is very simple. The<br />
author’s £50 must be added to the cost of pro-<br />
duction. If the publisher is to have a third of<br />
the profits he may add on £25 to the cost of<br />
production for himself. Then the sum is quite<br />
simple. Fora sale of 3000 copies about 850 must<br />
be first sold in order to defray the cost of produc-<br />
tion. To this must be added 430 more for the<br />
advance made to the author, and the publisher's<br />
share. After about 1280 copies the royalty should<br />
begin.<br />
<br />
Here is a very pleasing illustration of how the<br />
latter method may be worked. An author of great<br />
distinction had ready a book of great interest—<br />
a book which from the nature of the subject as<br />
well as the name and position of the author, was<br />
sure to do well. It was published at 4s. 6d.<br />
The pubhsher, in a friendly careless way, proposed<br />
to advance the author £50, and to give him a<br />
royalty—the amount does not here concern us—<br />
after 4500 copies had been sold. That figure<br />
was reached and passed. Suppose the sale had<br />
stopped there, how would the account have stood ?<br />
Roughly as follows: The publsher must have<br />
netted £300 to the author's £50. And this,<br />
of course, he knew very well at the outset. If<br />
not, he did not know his own business. If these<br />
figures are wrong, let us have the right figures—<br />
audited, of course.<br />
<br />
Sires Nh aceon<br />
<br />
<br />
a a<br />
<br />
|<br />
<br />
THE<br />
TWO CASES OF CONVEYING.<br />
<br />
Ss<br />
<br />
i<br />
<br />
A student’s text-book was sent to me to review<br />
for a certain journal. From its title-page, it was<br />
a new edition of an established work by a pro-<br />
fessor of the subject, whose name was retained.<br />
In the preface, the editor (an unknown name to<br />
me) explained that he had attempted to introduce,<br />
in a short compass, the chief results of and<br />
research within recent years, that he had used<br />
considerable pains to sift out what was valuable<br />
from recent original foreign memoirs, and that<br />
he was indebted more especially to four works of<br />
reference, whose statements, so far as he had<br />
taken them, he had, in nearly all cases, verified<br />
by consulting the original researches. He was<br />
also delightfully sarcastic about the short life of<br />
many a piece of lore and many a piece of theory ;<br />
he had not encumbered his pages with such<br />
perishable matter. _ On examining the book, I<br />
found that not a line of the former editions<br />
remained, that it was an entirely new book, and<br />
that it was exceedingly well done—excellent in<br />
structure, full in matter, perspicuous in style.<br />
The mere paragraphing showed the hand of a<br />
master, and the subordination of parts through<br />
some 600 pages showed that grasp which only<br />
a long familiarity with details can give.<br />
<br />
A page or two at the beginning of one of the<br />
chapters reminded me of something that I had<br />
read before ; and on finding the same passage in<br />
another book, I got upon the scent. Page by<br />
page I identified the new edition of the English<br />
text-book with a new edition of a French student’s<br />
manual, which was one of the four “works of<br />
reference” mentioned in the preface. At long<br />
intervals there came a paragraph, or perhaps a<br />
whole page, which I traced to one of the three<br />
other “‘ works of reference ;” but these interpo-<br />
lations were probably not a tenth part of the<br />
whole; there were also a few little touches which<br />
I could not account for except on the hypothesis<br />
that they were the editor’s own.<br />
<br />
I wrote my review, and pointed out the facts<br />
as above given, adding a few abstract reflections<br />
on the ethics of compilation. However, the<br />
editor of the journal, for reasons best known to<br />
himself, did not print my contribution, for all the<br />
trouble I had taken over it. Shortly after, I was<br />
in the company of two persons, both of whom<br />
were learned in the subject-matter of the said<br />
text-book. I told them my story, which they<br />
seemed to hear without surprise. One of them<br />
said, with the obvious concurrence of the other,<br />
“Then you do not know that X.,” meaning a<br />
professor of the same subject, “had already<br />
<br />
VOL. III,<br />
<br />
<br />
<br />
<br />
<br />
AUTHOR. 9<br />
<br />
pillaged the Frenchman in exactly the same way,<br />
in his manual published a year or two ago?” ‘I<br />
had not heard that, and did not relish hearing it<br />
then, for I knew X., and knew him for a man of<br />
religion and of high respectability. I have never<br />
inquired whether the open secret about his manual<br />
was the truth, and, if so, whether there were any<br />
extenuating circumstances. But, assuming that<br />
the information given me was true, it placed my<br />
own discovery in a new light, and probably<br />
explained why my review had not been published.<br />
The editor of the journal had said to himself,<br />
“Dat veniam corvis, vexat censura columbas,”<br />
and had refused to do the latter. The author of<br />
my manual had said to himself, “Render unto<br />
Scissors the things that are Scissors’,” and again,<br />
“They that take the scissors shall perish by the<br />
scissors.’’ Also my man had been merely re-<br />
editing an old book, and had placed the original<br />
author’s name in the leading line of the<br />
title-page (although he bragged a good. deal<br />
in his own name in the preface), The points<br />
of casuistry are curious. I have been told of<br />
a parallel case, which, however, is not strictly<br />
parallel: the case, namely, of a novelist. who<br />
conveys from a French translation the plot, dia-<br />
logue, and imaginative trimmings (mutatis<br />
mutandis) of a work of fiction which had origi-<br />
nally appeared in one of the more inaccessible<br />
literatures of Eastern Europe.<br />
<br />
eT,<br />
<br />
Happening to have before me two elaborate<br />
works on the same subject, one by a German of<br />
known erudition in the earlier part of the century,<br />
the other by a prolific English book-maker of our<br />
own time, I noticed something the same in both ;<br />
and, after a minute examination of the one and<br />
the other, I discovered as follows: The German’s<br />
work, which was written in the French language,<br />
was in two almost equal parts, the one consisting<br />
of his more philosophical generalities, in the form<br />
of rather stiff prolegomena (by no means suited<br />
to the English intellect), the other of an immense<br />
body of facts, on which his generalities rested,<br />
methodically arranged, and authenticated by a<br />
truly marvellous bibliography. The English<br />
work, to the extent of its entire design, and<br />
perhaps three-fourths of its matter, consisted of<br />
the German professor’s encyclopedic facts, with<br />
the foot notes, and corresponded exactly to their<br />
limits of time and place. The German author<br />
was just acknowledged, among others, in an<br />
unimportant but astute line of the English<br />
preface ; and in three or four places of the text<br />
the poor old man was cited, among his own<br />
innumerable authorities, in order to be contro-<br />
verted on some point of doctrine. The English<br />
<br />
B<br />
<br />
<br />
10 THE AUTHOR.<br />
<br />
book was reviewed in three columns of the Times<br />
as a work of original merit, reflecting credit upon<br />
native erudition and research. Since then the<br />
learned author (translator and editor of the easier<br />
half) has been decorated by his Sovereign, and<br />
invested with a scarlet academical gown. The old<br />
German, who was a sort of ultimus Romanorum<br />
in his special erudition, and a professor at one of<br />
these small universities with vast libraries, out-<br />
lived his own generation, and was little known at<br />
the time of his death. I doubt whether a dozen<br />
readers of the English book would know his name<br />
if they heard it. I inclose the names of parties<br />
and the titles of books. A. B.<br />
<br />
Sect<br />
<br />
A LITERARY BUREAU.<br />
<br />
<br />
<br />
PROSPECTUS lies before us of a literary<br />
bureau conducted on bold and vigorous<br />
principles. We think of our own puny<br />
<br />
and fainthearted efforts with shame when we<br />
read this noble handling of the literary aspirant.<br />
Why, we give our young man or young maiden<br />
who sends us a MS. for advice, a long opinion in<br />
detail, advice as to further proceedings, a list of<br />
respectable periodicals, and a list of publishers<br />
who can be trusted—or else we warn him or her<br />
that the MS. is worthless, and send it back with<br />
wholesome advice, either to retire from the field at<br />
once or to put in very different work. We do all<br />
this for a pitiful, sneaking guinea, of which the<br />
Society gets nothing and has to pay the postage<br />
of the MS. See, now, what the Cambridge<br />
Literary Bureau, “ P.O. Box 3266, Boston, Mass.<br />
U.S.A.” proffers. (Perhaps our younger friends<br />
will, in their own interests, make a note of the<br />
address).<br />
<br />
1. It reads MSS. and gives a list of paying<br />
periodicals for 1s. every thousand words.<br />
<br />
2. It gives a letter of detailed advice for 4s.<br />
<br />
3. It revises and corrects MSS. at 4s. per hour.<br />
<br />
4. It corrects proofs at 3s. per hour.<br />
<br />
5. It type writes at 2s 6d. a thousand words.<br />
<br />
6. It writes shorthand at dictation for 3s. an<br />
hour.<br />
<br />
7. It teaches rhetoric, composition, and proof<br />
reading in twenty lessons for £7 Ios.<br />
<br />
8. It gives a list of books bearing on literary<br />
work for tos.<br />
<br />
g. It reads a MS., gives a, letter of criticism and<br />
advice, and sends a list of publishers for a fee<br />
varying with the length of the work from £2 to £4.<br />
<br />
Lastly, it places MSS. on commission of 10 to<br />
20 per cent.<br />
<br />
Let us see how it works, Juvenis has written<br />
<br />
a book. He goes to the Cambridge Literary<br />
Bureau. It is a book of 80,000 words. First, of<br />
course, he would like to have it read.<br />
<br />
fs. a.<br />
1. For reading and sending a list of<br />
paying periodicals... ... ... ... 4 0 0<br />
2. Next, he would like a letter of<br />
opinion on the work ... ... ... O10 O<br />
3. The opinions say it ought to be<br />
corrected. Fee for 48 hours’ work<br />
at 4s. an hour... 9: 712-0<br />
<br />
4. Of course we must have it type<br />
<br />
written, at 2s. 6d. for 1000 words 10 O O<br />
. He will take the course of lessons 7 10 0<br />
. It will be useful to have the text<br />
<br />
of books bearing on literary work 0 10 0<br />
7. It is absolutely necessary to have<br />
<br />
a list of publishers with another<br />
<br />
letter of criticism... 5. 3 OO<br />
<br />
nuvi<br />
<br />
a4 2 8<br />
The literary candidate, therefore, under the<br />
kindly auspices of this bureau begins with an<br />
expenditure of £34 2s. He then finds out that he<br />
is in exactly the same position as he was at the<br />
beginning, except for the letter of advice.<br />
Now, what happens to Juvenis when he writes<br />
to us.<br />
<br />
& 8 a.<br />
<br />
1. For reading the MS. and writing an<br />
opinion . ae ak ee<br />
<br />
2. For sending a list of respectable<br />
periodicals... 0.6 6<br />
<br />
3. Correction of MSS. not attempted.<br />
<br />
The opinion will show him where<br />
<br />
and how it should be corrected ... 0 0 O<br />
4. Typewriting. This should always<br />
<br />
be done at 1s. 3d. a 1000 words,<br />
<br />
but not by the Society of Authors 0 0 0<br />
5. Course of lessons in rhetoric. Quite<br />
<br />
useless. If a -young man cannot<br />
<br />
read for himself a book on rhetoric,<br />
<br />
and if he has not learned some-<br />
<br />
thing of the art of composition he<br />
<br />
had better not attempt literature. O O Oo<br />
6. What good will such a list do for<br />
<br />
anybody? But the society will<br />
<br />
give him sucha list if he wants one 0 O O<br />
7. An opinion from a writer of experi-<br />
<br />
ence and judgment (see above) ... 9 90 O<br />
<br />
8. A list of publishers in whom some<br />
confidence may be placed ... .. 9 O O<br />
Total: 6...) 0 EE<br />
<br />
And at the end our man is in exactly the same<br />
position as the American candidate who has dis-<br />
bursed £34 2s. And yet we expect to get ou!<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
A CO-OPERATIVE FIRM.<br />
<br />
— —<br />
<br />
HITHER bends the course of the stream ?<br />
Does the prospectus before us show the<br />
future? It is a prospectus, apparently<br />
quite serious, of a proposed publishing house for<br />
a special class of book. <A fairly large capital is<br />
announced, and the scheme is called co-operative.<br />
Since, however, it is further added that a dividend<br />
of from ro to 15 per cent. may be anticipated, it<br />
is not clear what the promoters mean by co-opera-<br />
tion. The prospectus provides that the ledgers<br />
shall be so kept as to enable any customer to see<br />
at a moment what expense has been incurred and<br />
what sales have been effected. And it promisesa<br />
great reduction in the way of advertising. It<br />
- looks, therefore, as if a new commission house is<br />
in contemplation to be run honestly. There<br />
should be room for such a house in special, as<br />
there certainly is in general literature. We<br />
shall watch the progress of the enterprise, But<br />
we must remark that co-operation should not<br />
contemplate large dividends. In true co-opera-<br />
tion, the capital employed receives a fair dividend,<br />
something over the interest in consols, and the<br />
co-operators share the rest. In such a project as<br />
the one before us care must be taken not to fall<br />
into the hands of a printer at the outset, or the<br />
whole scheme may be ruined by over-charges.<br />
<br />
<br />
<br />
> 0 —<——<br />
<br />
<br />
<br />
“UNCUT LEAVES.”<br />
<br />
<br />
<br />
HIS scheme, the programme of which was<br />
published in the last number of the Author,<br />
has been seriously taken up in America,<br />
<br />
and centres have been established in many towns.<br />
That is to say, there are a great many periodical<br />
gatherings of people—monthly or fortni ghtly—to<br />
hear beforehand, articles about to appear in<br />
various magazines. It appears that the thing has<br />
grown out of a friendly association of American<br />
authors for the purpose of reading their work to<br />
each other.<br />
writes “ Editors have met me more than halfway ;<br />
in no case have they refused to let me have their<br />
MSS. Some of the articles are read just before<br />
they come out, and others may not be printed for<br />
some time. That is immaterial. I find a mass<br />
of able, short essays, stories, poems, and fugitive<br />
verses, which make variety and keep up the<br />
interest. It is noticeable that here in New York,<br />
with all the many things going on, the men turn<br />
out and stay through the evening.” Mr.<br />
Lincoln is coming to London this month; we<br />
<br />
The director, Mr. L. J. B. Lincoln,.<br />
<br />
AUTHOR. II<br />
<br />
shall probably’ learn more of his scheme. The<br />
following shows how it is regarded by the<br />
American press :<br />
<br />
The faddest of fads is about to break out in Chicago.<br />
Westerners have heard rumours of the exclusive method by<br />
which Boston and New York culture regaled itself during<br />
the past year, that of having an unpublished magazine<br />
called Uncut Leaves read in private houses to a carefully<br />
chosen audience. No report of the contents was permitted<br />
to be carried out of the “academy” by the favoured ‘lis-<br />
teners, and no mention thereof allowed to get into print.<br />
In each of tho cities where the astute editor, Mr. Lincoln,<br />
master of the Deerfield School of History and Romance,<br />
has introduced his novelty, contributors to Uncut Leaves<br />
have added immensely to its interest by reading their own<br />
articles, the audience thus having the added enjoyment of<br />
authors’ interpretations of their own works. The contri-<br />
butors to past numbers of Uncut Leaves have included<br />
the cream of living American literature, Richard Henry<br />
Stoddard, Edmund Clarence Stedman, George W. Cable,<br />
Sarah Orne Jewett, Margaret Deland, and more.<br />
<br />
At first this scheme of Uncut Leaves seems a mere fad,<br />
an affectation without substantial warrant to recommend it<br />
to really cultivated people. If an article be good enough<br />
for fifty favoured persons is it not better and finer that it<br />
should be made readily accessible to a hundred times fifty P<br />
Is not an author’s sincere desire to reach the largest<br />
number of readers, to be known to the greatest proportion<br />
of his fellow men? This is undeniable. But it is equally<br />
instinctive in an author to wish to be judged first by<br />
the “fit, if few.” Many an article, good on the whole,<br />
is marred by unconscious defects in execution that<br />
only reading aloud discloses. The experiment of the<br />
private audience is, therefore, of great value in fixing<br />
estimates and suggesting improvements. No wounds in<br />
literature are deeper than those so recklessly inflicted<br />
by reviewers who, often driven with excess of work,<br />
pronounce judgments honest according to light and time,<br />
but precipitated without due consideration and as fatal<br />
on the fortune and fame of what may have cost months,<br />
a year, or years of study and work, as if every line of<br />
the criticism had been weighed and scrutinised for only<br />
truth and discrimination. Uncut Leaves gives an author<br />
trial, if not before his peers, at least in the presence of those<br />
who are bound in honour not to detract, if incompetent<br />
to judge or unfitted by nature or lack of education to write.<br />
<br />
Mr. Lincoln has, therefore, devised a method of getting<br />
disinterested judgment in advance of publication on what<br />
doubtless will prove to be in time essentially important<br />
additions to American literature. For, although the con-<br />
tents of the unpublished magazine are at their author’s<br />
pleasure, ultimately they become public, and the public as<br />
well as the author will benefit by the judicial test to which<br />
in private and before a considerable number of presumably<br />
qualified jurors, they were subjected. After all, the fad has<br />
justification. Mr. Lincoln is well known in the East among<br />
scholars and to a large number of Chicago people, some of<br />
whom have attended his Deerfield School of History and<br />
Romance, and others who have heard his lectures in New<br />
York or Boston. He is a man of wide knowledge and<br />
authentic taste. He is now in Chicago and indications<br />
point to a success as great as that which has characterised<br />
his work in the East. His readings of Uncut Leaves will be<br />
exclusively, of course, in private drawing-rooms. It is<br />
understood that he will give here no article that has been<br />
printed anywhere or is likely to see print for some time.<br />
Some of the most noted of his contributors are also expected<br />
during his stay.<br />
<br />
<br />
<br />
Sect<br />
<br />
B 2<br />
<br />
<br />
12 THE AUTHOR.<br />
<br />
USEFUL BOOKS.<br />
<br />
<br />
<br />
N American correspondent sends the follow-<br />
ing list :—<br />
<br />
1. Murray’s New English Dictionary.<br />
. SrormontH’s Dictionary of the<br />
Language.<br />
. Watxer’s Rhyming Dictionary.<br />
Barruert’s Dictionary of Americanisms.<br />
Cusuina’s Initials and Pseudonyms.<br />
WueEeEwer’s Dictionary of the Noted Names<br />
in Fiction.<br />
7. Wricut’s Dictionary of Obsolete and Pro-<br />
vincial English.<br />
8. Barruerr’s Familiar Quotations.<br />
g. Rogzt’s Thesaurus.<br />
10. Breztow’s Handbook of Punctuation.<br />
11. Wurte’s Words and their Uses.<br />
12. Sxeat’s English Htymology.<br />
13. Gummrrx’s Handbook of Poetry.<br />
14. Assort’s How to Write Clearly.<br />
15. Hix's Principles of Rhetoric.<br />
16. Greenine’s Elements of Rhetoric.<br />
17. Eartx’s Philology of the English Tongue.<br />
18. Merxizsoun’s English Language.<br />
<br />
English<br />
<br />
vs<br />
<br />
aey<br />
<br />
recy<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
HE Annual Dinner should have taken place<br />
before this reaches our readers. We hope<br />
<br />
to give a good account of it in our next.<br />
<br />
The Author’s Club is now in full working order<br />
in its temporary premises, 17, St. James’s Place,<br />
St. James’s Street. Intendirg members should<br />
forward their names immediately to the secretary.<br />
The full subscription for the year is not called up.<br />
<br />
<br />
<br />
Here is a case which has recently happened.<br />
A novelist has spent some months in working a<br />
story based upon an idea which is strong, effec-<br />
tive, and, as he fondly believed, perfectly new.<br />
That a man should believe any story to be<br />
perfectly new shows a certain credulity. He<br />
has now finished his novel and has made ex-<br />
cellent arrangements about its appearance. But<br />
he has learned, to his dismay, that the perfectly<br />
new and strong idea has already—and not so very<br />
long ago—been used by another writer. What is<br />
he to do? Shall he lose his labour? Is the<br />
accident that the same idea has occurred to this<br />
other writer to stand in the way?<br />
<br />
ce nd<br />
<br />
The answer to these questions seems clear. He<br />
did not steal the idea: this can be proved by the<br />
time of his beginning and planning the story.<br />
Nobody can accuse him of plagiarism. Then<br />
what matters? Every writer has his own style,<br />
his own method of treatment ; the two stories will<br />
be fitted with different characters, different<br />
plots. Let this novelist proceed with his story.<br />
Let him, however, if he thinks well, write a<br />
preface stating the facts, otherwise some critic<br />
will find out the resemblance, and will, naturally,<br />
—for such a find happens seldom—crow over<br />
him, jump upon him, and despitefully entreat<br />
him. I do not believe that such an accident will<br />
injure either novel a bit.<br />
<br />
Se ————_<br />
<br />
For instance, about five years ago I wrote a<br />
story turning on the Monmouth Rebellion, which<br />
first appeared in the Illustrated London News.<br />
At the sanie time Mr. Conan Doyle was also<br />
writing a novel on the same event. Both these<br />
novels appeared at the same time. Nobody ever<br />
accused me of stealing my plot from Mr. Conan<br />
Doyle. Certainly, my novel was not injured by<br />
his, and most certainly his was not injured by<br />
mine. “I have read your account of the<br />
Monmouth Rebellion,” said a man to me, “and<br />
now I am going to see what the other chap has got<br />
to say about it.” That the same event should be<br />
treated by two different hands begets curiosity.<br />
There are, however, certain things which must be<br />
avoided. For instance, some twelve years ago, in<br />
writing astory called the “ Chaplain of the Fleet,”<br />
it was resolved to devote two or three chapters to<br />
Tunbridge Wells. It seems incredible that one<br />
should have forgotten the Virginians. But I<br />
went to Tunbridge Wells, stayed there some days,<br />
and read all the books about the place, hunted<br />
up contemporary essays where the place was<br />
mentioned, and, in fact, made myself master of<br />
the subject. When the chapters were all written<br />
<br />
one remembered that Thackeray had made the<br />
place his own, so that all the work went for<br />
<br />
nothing, except to show how carefully and<br />
thoroughly Thackeray had got up the subject.<br />
We must not try to do, over again, what has been<br />
already done by a master. But it would certainly<br />
not deter me from publishing a story of my own<br />
if I learned that another novelist had just<br />
produced a story with the same—or a closely<br />
similar—plot. Just so, in the Royal Academy, we<br />
have the Vicar of Wakefield in one room, the<br />
Vicar of Wakefield in the second room, the Vicar<br />
of Wakefield in the third room, and so on.<br />
Always by the most remarkable coincidence in the<br />
world all the different artists hit upon the same<br />
idea.<br />
<br />
<br />
<br />
i<br />
4<br />
a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 13<br />
<br />
In the March number of the Forwn (London:<br />
E. Arnold) was a paper with my signature on the<br />
work of our Society. It contained very little<br />
that will be found new by those who have fol-<br />
lowed our work, but it is hoped that the<br />
paper has, before this, fallen into the hands of<br />
many who have not. I found, in conversation<br />
with a publisher, that he took exception to one<br />
passage in the article. It is this, “ the first ’—<br />
way of cheating under a certain head—“is to<br />
charge for inserting the book in the publisher’s<br />
own catalogues and lists, which cost him<br />
nothing.” ‘ My lists,” said the publisher, “ cost<br />
mea great deal.’ Quite so. But the insertion<br />
of any book in the list costs nothing, or a few<br />
pence. He has no right to charge for this in-<br />
sertion as an advertisement, because a list isa<br />
part of his machinery. He does not charge for<br />
his rent, his furniture, his clerks. These are<br />
part of his services: they do that part of his<br />
work which he cannot do with his own hands.<br />
A solicitor does not charge for his clerks, nor<br />
does an engineer charge for his draughtsmen;<br />
they are part of the machinery. It is high time<br />
that this should be made quite clear.<br />
<br />
SS<br />
<br />
In Mr. Lecky’s observations, made at the dinner<br />
of the Royal Literary Fund (quoted p. 24), there<br />
appears to be a certain confusion of ideas, owing<br />
partly to the power of an epigram, partly to the<br />
prevailing ignorance in which the material<br />
interests of literature have been so long wrapped<br />
up. The epigram was that “the books which<br />
live are not the books by which authors live.”<br />
Well, but what does that mean? Shakespeare<br />
and all the Elizabethan dramatists lived by their<br />
books; Dryden, Pope, Addison, Prior, Steele,<br />
lived by their books. Johnson and Goldsmith<br />
lived by their books; Southey, Leigh Hunt,<br />
Wordsworth, lived by their books; Macaulay<br />
made a fortune by his books; Carlyle, Dickens,<br />
Thackeray, George Eliot, have lived by their<br />
books. We need not mention other novelists<br />
who live by their books, because perhaps ordinary<br />
stories are not the books which will live; but<br />
surely the epigram has very little foundation.<br />
<br />
<br />
<br />
Again, at all these dinners there is a suggestion<br />
of the great genius in distress because the public<br />
will not buy his books. Well, that is nonsense,<br />
because the reading public is wise enough and<br />
clever enough to discern the great genius and<br />
even the little genius as soon as ever he appears.<br />
For instance, Messrs. Stevenson, Rudyard Kipling,<br />
and J. M. Barrie—among others—have not had<br />
long to wait, and have never, so far as we know,<br />
<br />
been in any danger of starvation. In the same<br />
way, Browning always had a following. George<br />
Meredith has always had a following, though with<br />
both these great writers, at first a small following<br />
only. I do not believe that at this moment there<br />
is any single man of letters, in any branch, who<br />
isa neglected and a starving genius. I have sat on<br />
the Board of the Royal Literary Fund—for two<br />
years I was on the council. Without breach of con-<br />
fidence, I may state that during that term, though<br />
there were applications from many unfortunate<br />
men and women of letters, there were none from<br />
anyone of literary position. All were the second<br />
and third-rate writers. Most, indeed, were<br />
greatly to be pitied, and the Fund proved a most<br />
beneficial institution to them; but of not one<br />
could it be said that he or she was a genius in<br />
distress.<br />
<br />
eee<br />
<br />
The “higher form” of literature, Mr. Lecky<br />
said, should not be attempted by a young man<br />
unless he possesses an income—or makes an<br />
income—outside that work. As a rule nobody<br />
proposes at the outset to live by literature of any<br />
form. What are the “ higher forms” and what<br />
are the lower? I can see no “ higher form” of<br />
literature at all unless it be poetry. That seems<br />
to me the very highest form of literature. But<br />
for the rest—history, philosophy, essays, bio-<br />
graphy, fiction, the drama, criticism—which of<br />
these forms is higher than the other? None, so<br />
far as I can discover. At the outset the future<br />
author is always something else. Very often<br />
most often—he is a journalist; or he has been<br />
trained for some profession; he is a secretary ;<br />
he is a clerk in the city. If he is going to be a<br />
writer of “solid” literature, he is a professor or<br />
lecturer, a Fellow of his college, a teacher of some<br />
kind. The writer who begins by saying “I will<br />
live by making books” is the writer who ends by<br />
making periodical appeals to the Royal Literary<br />
Fund. And of all forms of literary failure this<br />
is the most pitiful and the most hopeless.<br />
<br />
<br />
<br />
<br />
<br />
Here is a suggestive note. In the New York<br />
Critic there are ‘‘ Magazine Notes” every month,<br />
i.e., notes on the papers -which appear in the<br />
various magazines of the month. But they are<br />
all American magazines. In the “ Magazine<br />
Notes” of our own papers the English magazines<br />
are considered—and the American as well. In<br />
other words the American magazines have got a<br />
firm hold on the English public. What hold<br />
have our magazines on the American public?<br />
<br />
<br />
<br />
<br />
14 THE AUTHOR.<br />
<br />
The book of the month is ‘Nada the Lily.”<br />
Mr. Rider Haggard has never, in my opinion,<br />
done anything so good. Here we live among the<br />
savages—we talk-with them, fight with them,<br />
think withthem. That we live in an atmosphere<br />
of barbaric cruelty, lust of blood, murder, sus-<br />
picion, and treachery, is a part of living among<br />
savages at all, To judge from some of the<br />
reviews of the book, the author ought to have<br />
presented his savages in kid gloves drinking<br />
afternoon tea; or, as our noble savage has too<br />
often appeared, as a nineteenth century gentle-<br />
man of dark skin, with no clothes, and imperfectly<br />
armed with a tomahawk or a hatchet, but of<br />
irreproachable personal habits and great bravery.<br />
We must take the nineteenth century civilisation<br />
out of the noble savage altogether; we must live<br />
with him as he is, not as the romantic schoolgirl<br />
would like to have him; we then get Nada the Lily.<br />
One would not recommend it to the romantic<br />
schoolgirl—though there is nothing to raise the<br />
blush on that fair young cheek. For men the<br />
book is virile, and true, and pitiless. As for the<br />
fighting, it is Homeric.<br />
<br />
<br />
<br />
G. W.S. in the Zribune calls attention to what<br />
he thinks is a growing coldness on the part of<br />
this country to the people of the States. Among<br />
other causes he mentions one that will surprise<br />
many of us. He thinks that we are jealous of<br />
the growing literary superiority of Americans.<br />
This, he thinks, makes us feel small. We are<br />
mortified because we have no one worthy to<br />
stand up beside Howell, James, and others.<br />
He is quite wrong. American authors may be<br />
far ahead of us, but, such is our insular conceit,<br />
our wooden-headed conceit, our besotted blind-<br />
ness, that we have not yet begun to think of<br />
American writers as superior to our own.<br />
Howell? James? Very good men, both. But<br />
what of Blackmore, Black, Hardy, Barrie, Steven-<br />
son, Rudyard Kipling, Rider Haggard, Hall<br />
Caine, Mrs. Oliphant? What of Tennyson,<br />
Swinburne, Austin Dobson, Andrew Lang,<br />
Morris, Arnold? We really are not in the least<br />
jealous. If the Americans think their team<br />
better than ours, we cannot prevent them. We<br />
will even bow to their opinion—in their company.<br />
In our own, we look round us and we smile.<br />
Insular conceit! No doubt the American<br />
opinion is right. But, right or wrong, the truth<br />
is that we are not in the least jealous of our<br />
American brethren on that ground.<br />
<br />
Watter Brsant.<br />
<br />
<br />
<br />
es<br />
<br />
FEVILLETON. |<br />
<br />
<br />
<br />
His One Srory.<br />
<br />
T came out ten years ago. The author was a<br />
young medico—general practitioner in a<br />
little country town—the Red Lamp man.<br />
<br />
He bought the practice with the last few hundreds<br />
of the thousand pounds with which he started. It<br />
was not an extensive practice because the people<br />
in that neighbourhood never had any illness and<br />
never died. It was alarge district; there were a<br />
good many people who looked to him as the only<br />
doctor accessible ; he had a dog-cart and he drove<br />
long distances to see his patients; but the income.<br />
was small and the prospect was gloomy. To drive<br />
along narrow lanes with lovely hedges on either<br />
side, ina lovely country on errands of mercy would<br />
seem anideal life. Butthe dog-cart costs money ;<br />
the horse demands oats; the man himself wants<br />
food and drink and tobacco; and the weather is<br />
not always desirable for driving in a dog-cart.<br />
However, the young man wenton; he was young;<br />
he was strong; he was as yet unmarried; while<br />
there is youth there is hope; something would<br />
happen; something sometimes does happen to<br />
some people; but rarely to the G. P. of a country<br />
town; or to the vicar of a country parish—where<br />
they find themselves, there they remain until the<br />
end.<br />
<br />
Something happened to this young man. As<br />
he drove along the lanes day after day, he became<br />
possessed of a single thought which seized him,<br />
held him, haunted him, and talked to him, so<br />
that he no longer marked the flight of the birds<br />
or the song of the skylark, or the cry of the corn-<br />
crake, or the flowers in the hedge, or the corn in<br />
the fields, or the passing of the seasons—he forgot<br />
them all in order to listen to his thought. A great<br />
thought it was; not that something might happen,<br />
but that something was actually happening, and<br />
to himself—something grand—something wonder-<br />
ful—something unexpected—and to himself, the<br />
simple, obscure Red Lamp man. :<br />
<br />
The strange part of the thing is, that this<br />
young man had never before suffered in any way<br />
from excess of imagination. He was eminently<br />
a scientific young man. Had he experienced the<br />
prickings and pullings, and shovings of the imagi-<br />
native temperament, he would probably have<br />
attributed the symptoms to gouty acidity, and<br />
treated himself accordingly. It has now, we all<br />
know, been acknowledged that a gouty tendency<br />
is closely connected with the imaginative tempera-<br />
ment. He had never essayed to write a poem, a<br />
tale, or a play. He had never thought it possible<br />
that he could write anything, except, perhaps—<br />
a thing he sometimes contemplated—a treatise on<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. ts<br />
<br />
some disease. And how could he do that in a<br />
country town where there was no disease? ‘On<br />
Longevity, as induced by habits of habitual in-<br />
toxication,’ was a subject which he felt he could<br />
tackle from his village experience. ‘On vice of<br />
all sorts, accompanied by immunity from disease,”<br />
he also felt himself becoming qualified to treat.<br />
But that scientific essay, which should launch<br />
his name upon the sea of fame, he felt that he<br />
was growing daily less and less qualified to under-<br />
take.<br />
<br />
Therefore, as he never expected to do imagina-<br />
tive work, he suffered this thought to take posses-<br />
sion of him without entertaining any suspicion,<br />
and by the time that it held him tightly in its<br />
grasp so that it could not be thrown off, he was<br />
perfectly pleased and contented with it.<br />
<br />
Hiverybody must acknowledge that it was a<br />
very fine, stimulating, elevating, noble thought<br />
quite the kind of thought to prevent a young<br />
G.P. in small practice from getting disheartened,<br />
He imagined, in fact, that the unexpected had<br />
happened to him. It—she—came in the shape<br />
of a woman—young—beautiful—unknown—who<br />
took lodgings at a farm-house, went nowhere but<br />
to church, knew nobody, received no visits, was<br />
apparently in easy circumstances, and _ received<br />
no letters. She was the mysterious Maiden of<br />
romance. Then she fell ill; then he was sent<br />
for; then he won her confidence ; then she told<br />
her story—oh! such a story—a story at the<br />
telling of which every sword would leap of its<br />
own accord out of the scabbard and jump about<br />
like anything, flourishing and threatening ; then he<br />
became her champion—and—and—but every story<br />
told in this brief fashion is ridiculous. This story<br />
shall not be so mutilated and destroyed. Suffice<br />
it to say that the story was full of romance; as<br />
full of romance as a story can be in these days,<br />
which are supposed by people who have no ima-<br />
gination to be unromantic. Now, after many<br />
months during which this story filled the young<br />
doctor’s brain, there came a time when he must<br />
needs write it down. Remember that he had never<br />
before thought of writing anything down. But<br />
there comes a time when, if a man has such a<br />
thought, he must write it down. He cannot<br />
choose but write it down. If he refuses, his story<br />
turns into bitterness and gall; it is worse than<br />
gouty acidity ; it is worse than suppressed gout.<br />
Suppressed novel is an obscure disease, never yet<br />
treated at all, of which all that is known is that<br />
it generally kills unless it maddens.<br />
<br />
The Doctor, therefore, wrote his story. Now the<br />
hero was himself; he put himself into the pages ;<br />
he put the whole of himself; he put the best of<br />
hinself, but he did not hide the rest of himself.<br />
Consequently, it was a magnificent character that<br />
<br />
<br />
<br />
he drew. Magnificent, says the maxim, is truth.<br />
And, though he little suspected it, he wrote a<br />
very true, powerful, and striking story. It still<br />
lives on the bookstall and still sells at the railway<br />
station; it is a book which will remain a long<br />
time ; perhaps it will not quite die for genera-<br />
tions. When the story was finished there<br />
followed a time of great flatness, because he had<br />
cleared out his brain; no more visions remained<br />
there ; no splendid thoughts were left; he had<br />
nothing to think about; he drove about the lanes<br />
as of old, listening to the birds, watching the<br />
flowers, marking the passing of the season; and<br />
he was horribly dull.<br />
<br />
Then he sent his story up to London. He<br />
chose, as happens to the modest beginner, a<br />
person of the baser sort for his publisher. This<br />
man promptly wrote back to say that his reader<br />
had reported so favourably of the work that he<br />
was able to offer the following exceptional terms:<br />
The author to pay a quarter of the cost of the<br />
production, and to get a quarter of the profits;<br />
the publisher to find the rest. ““P.S. The present<br />
offers the best chance in the whole year for the<br />
appearance of such a work.” The author’s quarter<br />
share of the cost was set down at £75. The<br />
Doctor scraped together the money.<br />
<br />
Now, though the publisher was a thief and a<br />
rogue, though the fourth part of the cost should<br />
have been £25 at the outside, though with the<br />
returns the publisher cheated right and left, he<br />
could not wriggle out of the fact that the work<br />
was really a great success, and that he must send<br />
some money to his client. Besides, it was politic.<br />
In the first year, the doctor made £150 by his<br />
work, and saw his way, as he thought, to a steady<br />
little income. So far, good. Unfortunately<br />
an old friend wrote to him; pointed out that he<br />
was in the worst possible hands; that the man<br />
who had written so good a book could write<br />
another; that he had a name already; and that<br />
if he would come to town, he would himself place<br />
him in better hands. He obeyed; he went to<br />
London; he resolved upon a literary career; he<br />
sold his practice; he engaged to write a second<br />
novel.<br />
<br />
* * * * *<br />
<br />
I met this ex-G. P. the other day; he was<br />
standing among the secondhand bookshops in<br />
Holywell-street. His appearance was seedy and<br />
miserable to the last degree ; his face was dejected ;<br />
his looks were hungry. For old acquaintance<br />
sake I lent him what he asked. He left me and<br />
entered a tavern. This poor man had but one<br />
story to tell; he told it, and was cheated out of<br />
it. He received a commission to write another,<br />
and he failed ; his failure was dismal. For, you<br />
see, he had put the whole of himself and the<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
oo<br />
i)<br />
<br />
Dorna AND SUFFERING: Memorials of Elizabeth and<br />
Frances, daughters of the late Rev. E. Bickersteth. By<br />
their sister, with a preface by the Bishop of Exeter.<br />
Sampson Low.<br />
<br />
Walter Savage Landor: A<br />
<br />
Evans, Epw. WATERMAN. a :<br />
Putnam’s Sons, Bedford<br />
<br />
Critical Study. Gua.<br />
Street. §s.<br />
<br />
Prrcy, Litt. D. New Chapters in Greek<br />
Historical results of recent excavations in<br />
With illustrations. John<br />
<br />
GARDNER,<br />
History.<br />
Greece and Asia Minor.<br />
Murray. 15s.<br />
<br />
Irwin, Ricwarp B. History of the Nineteenth Army<br />
Corps. G. P. Putnam’s Sons, Bedford Street.<br />
<br />
Jenkins, R. C., M.A., and Brrcu, W. P. The Burial-<br />
place of St. Ethelburga the Queen, in Lyminge<br />
(633-647) ; a brief account of its discovery and of<br />
the subsequent history of the church (965-1527).<br />
Folkestone. 6d.<br />
<br />
A History of England in the Eighteenth<br />
Vol. 5. Longmans. 6s.<br />
<br />
Lecxy, W. E. H.<br />
Century. New Edition.<br />
<br />
Levey, G. Contrns, C.M.G. Hutchinson’s Australasian<br />
Encyclopedia, containing a description of all places in<br />
the Australasian colonies, an account of events which<br />
have taken place in Australasia from its discovery to<br />
the present date and the biographies of distinguished<br />
early colonists. Hutchinson, Paternoster Square.<br />
78. Od.<br />
<br />
Lovett, RICHARD.<br />
Diaries, Letters, and Reports.<br />
<br />
James Gilmour of Mongolia: His<br />
Edited and arranged<br />
<br />
by. With three portraits, two maps, and four illustra-<br />
tions. Religious Tract Society.<br />
<br />
Mermorrs OF THE PRINCE DE TALLEYRAND. Edited, with<br />
a preface and notes, by the Duc de Broglie, of the<br />
French Academy. ‘Translated by Mrs Angus Hall.<br />
Vol. V., completing the work. With a portrait.<br />
Griffith, Farran.<br />
<br />
Pixe, G. Hotpen. The Life and work of Archibald G.<br />
<br />
Brown, Preacher and Philanthropist. With an intro-<br />
duction by Sir 8. Arthur Blackwood, K.C.B. Paper<br />
<br />
covers. Passmore and Alabaster. 1s. 6d.<br />
Ramsey, Samvuren. The English Language and English<br />
<br />
Grammar : an historical study of the sources, develop-<br />
ment, and analogies of the language, and of the prin-<br />
ciples governing its usages. G. P. Putnam’s Sons,<br />
Bedford Street.<br />
<br />
158.<br />
<br />
A History of Water-Colour<br />
Sampson Low.<br />
<br />
REDGRAVE, GILBERT R.<br />
Painting in England.<br />
<br />
Snorer, T. W. A History cf Hampshire, including the<br />
Isle of Wight. Popular County History Series. Elliot<br />
Stock, Paternoster Row. 7s. 6d. (to subscribers 6s.)<br />
<br />
SAINTSBURY, GEORGE. The Earl of Derby. (‘The Prime<br />
Ministers of Queen Victoria.’’) Sampson Low.<br />
<br />
SaLA, Mrs GeorGe Avaustus. Famous People I have Met.<br />
With fac-simile letters. Osgood, M‘Ilvaine. 6s.<br />
<br />
Epiru. The Wars of York and Lancaster,<br />
“English History by Contemporary<br />
Arranged and edited by David Nutt. 1s.<br />
<br />
TwrEtvE Men or To-pay. With portraits. Reprinted<br />
from the Home News for India, China, and the Colonies.<br />
Chapman and Hall. Paper covers, Is.<br />
<br />
THOMPSON,<br />
1450-1485,<br />
Writers.”<br />
<br />
AUTHOR.<br />
<br />
in ‘the Seventeenth<br />
Century, including the History of the Edict of Nantes,<br />
from its Enactmentin 1598, to its Revocation in 1685.<br />
Simpkin, Marshall.<br />
<br />
TyLtor, CHARLES. The Huguenots<br />
<br />
Memoirs of The Verney Family<br />
Compiled from the letters, and<br />
2 vols.<br />
<br />
Verney, FrAnces P.<br />
during the Civil War.<br />
illustrated by the portraits at Claydon House.<br />
Longmans. 42s.<br />
<br />
Wuire, Rev. GILBERT.<br />
Vol. II. Cassels’ National Library.<br />
<br />
<br />
<br />
The Natural History of Selborne.<br />
Cloth, 6d.<br />
<br />
General Literature.<br />
<br />
ApsTRACT OF A JOURNAL OF Vicror Huao, AN,<br />
“ Journal de Exil.” With a description of an exten-<br />
sive correspondence extending over nearly 50 years,<br />
addressed to Victor Hugo. Extract from the original<br />
MSS. in French, in possession of Samuel Davey.<br />
Printed for private circulation. 8. J. Davey, the Archi-<br />
vist office, Great Russell Street.<br />
<br />
Apams, Francrs. Australian Essay. New Editions.<br />
<br />
Griffith, Farran. Is.<br />
<br />
AIKMAN, C. M.<br />
tion, and treatment.<br />
<br />
Farmyard Manure; its nature, composi-<br />
Blackwood, Edinburgh and Lon-<br />
<br />
don. ts. 6d.<br />
ALEXANDER Nispet’s Heraupic Puartess, originally<br />
<br />
intended for his “‘ System of Heraldry,” lately found in<br />
the library of William Eliott Lockhart, Esq., of Cleg-<br />
horn, now introduced with introduction and _ notes,<br />
genealogical and heraldic. By Andrew Ross, March-<br />
mount Herald, and Francis J. Grant, Carrick Pursui-<br />
vant. George Waterson and Sons, Edinburgh. Only<br />
200 copies printed for sale and 45 for presentation.<br />
<br />
Companions: a Story in<br />
Punch. With illustrations<br />
Longmans. 5s.<br />
<br />
Anstry, F. The Travelling<br />
Scenes. Reprinted from<br />
by J. Bernard Partridge.<br />
<br />
AssireR, Harry G. Some Notes on the New Public<br />
Health Act for London. With an Appendix on Lon-<br />
<br />
don Fog and Smoke, Sanitary Appliances, &c. Crosby<br />
Lockwood. Paper covers, 6d.<br />
<br />
Bacon’s Cyctina Roap Map or ENGLAND. Complete<br />
in seven sheets. From the Ordnance Survey. G. W.<br />
<br />
In case, 1s. each. On flexible<br />
On cloth cut, to fold, 3s. 6d.<br />
<br />
Bacon and Co., Strand.<br />
cloth, 2s. 6d. each.<br />
each.<br />
<br />
The Beam; or, Technical Elements of<br />
Chapman and Hall. 4s.<br />
<br />
With numerous<br />
<br />
Baker, W. LEwIs.<br />
Girder Construction.<br />
<br />
Bau, Sir Ropert S. In Starry Realms.<br />
<br />
illustrations. Isbister and Co., Tavistock Street.<br />
7s. Od.<br />
<br />
Barter, S. Woodwork: the English Sléyd. With<br />
illustrations. Whittaker, White Hart Street, E.C.<br />
7s. 6d.<br />
<br />
BrerHamM-Epwarps, M. France of To-day. A Survey,<br />
comparative and retrospective. In 2 vols. Vol. 1.<br />
Percival and Co., King Street, W.C. 7s. 6d.<br />
<br />
Buackpurn, Henry. Academy Notes, 1892. With<br />
<br />
illustration of the principal pictures at Burlington<br />
House. Edited by. The New Gallery, 1892: a com-<br />
plete illustrated catalogue of the summer exhibition<br />
at the New Gallery, with notes. Chatto and Windus.<br />
Paper covers. Is. each.<br />
<br />
<br />
THE<br />
<br />
Henry. The<br />
Simpkin Marshall.<br />
<br />
Royal Academy. Bijou.<br />
Paper covers. 6d.<br />
<br />
BLACKBURN,<br />
Edited by.<br />
<br />
Book Prices Current. A record of the prices at which<br />
books have been sold at auction from December, 1890,<br />
to November, 1891. Vol. 5. Elliot Stock.<br />
<br />
Bourinot, J. G. Parliamentary Procedure and Practice :<br />
with a Review of the Origin, Growth, and Operation of<br />
Parliamentary Institutions in the Dominion of Canada.<br />
Second edition, revised and enlarged. Sampson Low.<br />
<br />
Browntow, W. R.,M.A. Lectures on Slavery and Serfdom<br />
<br />
in Europe. Burns and Oates. 33s. 6d.<br />
Catrp, Pror. Essayson Literature and Philosophy. Two<br />
vols. James Maclehose and Sons, Glasgow. 8s. 6d.<br />
<br />
CaMPAIGN GuIDE, THE; an Election Handbook for<br />
Unionist Speakers. Part I., Conservative and Unionist<br />
Work. Part II., Election Problems. Prepared by a<br />
committee of the Council of National Union of Conser-<br />
vative Associations for Scotland. David Douglas,<br />
Edinburgh. Simpkin, Marshall.<br />
<br />
CastLE, EGERTON. Schools and Masters of Fence, from<br />
the Middle Ages to the end of the 18th Century, with a<br />
complete bibliography and illustrations. A new and<br />
revised edition. George Bell. 7s. 6d.<br />
<br />
CHURCHILL, LoRD RANDOLPH. Men, Mines, and Animals<br />
in South Africa. By Sampson Low.<br />
<br />
CurirE, H. H. T. England’s Greatest National Sin.<br />
Being selections and reflections on our Asiatic opium<br />
policy and traffic. Elliot Stock. Paper covers.<br />
<br />
CONTRIBUTIONS TOWARDS A DICTIONARY OF ENGLISH<br />
Boox CouuectTors, as also of some foreign collectors<br />
whose libraries were incorporated in English collections,<br />
or whose books are chiefly met with in England.<br />
Part I., The Libraries of Thomas Cranmer, Archbishop<br />
of Canterbury (1489-1556), andof Bilibald Pirkheimer,<br />
of Nuremberg (1470-1530). Bernard Quaritch. Paper<br />
covers, Is. 6d.<br />
<br />
Corron, J. S. Mountstuart Elphinstone, and the Making<br />
of South-Western India. (Rulers of India Series,<br />
edited by Sir W. W. Hunter.) At the Clarendon Press,<br />
Oxford. 2s. 6d.<br />
<br />
CROCKFORD’S CLERICAL Directory for 1892. Horace<br />
<br />
Cox, Bream’s Building’s, H.C. 15s.<br />
<br />
Curzon, L. Henry. A Mirror of the Turf; or, the<br />
Machinery of Horse Racing Revealed, showing the<br />
Sport of Kings as it is to-day. Chapman and Hall.<br />
8s.<br />
<br />
Durry, Sir C. Gavan. A Fair Constitution for Treland.<br />
Second edition. With an appendix containing the<br />
opinion of Unionist, Liberal, and Nationalist journals<br />
on the proposal. Sampson Low. Paper covers.<br />
<br />
The Question of Silver. Questions of<br />
G. P. Putnam’s Sons, Bedford Street.<br />
<br />
ExricH, Louis.<br />
the Day Series.<br />
38.<br />
<br />
EncGuiisH Botany; or Coloured Figures of British Plants.<br />
Supplement to the Third edition. Part I. (Orders 1-22)<br />
George Bell and Sons. 53.<br />
<br />
EPHRAEMSON, JuLIUS. Colonel Howard Vincent, M.P.,<br />
and his United Empire Trade League: a reply. Second<br />
edition. Brear and Co., Bradford. Paper covers, 3d.<br />
<br />
AUTHOR.<br />
<br />
33<br />
<br />
Evans, Joun. Posy-Rings; a Friday evening discourse at<br />
the Royal Institution of Great Britain, March 25, 1892.<br />
Longmans. Paper covers, 6d.<br />
<br />
Farrar, F. W. Darkness and Dawn, or Scenes in the Days<br />
of Nero. A historic tale. Third edition. Longmans.<br />
7s. Od.<br />
<br />
Fietpine, Henry. The Journal of a Voyage to Lisbon.<br />
With Introduction and Notes by Austin Dobson.<br />
Charles Whittingham and Co., the Chiswick Press.<br />
qs. 6d. and 153s.<br />
<br />
Fovur1ntuéE, ALFRED. Education from a National Stand-<br />
point. Translated and edited, with a preface, by W. J.<br />
Greenstreet, M.A. International Education Series.<br />
Edward Arnold. 7s. 6d.<br />
<br />
FRoupE, JAMES ANTHONY.<br />
Armada, and other Essays.<br />
<br />
The Spanish Story of the<br />
Longmans. 12s.<br />
<br />
GALE, Caprain W. A. Professional Papers of the Corps<br />
of Royal Engineers. Edited by. Occasional Papers.<br />
Vol. XVII., 1891. Mackay and Co., Chatham.<br />
<br />
GARDINER, B. W. Royal Blue Book.<br />
tory and Parliamentary Guide.<br />
dish Square. 5s.<br />
<br />
Fashionable Direc-<br />
Princes Street, Caven-<br />
<br />
of Comfort :<br />
Compiled by. Seeley,<br />
<br />
GIBERNE, AGNES. Beside the Waters<br />
Thoughts from many minds.<br />
Essex Street, Strand.<br />
<br />
Goutr. A weekly record of ‘‘ Ye Royal and Auncient ”’ Game.<br />
Vol. iii. Golf Office, Copthall Avenne.<br />
<br />
GRADUALE SARISBURIENSE : fac-similes of the first half of<br />
the MS. in the British Museum. Three hundred copies<br />
printed. Bernard Quaritch—for the Plainsong and<br />
Medixyval Music Society.<br />
<br />
Grey, Earu. The Commercial Policy of the British Colo-<br />
<br />
nies and the McKinley Tariff. Macmillan. Paper<br />
covers, Is.<br />
GUIDE TO ELECTORAL CHANGES SINCE 1886, A: forming<br />
<br />
a Supplement to Stanford’s Handy Atlas and Poll<br />
Book. Stanford. 1s.<br />
<br />
HERRING, W. R. The Construction of Gasworks, practi-<br />
cally described, with specially prepared plates, illustra-<br />
tions, and numerous tables. Hazell, Watson, and Viney,<br />
Creed Lane.<br />
<br />
HiILiiArp, Henry W. LL.D. Politics and Pen Pictures at<br />
home and abroad. G. P. Putnam’s Sons, Bedford<br />
Street. 12s. 6d.<br />
<br />
Houe, Dean. A Little Tour in Ireland.<br />
with illustrations by John Leech.<br />
Arnold, 37, Bedford Street, W.C.<br />
<br />
Hout, Dean. A Book about the Garden and the Gardener.<br />
Edward Arnold. 6s.<br />
<br />
By an Oxonian,<br />
10s. 6d. Hdward<br />
<br />
HouNsELL, BERNARD. Coach Drives from London. Sea-<br />
son 1892. ‘“ Benedick’ of the Sportsman. ‘The<br />
<br />
Road” Office, Strand.<br />
<br />
I. E. B.C. The Angler’s Diary and Tourist Fisherman’s<br />
Gazetteer of the Rivers and Lakes of the World.<br />
Horace Cox, The Field Office, E.C. 1s. 6d.<br />
<br />
Paper covers, Is.<br />
<br />
ILLUSTRATED CATALOGUE OF THE PARIS SALON, THE,<br />
containing over 300 reproductions in fac-simile, after<br />
the original drawings of the artists. Authorised and<br />
approved by the Minister of Public Instruction and<br />
Fine Arts. Chatto and Windus. Paper cover, 3s.<br />
<br />
<br />
<br />
<br />
<br />
<br />
16 THE<br />
<br />
woman of his dreams into his first book, and he<br />
had nothing else to put; a man has got only one<br />
self; to such a man as this comes but one vision<br />
of a divine woman. Yet a man may fail once in<br />
literature ; of such failures there are many, even of<br />
good men. He was tried again—and a fourth time.<br />
But it was no use. He had but one story to tell,<br />
and he had told it. And how he lived; by what<br />
shifts; and how low he sank; and into what<br />
companionship he fell; and in what ditch -he will<br />
die—nay—in what hospital he will die—all these<br />
things belong to the undiscovered chronicles: the<br />
Book of the Things Left Out.<br />
<br />
es<br />
<br />
THE LITERARY HANDMAID OF THE<br />
CHURCH.<br />
<br />
<br />
<br />
of May last. It was im St. James’s Hall,<br />
and it has been, for some unknown reasons,<br />
imperfectly reported. Neatly attired in a dress<br />
of grey nun’s cloth, with a white cap and a high<br />
white apron, and having a gold cross hanging<br />
from her neck, her face still apparently in its first<br />
youth, comely as Jerusalem, beautiful as Tirzah,<br />
the Rose of Sharon, the Lily of the Valley, even<br />
as the Lily among Thorns, stood before them<br />
all, the Literary Handmaid of the Church. But<br />
her eyes were red with weeping, and her cheek<br />
was ashamed and aflame, and she bowed her head,<br />
and thus she spoke, whispering and sobbing:<br />
“‘ Hear me, my brothers, hear me! I have done evil<br />
in the face of all the world, because I have loved<br />
money rather than righteousness, because, always<br />
to get more and more money, I have sweated the<br />
helpless and had no pity for the needy; because I<br />
have taken the work, the toil of the head and<br />
the hand, from the poor gentlewoman who cannot<br />
somplain, from the poor author who dares not<br />
complain, and have given them back, not what<br />
should be theirs by right, but a miserable dole<br />
and a scanty pittance, and bade them go work<br />
again for less. Yea, I have gained threefold,<br />
fourfold, tenfold, of what I gave them, and I<br />
repented not, but still grew greedier and more<br />
cruel, and harder and more unjust. As the<br />
needlewoman is sweated by her master, so have<br />
my company of authors been sweated by me—by<br />
the Literary Handmaid of the Church—yes—<br />
pious women, and godly, full of Christian graces,<br />
I have sweated them; I have sweated them!<br />
Woe is me!” She bowed her head, and wept<br />
before them all. Then she fell upon her knees.<br />
“ Forgive me,” she cried ; “ I will no longer be<br />
a sweater. Help me, you who know, help me in<br />
<br />
Sr held a public meeting on Friday, the zoth<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
the cause of righteousness—help me to repentance.<br />
What matter though we found bishoprics and<br />
distribute tracts if the money has been made by<br />
the sweat and the groans, and the labour of those<br />
who work for us? The Lord will enter into<br />
judgment with the ancients of His people—even<br />
with us—for the spoil of the poor isin our House.<br />
Therefore let us hasten to make reparation ; let<br />
us give back all that we have wrongfully kept ;<br />
let us deal righteously with our workers, even<br />
though we issue few Bibles and build no Sunday-<br />
schools at all. To what purpose is the multitude<br />
of Bibles? It is written, “Put away the evil<br />
of your doings; seek judgment; relieve the<br />
oppressed; plead for the widow. My brothers,<br />
I have sinned!”<br />
<br />
So she bowed her face to the ground, weeping<br />
and crying. And all the people lifted up their<br />
voices, and wept with her. And they arose and<br />
took the Princes, even those who stood on a high<br />
place around the Handmaid, and thrust them<br />
forth from the gates, crying, “ Woe unto you<br />
that call evil good, and good evil! That put<br />
bitter for sweet, and sweet for bitter!” And<br />
when they turned them again, lo! the Handmaid<br />
of the Church stood upright once more, and her<br />
face shone with light, and she sang aloud her joy<br />
<br />
- because she had put away her sweating, and<br />
<br />
chosen righteousness. And all the people rejoiced<br />
with her, and they sang hymns and praises, with<br />
thanksgiving.<br />
<br />
spect<br />
<br />
<br />
<br />
IN THE NAME OF THE PROPHET—GLOVES.<br />
<br />
SS<br />
<br />
HE following letter has been sent to the<br />
Prophet. It is mortifying to relate that<br />
he received it in an uncongenial and un-<br />
<br />
sympathetic spirit. He even sent back the box of<br />
gloves which it contained with a cold, curt,<br />
unkind refusal to advertise the glove man in<br />
the way suggested. Yet surely it was a most<br />
liberal offer. An author—a mere Grub Street<br />
man—actually refuses a box of expensive gloves,<br />
offered him for nothing! Why, although his<br />
daughters may be unaccustomed to kid, and<br />
better acquainted with thread, he might at least<br />
have sold them to his kind and generous patron,<br />
the publisher! Absurd! In this paper we must<br />
publicly apologise to the glove man for the rude-<br />
ness of the author. Of course the enterprising<br />
merchant only behaved as anybody else would<br />
have done. The whole world knows how hard up<br />
weare. Anauthor is of no account. However,<br />
let him try again. All Grub Street is open to him.<br />
The others will perhaps behave quite differently.<br />
And think of the advertisement! Copies of his<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 17<br />
<br />
books to lie about the glove man’s beautiful show<br />
rooms.<br />
<br />
© A. B., Hse.<br />
‘“ DEAR SIR,<br />
<br />
‘“‘T am taking the liberty of forwarding a<br />
sample or two of my gloves, and shall esteem it<br />
a favour if you will allow a lady friend or two to<br />
try them (I will, of course, exchange them for any<br />
other size, if these sent should not happen to be<br />
right), and if you are pleased with their fit, &C.,<br />
you perhaps might have an opportunity of bring-<br />
ing in my name when writing some of your new<br />
works, as being a meeting-place in London for<br />
ladies, which is really so, my show-rooms on the<br />
first floor, where all the Paris, Vienna, Brussels,<br />
and other foreign makes of gloves, fans, &c., are<br />
kept, i3 frequently crowded with the very best of<br />
London Society.<br />
<br />
“T was reading one of your books when this<br />
thought occurred to me that it would give a tone<br />
of reality to the reading, the name and address of<br />
my house being so well known.<br />
<br />
“Should you be pleased to give this suggestion<br />
athought, I shall be happy to show you my rooms<br />
and the class of goods also. If you called at a<br />
busy time of day, you could then form your own<br />
opinion as to the class of ladies patronising my<br />
place, and on my side, I shall be pleased to supply<br />
you with one dozen pairs of any kind of gloves<br />
you might think fit to select, and will also keep<br />
some of the books laying about the show-room.<br />
<br />
“ T am, dear Sir,<br />
“ Faithfully yours,<br />
eG).<br />
<br />
The following is the cruel reply referred to<br />
above :<br />
<br />
“Mr. A. B. begs to return the parcel of gloves<br />
sent by Mr. C. D. Mr. A. B. must beg to be<br />
excused from advertising himself or Mr. C. D.<br />
in the fashion suggested in Mr. C. D.’s letter of<br />
the 16th instant.”<br />
<br />
<br />
<br />
oe<br />
<br />
We live in deeds, not years; in thoughts,<br />
not breaths ;<br />
<br />
In feelings, not in figures on a dial.<br />
<br />
We should count life by heart-throbs. He<br />
most lives<br />
<br />
Who thinks most, feels the noblest, acts the<br />
best.<br />
<br />
Batuey.<br />
<br />
VOL, III.<br />
<br />
SHAKESPEARE OR BACON.<br />
<br />
<br />
<br />
HE following lines were spoken by Mr.<br />
Joseph Jefferson, the comedian, ata lecture<br />
in “ Dramatic Art” given at Yale College,<br />
<br />
New Haven, on April 27th. They are taken<br />
from the New York Critic of May 7th.<br />
<br />
The question’s this, if I am not mistaken,<br />
<br />
“Did William Shakespeare or did Francis Bacon,<br />
Inspired by genius and by learning too,<br />
<br />
Compose the wondrous works we have in view ?”<br />
The scholar Bacon was a man of knowledge,<br />
<br />
But inspiration isn’t taught at college.<br />
<br />
With all the varied gifts in Will’s possession<br />
The wondering world asks, ‘‘ What was his profession?”<br />
He must have been a lawyer, says the lawyer ;<br />
He surely was a sawyer, says the sawyer ;<br />
<br />
The druggist says, of course he was a chemist ;<br />
The skilled mechanic dubs him a machinist ;<br />
<br />
The thoughtful sage declares him but a thinker,<br />
And every tinman swears he was a tinker.<br />
<br />
And so he’s claimed by every trade and factor ;—<br />
Your pardon, gentlemen, he was an actor !<br />
<br />
And if you deem that I speak not aright,<br />
<br />
Tl prove it to you here in black and white,<br />
<br />
Not by the ink of modern scribes, you know,<br />
<br />
But by the print of centuries ago;<br />
<br />
For he was cast in Jonson’s famous play,<br />
<br />
And acted Knowell on its first essay.<br />
<br />
The buried King of Denmark at the Globe<br />
<br />
He played with Burbage in his sable robe,<br />
<br />
And good old Adam must not be forgot<br />
<br />
In “ As You Like It,” yes—or “‘as you like it not.”<br />
If Bacon wrote the plays, pray, tell me then<br />
Were all the wondrous sonnets from his pen<br />
<br />
Did Bacon, he himself a versifier,<br />
<br />
Resign these lovely lays and not aspire<br />
<br />
To be their author? Lay them on the shelf<br />
<br />
And only keep the bad ones for himself ?<br />
<br />
The argument against us most in vogue<br />
<br />
Is this, that William Shakespeare was a rogue—<br />
His character assailed, his worth belied,<br />
<br />
And every little foible magnified.<br />
<br />
We know that William, one night after dark,<br />
Went stealing deer in lonely Lucy Park,<br />
<br />
We also know Lord Bacon oft was prone,<br />
<br />
To take another’s money for his own.<br />
<br />
Now come, deal fairly, tell me which is worse,<br />
To poach a stag or steal another’s purse ?<br />
<br />
Lord Bacon did confess to his superiors,<br />
<br />
That he had taken bribes from his inferiors.<br />
From his own showing, then, it will be seen<br />
That he both robbed his country and his queen,<br />
A kind of aldermanic Yankee Doodle,<br />
<br />
Who cherished what we understand as boodle.<br />
So if good character is to be the test of it,<br />
<br />
Tt seems to me that William has the best of it.<br />
<br />
If Shakespeare was so poor a piece of stuff,<br />
How is it Bacon trusted him enough<br />
To throw these valued treasures at his feet<br />
And not so much as ask for a receipt?<br />
Such confidence is almost a monstrosity,<br />
And speaks of unexampled generosity.<br />
Oh, liberal Francis, tell us why we find<br />
Pope calling thee the ‘“‘ meanest of mankind” P<br />
Cc<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
18<br />
<br />
But now to Shakespeare let us turn, I pray,<br />
And hear what his companions have to say.<br />
First, then, Ben Jonson, jealous of Will’s wit,<br />
Paid tribute when his epitaph he writ.<br />
If other proofs are wanting than rare Ben’s<br />
We will consult forthwith a group of friends.<br />
Awake! Beaumont and Fletcher, Spenser, Rowe,<br />
Arise ! and tell us, for you surely know:<br />
Was, or was not, my client the great poet?<br />
And if he wasn’t, don’t you think you’d know it?<br />
These, his companions, brother playwrights, mind,<br />
Could they be hoodwinked? Were they deaf or blind ?<br />
I find it stated, to our bard’s discredit—<br />
The author of the Cryptogram has said it—<br />
That Shakespeare’s tastes were vulgar and besotted,<br />
And all his family have been allotted<br />
To herd and consort with the low and squalid ;<br />
But whence the proof to make this statement valid P<br />
They even say his daughter could not read ;<br />
Of such a statement I can take no heed,<br />
Except to marvel at the logic of the slight;<br />
So, if she couldn’t read—he couldn’t write ?<br />
Your statements are confusing, and as such<br />
You’ve only proved that you have proved too much.<br />
The details of three hundred years ago<br />
We can’t accept, because we do not know.<br />
The general facts we are prepared to swallow,<br />
While unimportant trifies beat us hollow.<br />
We know full well<br />
That Nero was a sinner,<br />
But we can’t tell<br />
<br />
What Nero had for dinner.<br />
Now, prithee, take my hand, and come with me<br />
To where once stood the famous mulberry tree.<br />
Then on to Stratford Church, here take a peep<br />
At where the “‘ fathers of the hamlet sleep.<br />
They hold the place of honour for the dead,<br />
The family of Shakespeare at the head.<br />
Before the altar of this sacred place<br />
They have been given burial and grace.<br />
Your vague tradition is but a surmise ;<br />
The proof I offer is before your eyes.<br />
<br />
And oh, ye actors, brothers all in Art,<br />
<br />
Permit me just one moment to depart<br />
<br />
From this my subject, urging you some day<br />
<br />
To seek this sacred spot, and humbly pray<br />
<br />
That Shakespeare’s rage toward us will kindly soften.<br />
Because, you know, we’ve murdered him so often.<br />
<br />
I ask this for myself, a poor comedian :<br />
<br />
What should I do had I been a tragedian ?<br />
<br />
I could pile up a lot of other stuff,<br />
<br />
But I have taxed your patience quite enough;<br />
In turning o’er the matter in my mind,<br />
<br />
This is the plain solution that I find:<br />
<br />
It surely is—“ whoe’er the cap may fit ”»—<br />
Conceded that these wondrous plays were writ.<br />
So if my Shakespeare’s not the very same,<br />
<br />
It must have been another of that name.<br />
<br />
<br />
<br />
<br />
<br />
spec<br />
<br />
13<br />
<br />
14.<br />
15.<br />
16,<br />
17.<br />
18,<br />
<br />
a)<br />
<br />
20.<br />
21.<br />
22.<br />
23.<br />
24.<br />
25.<br />
26.<br />
27.<br />
28.<br />
<br />
29.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
MIXED MAXIMS.<br />
<br />
<br />
<br />
. As a human being, no one is unique; as<br />
<br />
an individual, every one must be.<br />
<br />
. Pessimism is debased phantasy; poetry is<br />
<br />
glorified vitality.<br />
<br />
. An harmony between natural verity, fact,<br />
<br />
and artificial fallacy is often miscalled<br />
“mystery.”<br />
<br />
. Chivalry is the mother-spirit in man.<br />
. Strength without chivalry is near akin to<br />
<br />
devilry.<br />
<br />
. “The age of chivalry” is a matter of<br />
<br />
temperament, not of tense.<br />
<br />
. Romance is not behind, but within.<br />
<br />
. Realised ideals are always the lower ones.<br />
<br />
. Humility is the highway to nobility.<br />
<br />
. The best tense—the perfect tense—lies in<br />
<br />
the future.<br />
<br />
. Selfishness is the soul of sin.<br />
. Motherliness, any more than selfishness, is<br />
<br />
not a matter of sex.<br />
<br />
Truth is the shell of the universe; love is<br />
its soul.<br />
<br />
Better an untruth “in love” than the truth<br />
in selfishness.<br />
<br />
Spitefulness apes truthfulness when used<br />
against the other man.<br />
<br />
Satire strives to alleviate what cynicism<br />
cares only to accentuate.<br />
<br />
Heartless humour is as worthless as is head-<br />
less wit.<br />
<br />
Pure wit is rare as genius; true humour<br />
varied as human hearts.<br />
<br />
Sympathy with vice sometimes poses as<br />
charity for the vicious.<br />
<br />
As love inspires the purest sanctity, so<br />
genius implies the rarest sanity.<br />
<br />
Providence provides opportunity ; man must<br />
supply capacity.<br />
<br />
There is no such thing as a true lovers’<br />
quarrel.<br />
<br />
Jealousy is a soul-eclipse, when earthy self<br />
comes between.<br />
<br />
Love never entered a divorce court, for it<br />
never degraded.<br />
<br />
In a perfect life love is not lieutenant but<br />
general.<br />
<br />
The higher the woman the more of the<br />
child.<br />
<br />
Womanly women elevate, while womanish<br />
women deteriorate.<br />
<br />
A good daughter makes a better wife and a<br />
best mother.<br />
<br />
Harmony makes the divinity of marriage as<br />
of music.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 19<br />
<br />
30. Love owes nothing to any order of man; it<br />
<br />
is the order of the universe.<br />
PHINLAY GLENELG.<br />
<br />
ee<br />
<br />
ODE TO SLEEP.<br />
<br />
——S—-_<br />
<br />
I.<br />
<br />
A shadow thou upon some shadowy strand !<br />
Thine is a starlit land.<br />
Far,—very far away !<br />
<br />
A lotus-land of blissfulness and balm,<br />
Where reigns an endless calm,<br />
And all is dim and grey.<br />
<br />
2.<br />
<br />
There on a couch with slumbrous poppies spread,<br />
Thou pillowest thy head,<br />
And noddest in the gloom !<br />
The drowsy nightshade ever slumbers there<br />
And aconite may dare<br />
Put forth its purple bloom!<br />
<br />
3.<br />
In the dead silence art thou weaving still,<br />
Weaving for good or ill,<br />
Those unimagined dreams<br />
Which mortals know when they shall take their rest,<br />
Called at thy sweet behest,<br />
To lie by Lethe’s streams!<br />
<br />
4.<br />
<br />
For when our hemisphere has lost its sun, :<br />
When the day’s toil is done—<br />
A hush o’er land and sea—<br />
<br />
Then, dost thou range this tired world again,<br />
To carry in the train<br />
The spirits loved by thee!<br />
<br />
5.<br />
Then, armed with poppies, and blue aconite,<br />
And mandrake creamy white,<br />
Thou summonest thine own!<br />
Thou leadest them thro’ glimm’ring weedless ways<br />
To thread the dreamer’s maze<br />
Of labyrinths unknown.<br />
<br />
6.<br />
<br />
The son of labour feels thy wings, O Sleep<br />
Above his pallet sweep<br />
And knows his heaven is nigh!<br />
<br />
But yonder monarch on his bed of down,<br />
Despite his jewelled crown,<br />
Thou proudly passeth by !<br />
<br />
F. B. Doveton.<br />
<br />
NOTES FROM PARIS.<br />
<br />
ITH what a sigh of relief must Emile<br />
\ \ Zola have laid down his pen, three or<br />
four days ago, after writing the word<br />
“ Finis” at the endof La Débacle, a story which,<br />
as he has often told me, has given him more<br />
trouble and exacted more toil than any other of<br />
his books. I would have given a good deal to see<br />
that laying down, and to have had a Kodak with<br />
me. I will wager it was not calmly done, and can<br />
fancy the nervous little man dashing his quill not<br />
unviciously on to the floor, with an “Ouf” and<br />
an ‘‘ Enfin.” He is always m a rage against his<br />
work as he works. In L’@wvre he has described<br />
<br />
his feelings towards the productions of his pen.<br />
<br />
<<< Ss<br />
<br />
That contradiction of feelmgs which is one of<br />
the principal sources of human unhappiness,<br />
manifests itself im us authors most vividly before<br />
and after this writing of the word “ Finis.” How<br />
anxiously looked forward to a consummation,<br />
with what relief and gladness effected, and then<br />
a reaction comes, and one feels as one who has<br />
bid farewell to a dear friend, as a mother must<br />
feel who has borne a child in her arms for long<br />
hours, and who, having set it down and let it go,<br />
regrets the sweet aching and frets against the<br />
unwelcome relief.<br />
<br />
<br />
<br />
I was much amused the other day, in turning<br />
over the leaves of a German magazine, which has<br />
done me the honour of publishing a novel of<br />
mine in German translation, to see that the trans-<br />
lator had altered my dénouement, and with it the<br />
whole import of my story. He makes my hero<br />
commit suicide, who, by my authority, was left<br />
thriving. This upset in toto the solution of the<br />
psychological problem I had worked out. The<br />
German publishers doubtless thought that having<br />
paid their money they might take their choice as<br />
to the ultimate disposal of my hero. I considered<br />
it “ cheek.”<br />
<br />
Se<br />
<br />
It is, however, the sort of “ cheek ” that authors<br />
whose books are reproduced abroad must get<br />
used to. The American pirates, for instance,<br />
seem to consider one’s work much as cooks con-<br />
sider a piece of meat—a dish to be set to the<br />
sauce which shall most tickle their customer’s<br />
palates. Not only do they change titles, but they<br />
revise and often rewrite parts of the text. Your<br />
child comes back to you, often unrecognisable, as<br />
though it had passed through the hands of those<br />
Spanish manufacturers of monstrosities about<br />
which Hugo wrote in “ L’ Homme Qui Rit.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
20<br />
<br />
Hugo’s executors state that in their belief the<br />
Guernsey diary of the master, which was reported<br />
to have been found recently, is a ‘fake,’ was<br />
never written by Hugo, but at most by some<br />
fellow exile, Boswell to his Johnson. I don’t<br />
think Hugo was the man to keep a diary, for<br />
he had other uses for his daily thoughts.<br />
<br />
<br />
<br />
I was Hugo’s next-door neighbour in Guernsey<br />
years ago, living in the house adjoining Haute-<br />
ville House. Our gardens were side by side. I<br />
was a lad. The poet had excellent plums. A<br />
pen fastened to a fishing-rod did the trick. So<br />
differently did Youth on one side and Old Age<br />
on the other side of a garden-wall employ the<br />
instrument which is mightier than the sword.<br />
Hugo, by the way, used to work in a kind of<br />
conservatory on the top of his house, and scan-<br />
dalised the old maids of Hauteville, in the hot<br />
weather, by divesting himself—when in the<br />
fever of composition—of most of his garments.<br />
<br />
—<—<br />
<br />
In England the man who has written a book,<br />
unless this has been a commercial success, is<br />
considered rather an ass, and will hide the fact<br />
rather than make it known. The contrary is the<br />
case in France. To have published a book, no<br />
matter whether ten or ten thousand copies of it<br />
were ‘“‘ taken up,” is to a man’s credit—gives him<br />
a status and consideration. Many pass their<br />
lives, satisfied with the dim aureole “ d’avoir été<br />
édité,” round their heads. It is as good—in the<br />
literary cafés and circles—as the violet ribbon in<br />
the button-hole. In France the littérateur is not<br />
judged like the soap-merchant, by pecuniary<br />
results, and owes his gloriole to the mere fact<br />
that he has, or thinks he has, something to say.<br />
<br />
—<br />
<br />
We are constantly reading—and, some of us,<br />
writing—about the misdeeds and dishonesty of<br />
American pirates. But what about the reverse<br />
of the medal? Is it not a fact that American<br />
authors are shamefully plundered by English<br />
publishers? Do not scores of English journals<br />
annex without acknowledgment—and it goes<br />
without saying without compensation in any<br />
form —all the best work of the American<br />
periodical press? Soyons justes.<br />
<br />
<br />
<br />
One of the weirdest of our confréres in Paris is<br />
an old Polish nobleman, against whom Fortune<br />
has been hard-hearted, and who may be seen all<br />
day long at the Café de la Paix, working with<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
de quoi écrire, at one of the marble tables in the<br />
end room. A mazagran of coffee is always at his<br />
elbow. His productions are pamphlets of hu-<br />
manitarian tendency, and are couched in Russian<br />
of great colour and vigour. His output is enor-<br />
mous, and as he publishes at his own expense, he<br />
has doubtless a large public. Each pamphlet<br />
consists of three pages, and is tariffed at a franc.<br />
But the great of this world, from the Emperor of<br />
China to the Governor-General of Odessa, receive<br />
his works gratis through the post.<br />
<br />
<br />
<br />
I read something the other day in an English<br />
paper about Jules Verne being a great walker and<br />
athlete. Verne, asamatter of fact, is practically<br />
a cripple. Two or three years ago, he suddenly<br />
received a visit from a nephew of his, who, after<br />
a hasty “ Bonjour, mon oncle,” drew out a revol-<br />
ver, and blazed away at him. One bullet hit<br />
Verne in the leg, and he has been lame ever since.<br />
The nephew, who is now living in a lunatic<br />
asylum, afterwards explained that he was anxious<br />
to see his uncle a member of the French Academy,<br />
and that he had done what he had done in order<br />
to attract attention and sympathy to his beloved<br />
relative.<br />
<br />
<br />
<br />
Francois Coppée, like Dumas, has shaken the<br />
dust off his feet on to Paris. He has retired a la<br />
campagne, not to plant cabbage, but to write in<br />
peace and quiet. Happy Frangois. He has found<br />
a beautiful old-world house at Brunoy, with a big<br />
garden, and fields and trees all around. May the<br />
tender-hearted poet be happy here. He is one of<br />
the most sympathetic figures in contemporary<br />
literature. He has the great quality of heart in<br />
days when we all cultivate our gall-bags with the<br />
zeal with which the Strasburg goose-breeder culti-<br />
vates the livers of his flock. He is sweet, and<br />
tender, and gentle, and though he dons a red<br />
flannel shirt when he writes, as unaffected and<br />
natural as a village child.<br />
<br />
<br />
<br />
Pailleron’s Tuesday dinners for men only are<br />
functions, to be present at which should be the<br />
desire of all who want to taste at the fountain<br />
head that sparkling brewage which we call<br />
Parisine—a tonic bitter, but delightfully refresh-<br />
ing draught. Pailleron is all sparkle. His<br />
repartee is now couched in faubourg slang and<br />
crushes like a sledge hammer, now academic with<br />
the sting of a rapier. His great hatred is<br />
against the world of professors. Old Sorbonne<br />
never had a more bitter foe. Get him to talk<br />
about the sages who write for the serious review,<br />
<br />
<br />
<br />
<br />
<br />
<br />
70H AUTHOR. 24<br />
<br />
and you will hear satire as you could like to hear<br />
it spoken.<br />
<br />
Alexis Bouvier is dead. I can imagine the con-<br />
temptuous shoulder-shiuggings with which this<br />
item of news was dismissed in the literary cafés<br />
of Paris. No matter that he died broken down<br />
after a stagnation of two year’s duration, an<br />
unhappy man, whose last months were dragged<br />
out on the proceeds of a recent charity sale. He<br />
wrote for money, the unpardonable act of the<br />
writer in France. He had animmense public and<br />
delighted them with blood-curdling feuilletons,<br />
He did it for a living and died, without reputation,<br />
in the shadow of starvation. I can imagine nothing<br />
sadder than the last moments of a man of letters<br />
who has not chosen the good part, who has gone<br />
for money and who has failed. Chatterton died<br />
of arsenic in his garret. It was very sad, but<br />
how much sadder would it have been, if, instead<br />
of falling a victim to his pride and belief in him-<br />
self, he had come to die inthe same way and in<br />
the same place, after trying his best to make<br />
money, by using his pen, not as his fancy and<br />
ideal directed, but at the dictates of the public<br />
and the publishers. Play for a high stake and<br />
lose. Tant pis, one pays withoutregret But to<br />
be beaten, ruined at shove-halfpenny! Poor<br />
Alexis Bouvier, whom Providence held on this<br />
side of the frontier of that Promised Land towards<br />
which the eyes of all authors are always turned !<br />
<br />
Paris, May 20. Rozert H. SHERARD.<br />
<br />
oe<br />
<br />
TO MUSIC.<br />
<br />
<br />
<br />
Tones of a dying chord whose mellow strain<br />
Burst into deepfelt music on mine ear,<br />
Song whose fine melody thrills through me, hear<br />
What your pulsations bring, relief from pain,—<br />
Hail! minstrels of the air when I would fain<br />
Sleep in the dim unconsciousness of care<br />
That drowns the musings of a wayward lyre<br />
Of weariness, a heart sick, world tired brain.<br />
<br />
Ah! Music, Music lend your minstrelsy,<br />
And lull me into soft, subduing sleep,<br />
Like some poor helpless babe that restless lies<br />
Soothed by its mother’s loving lullaby,<br />
And when my last hour comes, come song and keep<br />
Sweet fellowship with one who with thee dies.<br />
<br />
AntTHONY RUDYERD.<br />
<br />
os<br />
<br />
THE JEW IN LITERATURE.<br />
<br />
<br />
<br />
HE following address was delivered by Mr.<br />
<br />
Hall Caine as the guest of the new Jewish<br />
<br />
: community, “‘ The Maccabeans,” at a dinner<br />
<br />
at St. James’s Restaurant, Piccadilly, on the 10th<br />
<br />
ult., and is reproduced by permission of the<br />
author. Mr. Caine said :—<br />
<br />
“The position of the Jew in literature is a<br />
theme so full of suggestion that it is astonishing<br />
that more has not been made of it. There are, at<br />
least, two aspects which it might be regarded:<br />
First, the Jew as a creator of literature; and<br />
then, the Jew as the subject of it. Both points<br />
of view would be full of surprises. On the one<br />
hand we find an early Hebraic literature showing<br />
a literary genius which is perhaps not to be<br />
equalled by that of any other race. It may be<br />
that no Jew can ever allow himself to look at the<br />
great literature of his literary fathers with an eye<br />
so cold, and in a light so dry as this, but I want<br />
your indulgence while I say that the Old Testa-<br />
ment writings, as we have got them, contain some<br />
of the most perfect stories in the literature of the<br />
world. Separated from its spiritual and historical<br />
significance, regarded merely as a literary entity,<br />
purely as a group of characters and incidents, I<br />
do not know anything to compare in beauty,<br />
pathos, picturesqueness, tragic power, and subli-<br />
mity with (may I use the word without offence)<br />
the novel, the romance which tells of the sojourn<br />
of the Israelites in Egypt, beginning with the sell-<br />
ing of Joseph by his brethren, and ending with<br />
the crossing of the Red Sea by the Children of<br />
Israel under Moses. We are first struck by the<br />
splendour of the literary genius of the early<br />
Hebrew, and next by the extraordinary eclipse of<br />
that genius in the Hebrew of the middle ages.<br />
Between the time, say of Josephus and our own<br />
century, there were, no doubt, Hebrew writers of<br />
great mark and influence; but am I altogether<br />
wrong in saying that, except in a few cases, their<br />
greatness was not creative, that it was mainly<br />
illustrative, explanatory, critical, and scholastic ?<br />
But if this is so, and you know best, there are<br />
abundant and adequate reasons for it. Jewish<br />
literary genius may easily have been choked by<br />
the odium of medieval malevolence. Creative<br />
powers had no force to spend on literature where<br />
the hourly necessities were those of flesh and<br />
blood. Nevertheless out of that darkness two<br />
Jewish names shine as stars. One of them is the<br />
name of a great philosopher, who, though not a<br />
believer in your ancient faith, was nevertheless a<br />
mind so tremendous that no Jew can help being<br />
proud of him—I mean Spinoza. The other is<br />
that of a wayward, wilful, heavv-laboured, sorely-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
22 THE AUTHOR.<br />
<br />
afflicted child of genius, the ‘tearful trifler,’<br />
who, like the leper of his own thrilling story,<br />
made joyful songs for the happy part of the<br />
world to sing while he lay himself in a lodging of<br />
Paris amid the odour of blankets and medicines<br />
——an unbelieving Jew, but nevertheless a Jew<br />
whom all Jews must be eager to claim—I mean<br />
Heine. And now that the modern Jew has sur-<br />
vived the barbarism of medixval oppression, the<br />
literary genius that is in him is again beginning<br />
to show itself. During this second half of the<br />
19th century the Jew has made his contributions<br />
to the sum’ of human knowledge. He is found<br />
in nearly every walk of literary activity.<br />
<br />
“ And now, if I am not plunging in dangerous<br />
waters, I would say something of the Jew as a<br />
subject of literature. Here again we are face to<br />
face with the old inveterate contradiction which<br />
always dogs the feet of the Jew in his literary<br />
character. On the other hand we have the ancient<br />
history of an heroic people—great in prosperity,<br />
strong in adversity ; on the other hand an abject<br />
picture of a sort of cuckoo race, building no nest<br />
of its own, and rearing its young in the nests of<br />
others—an excrescent nation that trails through<br />
the centuries with the stigma of the heretic and<br />
the leper combined. When we think of the Jew<br />
as a figure in literature, we first remember<br />
Shakespeare. What does Shakespeare do with<br />
the Jew? The answer seems to be an unwelcome<br />
one. He talks of him constantly as a sort of<br />
pariah dog; he uses his name as a metaphor for<br />
cunning and duplicity ; he casts the liver of a Jew<br />
—happily an unbelieving Jew—into the witches’<br />
cauldron that is to work such woeful mischief,<br />
and, above all, he puts his full-bodied conception<br />
of the Jew into the person of Shylock. It may<br />
be that for these offences the modern Jew, with<br />
all his reverence for mighty genius, loves Shakes-<br />
peare a shade the less. But my own faith in<br />
Shakespeare is so vast, and my confidence in his<br />
prophetic gift so absolute, that it would hurt<br />
me to believe that in this matter of the right<br />
attitude towards the Jew he was not (as he<br />
assuredly was in everything else) at least three<br />
centuries before his time. We have to remember<br />
that Shakespeare, as a dramatist, had to earn his<br />
bread and butter by the favour of the populace,<br />
and that in the moral atmosphere of the people<br />
of his day (as seen in Marlow’s ‘Jew of Malta’<br />
and elsewhere) the Jews were an accursed race,<br />
the enemies of mankind, and the especial foes of<br />
Christianity. And if any Jew feels sore that the<br />
greatest of English poets saw nothing in the<br />
Jewish character but greed and merciless vindic-<br />
tiveness, let him go to any theatre where the<br />
‘Merchant of Venice’ is being played, and<br />
watch, not the play, but the effect of it on a<br />
<br />
Christian audience. Above all, if it should be his<br />
luck, as it was lately mime, to see Shylock in the<br />
person of Mr. Irving, his grievance against<br />
Shakespeare will be gone for ever. He will<br />
realise that the centre of human interest is this<br />
very man, who has been talked of as the incar-<br />
nation of evil. Every tender touch that will make<br />
straight to the heart will be Shylock’s—the knife<br />
and the scales, the talk of the flesh and the blood,<br />
will go for no more than a momentary creep of<br />
the skin; but the downfall of the broken creature,<br />
the taunts of the enemies who triumph over him,<br />
the demand of the judge that he shall turn<br />
Christian, his last word of poor human infirmity—<br />
<br />
I pray you give me leaye to go from hence ;<br />
I am not well,<br />
<br />
—and his final exit will leave one feeling only<br />
exhibited on the face of the spectators—a feeling<br />
of profound pity for the man who began with<br />
everything and everyone against him, who has<br />
lost all, the wife he loved, the daughter who was<br />
his sole treasure, and the wealth that had been<br />
his bulwark against the world. All the grand<br />
rhetoric about the quality of mercy, and all the<br />
exquisite poetry of the scene of the moonlight<br />
will be forgotten, and the last deposit of the<br />
dramatist will be a plea for justice to the Jew.<br />
Now, I cannot believe that an effect like that<br />
could have been produced by accident, or without<br />
the conscious design of the dramatist. In short,<br />
my strong conviction is that, though Shakespeare<br />
Imew that to please the groundlings of his time<br />
it was necessary to heap contempt on the Jew,<br />
et in his heart as a man and his brain as a seer<br />
he felt and saw that the Jew was basely dealt<br />
with, and that the future would justify him.<br />
Indeed, I feel so sure of this that I challenge<br />
contradiction on the point that during the 300<br />
odd years in which the ‘Merchant of Venice ’<br />
has been played the curtain can never have fallen<br />
on the fourth act of it without the balance of<br />
sentiment being on the side of Shylock. If that<br />
is so, we must talk no longer of Shakespeare as<br />
anti-Semitic. For three centuries he has been<br />
the friend of the Jew. It is a fact worth men-<br />
tioning that after Shakespeare and his contem-<br />
poraries, down to our own century, no great<br />
English writer seems to have felt the Jewish cha-<br />
racter strongly. I can remember no important<br />
portrait of-a Jew in Fielding or Richardson or<br />
Smollett. Richard Cumberland certainly wrote<br />
two plays, both on the side of Jewish sympathy,<br />
‘The Jew’ and ‘The Jew of Mogadore,’ and<br />
Thomas Dibden wrote at least one play, ‘The<br />
Jew and the Doctor, with the design of vindi-<br />
cating the Jewish character. Then of other<br />
sort we have the usurous Jews of the comedies<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
2H AUTHOR. 23<br />
<br />
of Sheridan, as well as their spendthrift<br />
Christians, one of whom, as you remember,<br />
rejoices in the probable discovery of the<br />
ten lost tribes of Israelites for the good reason<br />
that he has exhausted the patience of the<br />
other two. But perhaps the first effort on a<br />
high level, without apology or restraint, was<br />
made in the Isaac of York of Scott’s ‘Ivanhoe.’<br />
After that came a small group of noble Jewish<br />
studies, including those of Disraeli (whose theories<br />
of the doctrine of race deserve more attention<br />
than they receive), and George Eliot, of whom,<br />
perhaps, we can only wish that her later genius<br />
had vitalised Daniel Deronda as her earlier genius<br />
had vitalised Adam Bede. But the studies of<br />
heroic Jewish character have been astonishingly<br />
few in English literature, and few of that few<br />
have had a general acceptance. Only sketches of<br />
grotesque Jews have been numerous and popular.<br />
The Fagin of Dickens, a wonderfully vivid and no<br />
doubt essentially realistic piece of art, has been<br />
the father of a large family. Why is this? Is it<br />
because the writers copy each other, having no<br />
knowledge of better types? And if so, is their<br />
ignorance altogether their fault or partly their<br />
misfortune ¥ Do the Jews, in their old inveterate<br />
distrust of the showman (and the imaginative<br />
writer is a sort of showman), in their dislike and<br />
fear of the man who, as novelist and dramatist,<br />
has pursued them through the centuries with<br />
odium and ridicule, shut themselves up from him<br />
and so make it difficult to see the nobler qualities<br />
which no man carries on his sleeve? Certainly it<br />
does sometimes seem that if the walls of the<br />
Ghetto are fallen the Jewish company is still<br />
undispersed. The invisible bulwarks about the<br />
Jew appear formidable to some Christians. It<br />
has been my personal happiness to know one or<br />
two Jews of the best type on intimate terms of<br />
friendship, and it has therefore been easy for me<br />
to see the ancient and heroic side of Jewish cha-<br />
racter. May I dare to say ina company of Jews<br />
that it would be wellif the Jew came oftener out<br />
of the Mellah into the light and free air of the<br />
world that is common to all men? The Jew is<br />
notoriously assimilative and clubable, and it would<br />
be easy for him, in England at least, to laugh the<br />
grotesque Jew out of all claim to be regarded as<br />
atype. The mention of Fagin recalls a very<br />
real monstrosity which we smile at nearly as<br />
often as we seea play of London life, but which<br />
really almost deserves our genuine indignation—<br />
the Jew of the modern stage. We all know the<br />
worthy gentleman in his little shabby hat and his<br />
long sack coat, with his nasal snuffle and his<br />
mincing walk. The silly old buffoon is never so<br />
high in histrionic rank as the low comedian, for<br />
that is a jester whom the public is expected to<br />
<br />
laugh with, whereas the Jew is the living gargoyle<br />
whom they are expected to laughat. His charac-<br />
teristics are cunning and cowardice, usually tinc-<br />
tured with the greenest stupidity. Every fool<br />
scores off him, and his latter end is usually one<br />
of battered hats and eclipsed eyeballs. I will not<br />
say that this foolish person is invented solely in<br />
order that the public may indulge itself with<br />
laughter at the Jews, but that, some butt of ridicule<br />
being necessary, it is safer in England to make<br />
him a Jew than a Quaker, or a Plymouth Brother,<br />
or even a Mormon. For the silly caricature itself,<br />
there must perforce be some recognisable original<br />
in life; but surely it is a poor thing if the senti-<br />
ment of the modern English people is prepared to<br />
accept no more serious type of Jewish character.<br />
We remember, with a thrill of the heart, the noble-<br />
spirited Jews of the age, and we ask ourselves if<br />
it can be true that the English playgoer is unable<br />
or unwilling to contemplate with delight the good<br />
man and philanthropist in the person of a Jew.<br />
We are assured that it is so. Some time ago a<br />
well-known actor called on me to ask if I could<br />
write a play that would fit him with an appro-<br />
priate part. I took time to consider, and then<br />
propounded a scheme that centred in a Jew. My<br />
Jew was an heroic Jew—he did great things in a<br />
great way, but he did them in the way of a Jew,<br />
for he was a Jew to the inmost fibre of his being.<br />
There lay the rock on which my craft foundered.<br />
The actor would have nothing to say to my Jew.<br />
‘An heroic Jew on the English stage is an impos-<br />
sibility,’ he said. ‘We give that class of person<br />
to the man who plays eccentric comedy.’ Now,<br />
why was this? Was it merely that the public<br />
had never had anything better offered to them<br />
than the zany out of the broker’s shop in White-<br />
chapel? Or was it that the public would reject<br />
the heroic Jew because they had found nothing<br />
heroic in the Jewish character to go upon? | I<br />
concluded that there was no reason in the nature<br />
of things why the nobler types of Jewish character<br />
should not find acceptance in literature just as<br />
they find it in life, and I resolved at all hazards to<br />
make the experiment of trying an heroic Jew on<br />
the English public. I have not yet been able to<br />
try him on the stage, but I have, as you know,<br />
tried him in a novel, with results which surpass<br />
my expectations; and I believe that just as the<br />
heroic Jew has been accepted in fiction, so he<br />
would be accepted on the boards; and that the<br />
dramatist will do a good work who breaks down<br />
the absurd superstition that the English public<br />
will take nothing in the person of a Jew but the<br />
buffoon in a bad hat.<br />
<br />
“The Jews have, perhaps, always been objects<br />
of ridicule on the stage, if not from the time of<br />
Aristophanes, certainly through the middle ages,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
24<br />
<br />
in the carnivals and other festivals ; and they<br />
have ever been known, as in the Purim plays of<br />
the 16th and 17th centuries, to use the stage<br />
against themselves, their rabbis, and even to some<br />
extent their faith. It has been an accepted con-<br />
vention throughout the centuries in many lands<br />
that the religion and character of the Jew might<br />
with safety be held up to the laughter not of<br />
tolerance and good humour, but of something<br />
like hatred and contempt as the incarnation of<br />
impossible vices and the perpetrator of inconceiv-<br />
able crimes, but it is, nevertheless, strange that<br />
in those countries of Europe where hatred of the<br />
Jews goes farthest this indisposition (which the<br />
English actors are so sure of) to accept the heroic<br />
Jew is not to be found. Germany, where the<br />
party of the judenhetze is, unhappily, so power-<br />
ful, has received with applause many plays, both<br />
in the present and past, wherein the Jew rises to<br />
the heights of tragedy. ‘ Uriel Acosta,’ though<br />
not strictly a play of Judaic bias, nevertheless<br />
deals with Jewish characters and beliefs on a<br />
high level of serious acceptance ; and it is at once<br />
the lasting honour, and I will say the standing<br />
shame, of Germany, that one of the very greatest<br />
of her sons, Lessing (a powerful and lifelong<br />
friend of the Hebrew people), writing in the 18th<br />
century, espoused the cause of the Jew in two<br />
great heroic works, ‘Nathan the Wise’ and ‘ The<br />
Jews,’ with the most obvious and deliberate in-<br />
tention of undermining that same intolerance with<br />
which the Judenhetzes, coming a hundred years<br />
later, have disgraced their age and country.<br />
Indeed, if I were asked what writer in modern<br />
times had been the champion of the Jews in<br />
Christendom, I think I should say Lessing, and<br />
the weapon he used was the only one that is now<br />
possible in the warfare against intolerance and<br />
persecution.<br />
<br />
ee<br />
<br />
ON LITERATURE.<br />
<br />
<br />
<br />
I.<br />
Av vue Royat Lirerary Fund.<br />
<br />
T its annual dinner Mr. Lecky, the chair-<br />
man, made a speech, of which the following<br />
is an extract as it was reported in the<br />
<br />
Times : “ It was one of its peculiarities that there<br />
were in literature large departments that could<br />
never be made remunerative. Many of the<br />
qualities which they most desired to see imported<br />
into literature were directly opposed to the<br />
pecuniary interests of those who practised them.<br />
Tt was true now, as-it was long ago, that the<br />
books that lived were not the books by which<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
authors lived. Some books failed because they<br />
did not accord with the passing taste or fashion<br />
of the hour; some because their thought was in<br />
advance of the time. For a long period Carlyle<br />
found only a few readers of that “ Sartor<br />
Resartus ” which was now the most popular of<br />
his books. Browning totally failed to catch the<br />
ear of the general public till years after the<br />
publication of the very poems on which his<br />
reputation now mainly rested. At the present<br />
day he supposed there were more books published<br />
than in any other period of the world’s history ;<br />
but he also supposed that there never was @<br />
period in literary history at which there was so<br />
much literary talent not employed in pure litera-<br />
ture. A great deal of our literary talent was<br />
employed in the production of the daily and<br />
weekly papers. No one could fail to be struck<br />
by the excellent writing which at the present day<br />
characterised scientific work. The writings of<br />
such men as Herschel and Lyell among the<br />
dead and Huxley and Tyndall among the living,<br />
afforded conspicuous examples of this excel-<br />
lence. A great French writer once said that<br />
literature would lead to anything provided that<br />
one abandoned it; and, in spite of all the charges<br />
that had taken place in recent times, he supposed<br />
that it was still true that no wise man would<br />
recommend a young man to devote himself to the<br />
higher forms of literature, unless he happened to<br />
possess an independent competence or a self-<br />
supporting profession.”<br />
<br />
<br />
<br />
Il.<br />
Av var Royat AcapemMy DINNER.<br />
<br />
The following is the report of Prof. Butcher’s<br />
speech at the Royal Academy dinner, as given in<br />
the Times :—“ Any one who in this age proposes<br />
the toast of literature has this singular advan-<br />
tage, that almost every one of his audience is<br />
pretty sure at some time or another to have<br />
committed himself to print; either he has<br />
written a book, or edited a paper, or, at least,<br />
produced a volume of poems. In the brillant<br />
assemblage here this evening there are, Limagine,<br />
those present who are so busy making literature<br />
that they must have but few moments left for<br />
reading it; there are also those who are making<br />
history, arid making it so fast that they have little<br />
leisure for studying history. Now, the makers of<br />
literature are at present largely occupied with<br />
recording or commenting on the sayings of the<br />
makers of history; and they find it, I fancy, no<br />
light task to keep pace with the makers of history,<br />
least of all in the Easter recess. But ‘litera-<br />
ture in this sense is probably not that which<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
the President was chiefly thinking of when he pro-<br />
posed the toast of ‘ Literature,’ and proposed it,<br />
if I may be allowed to say so, in such a way<br />
as most loyally to pay back to the Greeks, and<br />
in language which they themselves would have<br />
delighted to listen to, his debt of nurture to them.<br />
In the name of those authors, whom men call<br />
dead, I would thank him for the tribute of<br />
such praise; and I would also add a word of<br />
private gratitude for his generous mention of<br />
myself, who am merely the humble interpreter of<br />
those same authors, whom I believe to be living.<br />
Of literature there are many grades. A rail-<br />
way guide, or a peerage, or a Blue-book is not<br />
literature, nor even what is known as scientific<br />
literature. At what point writing becomes<br />
literature it is not easy to say definitely. But<br />
there are signs to-day that the truth discovered by<br />
tho Greeks is penetrating men’s minds—the truth,<br />
I mean, that the writing which does not awaken<br />
human thought, which does not engage the<br />
emotions or hold the affections, the writing into<br />
which beauty of form does not enter, is not<br />
literature, but the raw material of literature.<br />
I would not be supposed to suggest that<br />
a British popular audience, like some Greek<br />
audiences of which we read, is as yet in any danger<br />
of getting ear-ache or neuralgia from some<br />
defective harmonies of spoken or written prose.<br />
Still the feeling begins to prevail that he who<br />
would worthily pursue the calling of letters must<br />
have somethmg of the spirit of the artist,<br />
and that well-written books alone survive.<br />
That there is apt to be a weak side to literary<br />
estheticism, who candoubt? In ‘ Don Quixote’<br />
we read of a certain author who was renowned<br />
for ‘the brilliancy of his prose and the beautiful<br />
perplexity of his expression.’ We seem to know<br />
the type. Let the phrase be but beautiful<br />
and rhythmical, musical and flowing, and it<br />
matters not if the fine words conceal emptiness<br />
beneath. A minor poet was described by an<br />
ancient writer as ‘a strange phantom fed upon<br />
dew and ambrosia.’ Him, too, we know. His<br />
sustenance is not upon the solid earth. He<br />
sings and soars; he loves and laments, he knows<br />
not what or why; harmonious and meaningless<br />
is his song. The cult of the meaningless is from<br />
time to time in the ascendant. You, gentlemen,<br />
who are Academicians are sometimes invited to<br />
become its votaries. Not long ago I was at an<br />
exhibition of pictures elsewhere. I stood in<br />
wonder before a certain portrait, which I could<br />
not understand. I begged a friend who was<br />
initiated into the principles of the school to<br />
explain it. The reply was, ‘Think away the head<br />
and the face, and you have a residuum of pure<br />
colour. Whether this doctrine is to be ac-<br />
<br />
AUTHOR. 25<br />
<br />
cepted in painting, and particularly in portrait<br />
paimting, I do not know; but in literature<br />
at least it means sure decay. Think away<br />
the meaning, get rid of the context, and you<br />
have beautiful and pure form. Yes, form is<br />
essential, but not form without substance. Here,<br />
again, we come back to the Greeks as the<br />
models of the true literary spirit—the Greeks,<br />
who were able even to make science literary, and<br />
to produce a treatise on medicine, which bears<br />
the stamp of the great masters of language.<br />
They felt, indeed, that the writer is an artist, and<br />
not an artisan; that beauty is of the essence of<br />
literature, and that a formless work of literature<br />
is in truth a misnomer, being dead from the out-<br />
set. Yet the literary writer is not a maker of<br />
fine phrases or a singer in the void. Inthe great<br />
Greek authors the words used seem to be the direct<br />
reflection of the thing seen. Nothing comes<br />
between the eye and the object. They are words<br />
of vision. Instead of the approximate, the con-<br />
ventional, the insipid word, you have the precise<br />
and happily expressive term. Yet the phrase<br />
is never importunate. The style is not strained<br />
or self-asserting. It does not seek for itself a<br />
separate existence. And the secret of the matter<br />
hes in this, that the writer had something to say,<br />
and was not merely concerned as to how he<br />
said it. He was in close contact with realities.<br />
He touched the springs of national life. He<br />
used, while at the same time he ennobled, the<br />
native idiom of the people. It is the glory of<br />
Greek literature that of all literatures it is at<br />
once the most artistic and the most popular; and<br />
this supreme merit belongs hardly in a less<br />
degree to our own English literature. That is<br />
the true democratic spirit in things literary..<br />
And our hope, our best hope, for the literature<br />
of the future would be that, as the democratic<br />
movement extends and calls forth enlarged intel-<br />
lectual sympathies, the old Hellenic harmony<br />
may be established between that eternal love of<br />
beauty on which all art and literature rest and<br />
that love of scientific truth which is one of the<br />
dominant marks of this century.”<br />
<br />
ee<br />
<br />
FROM THE PAPERS.<br />
<br />
——<br />
<br />
i<br />
Friction MANnuracturED By THE YARD.<br />
EW YORK can boast of many curious<br />
institutions ; perhaps the most wonderful<br />
is a real and fully equipped literary<br />
factory. Mr. Edward W. Bok, the well-known<br />
literary critic, came across the place the other<br />
<br />
<br />
<br />
<br />
26 THE<br />
<br />
day, and in the Philadelphia Weekly Times<br />
describes the remarkable industry. This literary<br />
factory (he says) is hidden away in one of the<br />
by-streets of New York, where one would never<br />
dream of finding anything in the shape of litera-<br />
ture. It employs over thirty people, mostly girls<br />
and women. For the most part these girls are<br />
intelligent. It is their duty to read all the daily<br />
and weekly periodicals in the land. These<br />
“exchanges ” are bought by the pound from an<br />
old junk dealer.<br />
<br />
Any unusual story of city life—mostly the mis-<br />
doings of city people—is marked by these girls<br />
and turned over to one of three managers. These<br />
managers, who are men, select the best of these<br />
marked articles, and turn over such as are available<br />
to one of a corps of five women, who digest the<br />
happening given to them and transform it to a<br />
skeleton or outline for a story. This shell, if it<br />
may be so called, is then referred to the chief<br />
manager, who turns to a large address book and<br />
adapts the skeleton to some one of the hundred<br />
or more writers entered on his book. Enclosed<br />
with the skeleton is sent a blank form, of which<br />
the following is an exact copy:<br />
<br />
To<br />
<br />
Please make of the enclosed material a —— part story,<br />
not to exceed words for each part.<br />
<br />
Delivery of copy must be by at the latest.<br />
<br />
A cheque for dols. will be sent you upon receipt of<br />
manuscript.<br />
<br />
Notify us at once whether you can carry out this commis-<br />
sion for us.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Very respectfully,<br />
<br />
Now, the most remarkable part of this remarkable<br />
literary manufactory to me, was that manager's<br />
address book of authors upon whom he felt at<br />
liberty to call for these “written by the yard”<br />
stories. The book was handed to me to look over,<br />
for my private examination, of course. There<br />
were at least twenty writers upon that book which<br />
the public would never think of associating with<br />
this class of work—men and women of good lite-<br />
rary reputation, whose work is often encountered<br />
in some of our best magazines.<br />
<br />
“Not such a bad list of authors, is it?”’ laugh-<br />
ingly said the “manager” as he noted my look<br />
of astonishment. I was compelled to confess it<br />
was not. “Why, those authors to whose names<br />
you have pointed are glad to do this work for us.<br />
Their willingness is -far greater than our ability<br />
to supply them with ‘ plots.’ “ What in the world<br />
do you do with these stories?”’ I asked. ‘‘ We<br />
sell them to the cheaper sensational weeklies, to<br />
boiler-plate factories, and to publishers of hair-<br />
curling libraries of adventure.”<br />
<br />
Upon further inquiry, I found that very good<br />
prices were paid the authors, and that, of course,<br />
<br />
AUTHOR.<br />
<br />
<br />
<br />
even better rates were received by the “factory”<br />
from their customers. The fact is this business<br />
is of the most profitable character to its owners.<br />
Were it a stock company, a handsome dividend<br />
could be declared each year. The “ factory”<br />
does not care where its authors get their material<br />
from so long as the story, when finished, is cal-<br />
culated to please the miscellaneons audience for<br />
which it is intended. ‘Situations,’ and of the<br />
most dramatic and startling character must be<br />
frequent, and two or three murders and a rescue<br />
or two in one chapter are not a bit too many.<br />
Talk about writing stories to order! Here isa<br />
completely equipped factory which actually cuts<br />
them out with a hatchet!<br />
<br />
Patt Marui GAzerte.<br />
May 23, 1892.<br />
<br />
<br />
<br />
———<br />
<br />
II.<br />
A Curious EXPERIMENT.<br />
<br />
The case of the editor who wants to contri-<br />
bute an article to some other periodical than his<br />
own is acuriousone, For the time being he has<br />
put himself in the place of a contributor, and<br />
feels the pangs of a timid author.<br />
<br />
There was once a newspaper editor who was<br />
inspired to write an article of a light and enter-<br />
taining character, suitable for a magazine. He<br />
wrote it in his odd moments, and then set to<br />
speculating whether it had any particular value.<br />
Tt seemed to him that it had, but the reflection<br />
that he might be prejudiced in its favour troubled<br />
him. He had had precisely the same feeling<br />
when someone had brought him an article that<br />
he wanted to judge favourably. How was he to<br />
get his own impartial judgment of his own<br />
article? He thought about it some time, and<br />
finally decided that the only way to get the<br />
necessary conditions was to send himself the<br />
article through the post, to receive it with other<br />
contributions, and to treat it all the way through<br />
as if it were somebody else’s.<br />
<br />
The plan worked like a charm. The editor<br />
wrote a little note to himself to accompany the<br />
article, enclosed stamps for a reply or a return<br />
of the manuscript, and mailed the whole at the<br />
post-office. Towards the close of the day, when<br />
the editor was near the end of a lot of wearisome<br />
communications, and had got himself into the<br />
declining mood that comes with fatigue, his<br />
article arrived. After he had allowed it to lie<br />
for awhile he broke the seal and read it. Then<br />
<br />
he took a little slip, wrote on it reflectively,<br />
inclosed it with the manuscript in a big envelope,<br />
stuck on the stamp, sealed the envelope, and put<br />
it into the department marked “ post-office” in<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
the tin box that hung by the side of the desk.<br />
Next morning he received the parcel back, and<br />
read with breathless interest this note, which<br />
accompanied the manuscript :—<br />
<br />
“ Unsuitable. Too discursive and trivial in its<br />
tone. Should have been elaborated with more<br />
care. Many passages not needed in the presenta-<br />
<br />
tion of the idea. Contains promise, however.<br />
Author is advised to try again.”—Leeds Satur-<br />
day Journal, March 5, 1892.<br />
<br />
<br />
<br />
TEE.<br />
PERSONAL.<br />
<br />
The literary editor or book-reviewer is some-<br />
times less bored than at others by his monotonous<br />
task. When he receives a letter from an obscure<br />
publishing-house, enclosing “personal gossip ”’<br />
about the author of some forthcoming book, ac-<br />
companied by a promise to send “a cloth copy of<br />
the book, the moment it is issued, with the<br />
author’s autograph,” if only he will print the said<br />
gossip “in advance, as news,” he is easily able to<br />
conjure up a smile. And when he receives such a<br />
note as the following (written so recently as<br />
April 14), he can smile again—if he be of a cynical<br />
turn of mind: “If not out of harmony with any<br />
of your regulations, I will greatly appreciate the<br />
publication of something similar to the following<br />
‘| among your literary personals.’ This is the<br />
a) 5: 6° Mire, , who contributed to the<br />
March , the charming little poem ‘ =<br />
which seems to have been very kindly considerec<br />
by the newspapers of the country, is the wife of<br />
, the well-known journalist and writer,<br />
whose verses are familiar to the readers of the<br />
and .’ The “@” comes from the<br />
“well-known writer and journalist’ whose wife’s<br />
“charming little poem” “seems to have been<br />
very kindly considered by the newspapers.” But<br />
this is not the way to secure “kindly considera-<br />
tion” for “charming little poems.” “Heaven<br />
defend us from our friends ’’—and husbands.—<br />
New York Critic.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
———<br />
<br />
LV<br />
Tuomas Moors.<br />
<br />
From the diary of Thomas Moore, p. 263 :—<br />
“19th. Some pleasant talk with Strangford<br />
about old times, the times when he and I were<br />
gay young gentlemen (and both almost equally<br />
penniless) about town, and that rogue C. was<br />
tricking us both out of the profits of our first<br />
poetical vagaries. The price of a horse (£30)<br />
which C. advanced, the horse falling lame at the<br />
same time, was all that Strangford, I believe, got<br />
<br />
AUTHOR. 27<br />
<br />
from him for his ‘ Camoens,’ and my little account<br />
was despatched in pretty much the same manner.<br />
I remember, as vividly almost as if it took place<br />
but yesterday, C. coming into my bedroom about<br />
noon one day (some ball having kept me up late<br />
the night before), and telling me that, on looking<br />
over my account with him, he found the balance<br />
against me toabout £60. Such a sum was to me,<br />
at that time, almost beyond counting. I instantly<br />
started up from my pillow exclaiming, ‘ What zs<br />
to be done ?’ when he said very kindly, that if I<br />
would make over to him the copyright of ‘ Little’s<br />
Poems’ (then in their first blush of success) he<br />
would cancel the whole account. ‘My dear<br />
fellow,’ I exclaimed, ‘ most willingly, and thanks<br />
for the relief you have given me.’ I cannot take<br />
upon myself now to say how much this made the<br />
whole amount I received for the work, but it was<br />
something very triflmg, and C. himself told a<br />
friend of mine, some years after, that he was in<br />
the receipt of nearly £200 a year from the sale<br />
of that volume.”<br />
<br />
Oe<br />
<br />
CORRESPONDENCE.<br />
<br />
———>+- ><br />
<br />
i<br />
WaAs THERE A Contract to PusLisH?<br />
R. FITZGERALD MOLLOY’S note on<br />
<br />
“ Magazines and Editors” reminds me<br />
<br />
of an experience of mine which raises a<br />
question of some interest. In 1883 I sent an<br />
article to the Saturday Review which was<br />
accepted and promptly published and paid for.<br />
Early in 1884 I submitted a second article to the<br />
Saturday, which was also accepted, and a proof<br />
of which I received and returned corrected.<br />
Time passed—a considerable time--but the essay<br />
did not appear. At last, being about to leave<br />
England, I wrote to state the fact and to ask the<br />
favour of payment. A cheque was promptly<br />
forwarded to me and duly acknowledged; but<br />
year after year went by without mv article<br />
appearing. In 1890, having returned to England,<br />
I wrote to the editor of the Saturday Review,<br />
inquiring whether it was intended to shelve my<br />
little essay definitely, and, if so, whether I might<br />
be permitted to resume my right of property in<br />
it, as I had kepta copy. The editor sent mea<br />
courteous letter in reply, which, however, did not<br />
answer my questions. Practically, it amounted<br />
to an expression of the opinion that, as I had<br />
been paid, I had nothing to complain of. This<br />
view, I know, pretty generally prevails in such<br />
eases; but, although I am myself an humble<br />
member of the editorial guild, I cannot agree<br />
<br />
<br />
<br />
<br />
28 THE ©<br />
<br />
with it. Surely publication is essential to the<br />
due fulfilment of the contract between editor and<br />
contributor. If it be withheld, ought not the<br />
latter, after a reasonable time, to be allowed to<br />
put his manuscript in the market again, if he has<br />
been wise enough to keep a copy? I do not see<br />
that he ought to be called on first to refund the<br />
purchase money, the breach of contract not being<br />
on his side. Moreover, he would have to take<br />
the chance that the lapse of time would have<br />
deprived his work of interest. In the case of my<br />
paid-for but unpublished contribution to the<br />
Saturday Review, however, the subject is one of<br />
more interest now than it was in 1884. I might<br />
give the ana the essay contained a new setting,<br />
but, ought I to be called on to take the trouble,<br />
and would the Saturday Review be entitled to<br />
complain, if I did take it ?<br />
Leita DERweEnt.<br />
<br />
[Leith Derwent” has fallen into a not un-<br />
common confusion. When a paper, such as the<br />
Saturday Review, consists entirely of unsigned<br />
articles, the editor is as much responsible for the<br />
opinions of each article as if he had written them<br />
himself. The opinions are those of the paper ;<br />
the paper is himself. He therefore has the com-<br />
plete right of altering, suppressing, adding to,<br />
changing, or abridging any article that is offered<br />
to him. This right has always been exercised<br />
without question by all editors in the case of<br />
unsigned articles. ‘(Leith Derwent” offered a<br />
paper which was set up by the editor, and the<br />
copyright of which was paid for, though it is<br />
doubtful whether the editor was legally obliged to<br />
pay for it. There the author’s rights over the<br />
paper ceased, except that, by the copynght law,<br />
he could republish it after twenty-eight years.<br />
But, says “‘ Leith Derwent,’ does not the print-<br />
ing of the article involve a contract to publish?<br />
Let us consider. Suppose the article was found<br />
to contain matter against the policy advocated<br />
by the paper, or libellous, or in any other way<br />
dangerous and hurtful, would the editor be<br />
held, in any court of law, obliged to publish it?<br />
Certainly not. As for dressing up the paper im a<br />
new setting, no one but the author can answer<br />
the question. |<br />
<br />
<br />
<br />
II.<br />
Macazines AND Epirors.<br />
<br />
Is this experience a common one? In the year<br />
1888 I sent a short story to a well-known<br />
monthly magazine, whose list of contributors in-<br />
cludes almost every famous name in contemporary<br />
letters. Within three months I received a letter<br />
from the editor, offermg me one guinea for the<br />
<br />
AUTHOR.<br />
<br />
use of the story. I wasa very young author then,<br />
and not acquainted with the perfection of our<br />
postal service ; and, albeit the sum was miserably<br />
inadequate, I accepted. This was in June; the<br />
story was published and paid for in November.<br />
Now comes the strange part of the incident. Two<br />
months later, the proprietors of the magazine—a<br />
firm of reputation and standing—wrote to me,<br />
enclosing a cheque for £1 5s. as “moiety of sum<br />
received from America for the use of your story<br />
here.” Doubtless themselves retained the other<br />
moiety, and thus got my story for nothing, and<br />
made besides a profit of four shillings! The ques-<br />
tion arises, what right had they—seeing that<br />
originally they had only paid me for the use of the<br />
story in their magazine—to retain a part of any<br />
sum accruing to the author over and above? I<br />
sought advice; apparently there was no redress.<br />
I was not then a member of the society.<br />
<br />
Davip Lawson JOHNSTONE.<br />
<br />
SS<br />
<br />
Ii.<br />
<br />
TRANSLATIONS.<br />
Sir,<br />
<br />
May I ask you whether any agency exists<br />
through which some luckless translators may<br />
discover who may be at work upon the volumes<br />
they fondly hope to introduce to English readers ?<br />
When we have written to the foreign publishers,<br />
without receiving any intimation that we are<br />
forestalled, what other precautions can we take ?<br />
1 have just had the pleasure of reading a review,<br />
in a literary newspaper, of “ Countess Erika’s Ap-<br />
prenticeship,” a pleasing German novel only sent us<br />
last Christmas, but which I made haste to render<br />
into English as soon as the publisher’s letter was<br />
received. Twice before this fate has befallen my<br />
poor pen, and once, en revanche, a poor lady met<br />
with a similar fate through me. It was only when<br />
my version of the ‘‘ Chancellor of the Tyrol” was<br />
out, that a despairing letter from a fellow-worker<br />
told me that a labour of months had been hers<br />
in vain—that she, too, had been fired by the desire<br />
to make English readers know that fine story.<br />
We should be gratified for any hints which might<br />
spare us so much labour in vain.<br />
<br />
Your obedient servant,<br />
<br />
DorotHEa RosBErts.<br />
May 7, 1892.<br />
<br />
[Translators would spare themselves much<br />
disappointment if they did not attempt work<br />
until they had obtained the leave and licence of<br />
theauthor. This once obtained, they are perfectly<br />
safe.—Hp1rTor. | :<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
ING<br />
Tue JLirerary anp Art AGENCY.<br />
<br />
In the report of this case, published in your<br />
last issue, I see that “the Reverend” T. B.S.<br />
Harington is reported to have said that he had<br />
procured a situation through his agency for a<br />
person as secretary to the Association for pre-<br />
venting the Immigration of Destitute Aliens.<br />
As I thought this might possibly refer to one of<br />
my clerks, I have made inquiries upon the sub-<br />
ject, and [ find no one employed by this Associa-<br />
tion has had any dealings with Harington or<br />
his Agency.<br />
<br />
The statement therefore must have been a<br />
fabrication.<br />
<br />
W. H. Witkrns.<br />
Hon. Secretary.<br />
<br />
Association for Preventing the<br />
Immigration of Destitute Aliens,<br />
158, Arlington Street, S.W.<br />
<br />
“AT THE AUTHOR'S HEAD.”<br />
<br />
SS<br />
<br />
Esmé Stuart has written a novel called<br />
“ Virginie’s Husband” (Innes and Co.). The<br />
author’s writing is well known and always<br />
welcome. Pure in style and thought, dainty and<br />
delicate in expression, clear of outline, and steady<br />
in purpose, this book is fully equal to her<br />
reputation.<br />
<br />
James Russell Lowell’s lectures on the English<br />
Dramatists will be published in the autumn by<br />
Houghton, Mifflin, and Co.<br />
<br />
We call attention to a book entitled ‘ Taxa-<br />
tion, 1891-2. A History,” an anonymous work<br />
published by Eden, Remington, and Co. It con-<br />
tains an account of the taxation of the country,<br />
the revenue, customs, excise, stamps, and duties<br />
of all kinds. There is an elaborate index, and<br />
the work will be found useful as a compendium<br />
of the whole subject.<br />
<br />
The death of Mr. James Osgood has been a<br />
great shock to many of us. In starting the firm<br />
of Osgood, McIlvaine and Co., in Albermarle-<br />
street, he was avowedly anxious to work on such<br />
lines as would be approved and agreed upon<br />
between himself and this Society. He was<br />
singularly candid, and always ready to discuss<br />
fairly and openly those points which cause<br />
friction and ill-feeling between author and<br />
publisher. O si sic omnes!<br />
<br />
AUTHOR. 29<br />
<br />
We copy from the Athenxwn the announce-<br />
ments that Mr. P. W. Clayden is engaged upon a<br />
political history of the last six years; that<br />
Professor Huxley is collecting his recent essays,<br />
and that Mr. Samuel Butler is preparing a memoir<br />
of his grandfather, Head Master of Shrewsbury,<br />
which will present a picture of school life early in<br />
the century.<br />
<br />
Mr. Hamilton Aidé’s new novel, “ A Voyage<br />
of Discovery,” is issued by Messrs. Osgood and<br />
M‘Ilvaine.<br />
<br />
Mr. H. Savile Clarke’s contribution to the<br />
““Whitefriars Library of Wit and Humour,” is<br />
called “A Little Flutter. Stage, Story, and<br />
Stanza.”<br />
<br />
Mr. Egerton Castle’s new book is a reprint of<br />
seven stories which have already appeared in<br />
magazines. It is a book to note, and to buy, and<br />
to read.<br />
<br />
A coloured woman has just published a<br />
novel in America, the first ever published by<br />
a member of her race. It is entitled “ True<br />
Love,’ and is fairly up to the average of<br />
such works. The authoress, Sarah E. Farro,<br />
is quite black of complexion, and is twenty-<br />
six years old. Her favourite authors are<br />
Holmes, Dickens, and Thackeray. She lives in<br />
Chicago, where she has had a high school educa-<br />
tion.<br />
<br />
London City Suburbs, by Percy Fitzgerald<br />
and William Luker, Jun., a companion volume<br />
to the beautifully illustrated ‘ London City,”<br />
issued last year from the Leadenhall Press,<br />
is announced to appear in the autumn, and<br />
the prospectus is now ready. A list of Sub-<br />
scribers’ names and addresses is to be printed<br />
in the work. The Queen has accepted the<br />
dedication.<br />
<br />
The fifteenth edition of an advanced mathe-<br />
matical work is some proof of the extent of<br />
mathematical studies. Thirty years ago Mr. W. H.<br />
Besant, F.R.S., D.S.C., produced the first edition<br />
of ‘“‘Elementary Hydrostatics, with Chapters on<br />
<br />
the Motion of Fluids and on Sound.” On an<br />
average each edition has lasted two years. Few<br />
books in science have so long a life. The<br />
<br />
publishers have always been George Bell and<br />
Sons.<br />
<br />
Mrs. John Croker’s new novel, ‘‘ Interference,”<br />
which has been running serially in India and<br />
England, will be published simultaneously in<br />
London (F. V. White), Canada, and America. It<br />
is also translated into German.<br />
<br />
<br />
<br />
<br />
30<br />
<br />
There is a complaint that the tomb of Theodore<br />
Hook in Fulham churchyard is crumbling to<br />
pieces. As is the tomb, sois the man. Theodore<br />
Hook has been crumbling to pieces for many<br />
years. Who, nowadays, reads “Jack Brag”?<br />
His collected essays and pieces are dreary reading ;<br />
his jokes are all old; his stories forgotten. No<br />
one can remember many stories very long unless<br />
they have got the humanity strong and warm.<br />
Compare the grave of Theodore Hook with that of<br />
Charles Lamb. The latter is neat, well cared<br />
for, well kept, because his memory is green and<br />
his works delight as much now as in his own<br />
generation. If we leave off visiting the grave of<br />
Theodore Hook, if we leave it to fall into decay,<br />
it is because we are forgetting the man and all<br />
he wrote.<br />
<br />
Mr. Charles Garvice has written, and Mr. George<br />
Munro of New York has published, a story entitled<br />
‘Paid For.” This is a strong tale. Many of<br />
its situations are not very novel, but they are<br />
strikingly treated.<br />
<br />
It has been arranged, through the Authors’<br />
Syndicate that Mr. James Payn’s new story, “A<br />
Stumble on the Threshold,” should run serially<br />
through the Queen, beginning in July next.<br />
The story will be published in the autumn<br />
simultaneously by Mr. Horace Cox and Messrs.<br />
D. Appleton and Co.<br />
<br />
Messrs. Chatto and Windus are holding back<br />
Mr. Walter Besant’s “ London” until October, in<br />
consequence of the probable near approach of the<br />
General Election. A very large number of<br />
publishers have made arrangements to hold over<br />
their forthcoming volumes for the same cause.<br />
<br />
The Authors’ Syndicate has also arranged for<br />
the serial publication of the following stories :—<br />
“Capt'n Davy’s Honeymoon,” by Hall Caine,<br />
in Lloyd’s Weekly Newspaper ; ‘‘ The Countess<br />
Radna,’ by W. EH. Norris, in the Cornhill<br />
Magazine; ‘The Last Sentence,” by Maxwell<br />
Gray, in Great Thoughts; ‘‘ December Roses,”<br />
by Mrs. Campbell Praed, in Sala’s Journal.<br />
<br />
Mr. E. J. Goodman’s new mystery story,<br />
“The Fate of Herbert Wayne,’ will commence to<br />
run in a number of newspapers in July. The<br />
<br />
arrangements have been made by the Authors’<br />
Syndicate.<br />
<br />
Mr. Hall Caine has practically re-written the<br />
new edition of the ‘ Scapegoat,” which has just<br />
been published by Mr. Wm. Heinemann Several<br />
chapters have been deleted and three new chapters<br />
added, and the story has been largely re-cast.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Mr. A. Egmont Hake has written a volume<br />
entitled “Suffering London, or the Hygienic,<br />
Moral, Social and Political Relation of our<br />
Voluntary Hospitals to Society,” which, with an<br />
introduction by Mr. Walter Besant, has just been<br />
published by the Scientific Press Limited. The<br />
volume undoubtedly throws a vivid light on the<br />
whole of the hospital question, and is sure to<br />
attract wide attention. Mr. Hake shows a wide<br />
and many-sided knowledge of all the elements<br />
of this great problem.<br />
<br />
Mr. William Toynbee’s English version of<br />
Béranger will be issued this month by Walter<br />
Scott Limited, in the Canterbury Poets series.<br />
<br />
Messrs. F. V. White and Co. will publish<br />
during this month a new novel by John Strange<br />
Winter under the title of ‘My Geoff; the<br />
Experiences of a Lady Help,” in one volume. at<br />
2s. 6d. The story has been running as a serial<br />
during the last six months in Winter’s Weekly.<br />
<br />
A small illustrated volume entitled ‘“ The<br />
Cruise of the Tomahawk; the Story of a Summer<br />
Holiday,” is about to be published by Messrs.<br />
Eden and Remington. It is wmitten by Mrs.<br />
Leith-Adams, assisted by two friends, and gives<br />
a graphic description of life on the river.<br />
<br />
Mrs. Leith-Adams has also a new three volume<br />
work in the press. It is called “The Peyton<br />
Romance,” and will be published by Messrs.<br />
Kegan Paul, Trench, and Co.<br />
<br />
H.S.H. the Princess Victoria Mary of Teck,<br />
having accepted with approval the Prelude to<br />
the Idylls of the Queen (by William Alfred<br />
Gibbs), has also expressed a wish for the con-<br />
tinuation of this work. Part I. will now,<br />
therefore, be published by Messrs. Sampson,<br />
Low, Marston, and Co. early in June. The<br />
profits will be given in aid of the Royal National<br />
Lifeboat Institution.<br />
<br />
A correspondent asks us to call attention to a<br />
novel called, ‘A Fellowe and his Wife.” by William<br />
Sharp and Blanche Howard.<br />
<br />
“Devil Caresfoot,” the stage version of Mr.<br />
Rider Haggard’s ‘‘ Dawn,” by C. Haddon Cham-<br />
bers and J. Stanley Little, is to be put up for a<br />
run in the provinces shortly, and its revival in<br />
London is talked about.<br />
<br />
Mr. R. Orton Prowse has written, and Messrs.<br />
Methuen have published, “The Poison of Asps,”<br />
a one volume story which shows considerable<br />
promise.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR, 31<br />
<br />
In our specification of the more noticeable books<br />
issued last month, we omitted to mention “‘ Golden<br />
Face:-A Tale of the Wild West,’ by Bertram<br />
Mitford. A stirring story full of dramatic inci-<br />
dent, based upon the state of affairs immediately<br />
preceding the Sioux War of 1876. Itis published<br />
by Trischler and Co.<br />
<br />
Mr. Leonard Merrick’s new two-volume novel,<br />
“The Man Who Was Good,” is announced by<br />
Messrs. Chatto and Windus.<br />
<br />
The Publisher's Circular is responsible for the<br />
rumour that Mr. Rudyard Kipling intends to<br />
reside permanently at Vermont, U.S.A.<br />
<br />
Messrs. Chatto and Windus have published<br />
Mr. Walter Besant’s new collection of short<br />
stories, “‘ Verbena, Camellia, Stephanotis.” The<br />
other stories included in this volume are “ The<br />
Doubts of Dives,” ‘The Demoniac,” and “The<br />
Doll’s House.”<br />
<br />
NEW BOOKS AND NEW EDITIONS.<br />
<br />
————<br />
<br />
Theology.<br />
<br />
Aton, Henry, D.D. Comfort in the Wilderness. The<br />
last sermon preached in Union Chapel, Islington, on<br />
Sunday, April 10, by the late Henry Allon, D.D.<br />
With portrait. Williams, Moorgate Street, E.C.<br />
Paper covers, 6d.<br />
<br />
Auton, Henry D.D. The Indwelling Christ, and other<br />
Sermons. Isbister and Co., Tavistock Street. 7s. 6d.<br />
<br />
Barron, Epw. Pinper, M.A. Regni Evangelium; A<br />
Survey of the Teaching of Jesus Christ. Williams<br />
and Norgate, Henrietta Street. 6s.<br />
<br />
Bru, Cuartes D.,D.D. The Name above Every Name,<br />
and other Sermons. Edward Arnold, Bedford Street. 5s.<br />
<br />
Burns, WALTER. Anthems and Hymns. New and<br />
enlarged edition. Published by the author, at Rose-<br />
mary Street, Belfast. Cloth, 1s. 6d.<br />
<br />
CHURCH OF IRELAND, THE. By Thomas Olden,M.A. The<br />
National Churches Series, edited by P. H. Ditchfield,<br />
M.A. With maps. Wells Gardner, Paternoster Build-<br />
ings.<br />
<br />
D’Atvietta, Count G. The Hibbert Lectures on the<br />
Origin and Growth of the Conception of God, as illus-<br />
trated by Anthropology and History. Williams and<br />
Norgate. 10s. 6d.<br />
<br />
Dawson, Rev. W. J. The Church of To-morrow: a series<br />
of addresses delivered in America, Canada, and Great<br />
Britain. James Clarke and Co. 43s. 6d.<br />
<br />
Ho.isorow, Arruur. Evolution and Scripture, or the<br />
relation between the teaching of Scripture and the con-<br />
clusions of astronomy, geology, and biology, with an<br />
inquiry into the nature of the Scriptures and inspira-<br />
tion. Kegan Paul.<br />
<br />
Lay, Joun Warp. St. Matthew’s Gospel: Who Wrote it,<br />
and How Far may it be Considered Apocryphal ?<br />
Kegan Paul. 3d.<br />
<br />
Mactaren, AuEx., D.D. The Gospel of St. Matthew.<br />
Vol. 1. Hodder and Stoughton. 3s. 6d.<br />
<br />
MopERN CuurcH, Tax: A Journal of; Scottish Religious<br />
Life. Vol. 1. E. W. Allen, Ave Maria Lane.<br />
<br />
Murpuy, THomas. The Position of the Catholic Church<br />
in England and Wales durmg the Last Two Centuries:<br />
Retrospect and Forecast. Prize Essays. Edited for<br />
the XV. Club by the Lord Braye, president of the club.<br />
Burns and Oates. 2s. 6d.<br />
<br />
Or THE IMITATION OF CHRIST.<br />
Kegan Paul.<br />
<br />
RawnsuEy, H. D. Notes for the Nile, together with a<br />
metrical rendering of the Hymns of Ancient Egypt and<br />
of the precepts of Ptah-Hotep (the oldest book in the<br />
world). Heinemann, Bedford-street. 5s.<br />
<br />
In Latin and English.<br />
<br />
RoBERTSON-SmitH, W. The Old Testament in the Jewish<br />
Church: a Course of Lectures on Biblical Criticism.<br />
Second Edition, revised and much enlarged. A. and C.<br />
Black.<br />
<br />
Srrona,T.B., M.A. A Manual of Theology. A. and C.<br />
Black.<br />
<br />
Taytor, C., D.D. The Witness of Hermas to the Four<br />
Gospels. C. J. Clay and Sons, Cambridge University<br />
Press.<br />
<br />
THOROLD, Rr. Rev., A. W., D.D. Questions of Faith and<br />
Duty. Isbister and Co., Tavistock Street, Covent<br />
Garden.<br />
<br />
Tuckrmr, A. B. Witnesses of These Things. With a<br />
preface by the Bishop of Durham. Griffith, Farran.<br />
Is. 6d.<br />
<br />
WILLINK, Rev. A. Not “Death’s Dark Night;’ an<br />
Hour’s Communion with the Dead. Skeffington and<br />
Son, Piccadilly.<br />
<br />
History and Biography.<br />
<br />
BaiLtey, JoHN Burn. From Sinner to Saint; or, Cha-<br />
racter Transformations. Being a few biographical<br />
sketches of historic individuals whose moral lives under-<br />
went a remarkable change. Chapman and Hall. 6s.<br />
<br />
BELLASIO, Epwarp. Cardinal Newman as a Musician.<br />
Paper covers. Kegan Paul.<br />
<br />
BLoMFIEZLD, J. C.<br />
Elliott Stock.<br />
<br />
Bioaa, H. Brrpwoop, M.A. The Life of Francis Duncan,<br />
C.B., R.A., M.P., late Director of the Ambulance<br />
Department of the Order of St. John of Jerusalem in<br />
England. With an introduction by the Bishop of<br />
Chester. Kegan Paul.<br />
<br />
Bonnar, THomAs. Biographical Sketch of George Meikle<br />
Kemp, Architect of The Scott Monument. Edinburgh.<br />
Blackwood.<br />
<br />
CuARKE, WituIaAmM. Walt Whitman. With a portrait.<br />
Dillettante Library Series. Swan Sonnenschein and<br />
<br />
History of Lower and Upper Heyford.<br />
<br />
Co.<br />
Craik, Henry. Swift—Selections from his Works.<br />
Edited, with Life, Introductions, and Notes. In two<br />
<br />
vols. Vol. I. Clarendor Press, Oxford, and Henry<br />
Froude, Amen Corner. 7s. 6d.<br />
<br />
<br />
<br />
<br />
<br />
<br />
of<br />
<br />
In THE TEMPLE: Sketches, some of them reprinted from<br />
the Law Gazette. Hutchinson and Co. Paper covers, Is.<br />
<br />
Keyser, CHarues 8S. Minden Armais: The Man of the<br />
New Race. With a preface and a post-face on the<br />
establishment of the marital relation between the white<br />
and black races in the former Slave States. And an<br />
appendix containing the views of Bishop Dudley,<br />
Archbishop Ireland, Bishop Tanner, and Bishop Potter,<br />
and of Canon Rawlinson, on its advantages to the<br />
nation. American Printing House, Philadelphia. Paper<br />
covers, 50 cents. :<br />
<br />
Lana, ANDREW, Letters on Literature. A new edition.<br />
<br />
Longmans. 2s. 6d.<br />
<br />
Laurie, §. §., LL.D. Teachers’ Guild Addresses and the<br />
Registration of Teachers. Percival and Co. 53.<br />
<br />
Lawrig, A. D. How to Appeal against your Rates (outside<br />
the metropolis), with forms and instructions. Fifth<br />
edition. Effingham Wilson. ts. 6d.<br />
<br />
L’EstrRancE, Mires. What We are Coming To.<br />
Douglas, Castle Street, Edinburgh.<br />
<br />
David<br />
<br />
Luoyp’s Yacut Reaister from May 1, 1892, to April 30,<br />
1893, and Rules for the Building and Classification of<br />
Yachts. 2, White Lion Court, Cornhill, E.C. Printed<br />
solely for the use of subscribers.<br />
<br />
Four National Exhibitions in London<br />
With portraits and illustrations.<br />
<br />
Lows, CHARLES.<br />
and their Organiser.<br />
Fisher Unwin.<br />
<br />
Lyauu, J. Watson. The Sportman’s and Tourist’s Time-<br />
tables and Guide to the Rivers, Locks, Moors, and<br />
Deer Forests of Scotland. Edited by. May, 1892.<br />
Simpkin, Marshall. Paper covers, Is.<br />
<br />
Macuxzop, H. D., M.A. The Theory and Practice of Bank-<br />
ing. Fifth edition. Vol. I. Longmans. 12s.<br />
<br />
Massiz, Gzorar. The Plant World, its Past, Present, and<br />
Future: An introduction to the Study of Botany.<br />
With 56 illustrations. 3s. 6d.<br />
<br />
Masson, Davrp. Edinburgh Sketches and Memories. A.<br />
and C. Black.<br />
<br />
Menzies, W. J. America as a Field for Investment.<br />
A Lecture delivered to the Chartered Accountants’<br />
Students’ Society, on February 18, 1892. Paper covers.<br />
Blackwood.<br />
<br />
Mines, A. H. Modern Humour for Reading or Recitation.<br />
Edited by. Hutchinson, Paternoster Square. Is.<br />
<br />
More Tasty Disuxs. A companion to “Tasty Dishes.”<br />
By the same compiler. James Clarke, Fleet Street. 1s.<br />
<br />
Movuz, Rev. H. C. G To my Younger Brethren.<br />
Chapters on Pastoral Life and Work. Hodder and<br />
Stoughton. 53s.<br />
<br />
Munro, BR. D. Steam Boilers; their defects, management,<br />
and construction. Second edition, enlarged, with<br />
illustrations and tables. Blasting, a handbook for<br />
engineers and others, engaged in mining, tunnelling,<br />
quarrying, &c. By Oscar Guttmann. With illustra-<br />
tions. Charles Griffin, Exeter Street, Strand.<br />
<br />
Orroman LAND Copr, Tux. Translated from the Turkish<br />
by F. Ongley, of the Receiver-General’s office, Cyprus.<br />
Revised and the marginal notes and index added by<br />
Horace E. Miller, LL.B. W. Clowes and Sons.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Oman, W. W.C. The Byzantine Empire. Fisher Unwin.<br />
<br />
PARKER, GILBERT.<br />
Hutchinson, Paternoster Square.<br />
<br />
Round the Compass in Australia.<br />
7s. Od.<br />
<br />
Prrcarrn, E. H. Good Fare for Little Money. Economical<br />
Estimates for Parochial and Social Parties, House-<br />
keeping, &c. Griffith, Farran. 1s. 6d.<br />
<br />
Prarce, Jonn. The Merchant’s Clerk: an Exposition of<br />
the Laws and Customs regulating the operations of<br />
the Counting House, with Examples of Practice.<br />
Nineteenth edition. Effingham Wilson and Co., Royal<br />
Exchange. 238.<br />
<br />
Pocker GAZETTEER OF THE WoRLD, THE. A Dictionary<br />
of General Geography. Edited by J. G. Bartholomew,<br />
¥.R.S.E., F.R.G.S., &c. The new census edition, 1892.<br />
J. Walker and Co., Warwick Lane, E.C.<br />
<br />
Prarr, A. E. To the Snows of Thibet through China.<br />
Longmans. 18s.<br />
<br />
Pricz, Jutius M. From the Arctic Ocean to the Yellow<br />
Sea. The narrative of a journey in 1890 and 1891<br />
across Siberia, Mongolia, the Gobi Desert, and North<br />
China. Sampson Low.<br />
<br />
RAILWAYS AND Ratupway MzEn. W. and R. Chambers.<br />
<br />
Ranp, M‘Natuy, anp Co.’s Pocket Map and Shippers’<br />
Guide to Pennsylvania—New Sectional Map of the<br />
Cherokee Outlet, Oklahoma. Paper covers. Edward<br />
Stanford, Charing Cross.<br />
<br />
R. B., M.A. Landlordism and Labour: an Address to<br />
the Workmen of England. St. William’s Press,<br />
Market Weighton, Yorkshire. Paper covers. 3d.<br />
<br />
REcCREATIONS OF A CountTRY Parson, THE. First series.<br />
<br />
New edition. Longmans. Paper covers, 6d.<br />
<br />
Rexs, J. D. Lord Connemara’s Tours in India. Kegan<br />
Paul.<br />
<br />
Ruopes, G. M. The Nine Circles of the Hell of the<br />
Innocents. Compiled by. With preface by Frances<br />
<br />
Power Cobbe. Swan Sonnenschein and Co. Is.<br />
<br />
RipGEway, Witutam. The Origin of Metallic Currency<br />
and Weight Standards. At the Cambridge University<br />
Press.<br />
<br />
Ropers, C.G.D. The Canadian Guide Book. Tourist’s<br />
and Sportsman’s Guide to Hastern Canada and New-<br />
foundland. With maps and illustrations. Heine-<br />
mann. 6s.<br />
<br />
Roperts, R. Lawron. JHustrated Lectures on Nursing<br />
and Hygiene. Second edition, with illustrations. H.<br />
K. Lewis, Gower Street, W.C.<br />
<br />
Sknat, Rrv. W. W. Twelve Facsimiles of Old English<br />
Manuscripts, with transcriptions and introduction.<br />
Clarendon Press. 7s. 6d. ><br />
<br />
Socran Crentres or Lonpon, TuE. A comprehensive<br />
guide to the social, educational, recreative, and religious<br />
institutes and clubs of the metropolis. Polytechnic<br />
Reception Bureau. Paper covers, 6d.<br />
<br />
SrmwaRtT, ALEXANDER. Our Temperaments: their Story<br />
and their Teaching. A popular outline by. Second<br />
edition, revised and with additional illustrations, in-<br />
cluding chromo-lithographs from drawings by Lockhart<br />
Bogle. Crosby and Lockwood.<br />
<br />
<br />
THE<br />
<br />
Tet, Ex-AMARNA TABLETS, IN THE BritisH MusEum,<br />
THE, with autotype facsimiles. Printed by order<br />
of the Trustees. Sold at the Museum, and by Long-<br />
mans, Quaritch, Asher, Kegan Paul, and Oxford<br />
University Press.<br />
<br />
A Scamper through Spain and<br />
Hutchin-<br />
<br />
THomas, MARGARET.<br />
Tangier. With illustrations by the author.<br />
son and Co., Paternoster Square. 12s.<br />
<br />
Tourists’ GurpEes. The Wye and its Neighbourhood.<br />
By the late G. Phillips Bevan. Revised and edited by<br />
R. N. Worth, with maps and plan-—The County of<br />
Suffolk, with excursions by river, railway, and road.<br />
By Dr. J. E. Taylor. Second edition, with a map.—<br />
Berkshire, with some preliminary remarks as to its<br />
early history, antiquities, worthies, &c. Second<br />
edition. Edited and revised by P. H. Ditchfield, M.A.<br />
With map.—The Channel Islands. By the late G.<br />
Phillips Bevan. Edited and revised by R. N. Worth.<br />
Third edition. Withthree maps. Edward Standford,<br />
Charing Cross. 2s. each.<br />
<br />
TRENDELL, A. J. R. The Colonial Year Book for 1892.<br />
With introduction by J. Henniker Heaton, M.P.<br />
Sampson Low. 6s.<br />
<br />
Warp, C. S., anp BapDELEY, M.J.B. South Devon and<br />
South Cornwall, with a description of Dartmoor and the<br />
Scilly Isles. With maps and plans by Bartholomew.<br />
Fourth edition, revised. ‘Through Guide”’ series.<br />
Dulau, Soho Square.<br />
<br />
Wise, B. R. Industrial Freedom; A Study in Politics. By<br />
B. R. Wise. Cassell’s.<br />
<br />
YxEAR-Book OF THE SCIENTIFIC AND LEARNED SOCIETIES<br />
OF GREAT BRITAIN AND IRELAND. Compiled from<br />
official sources. Charles Griffin.<br />
<br />
Fiction.<br />
<br />
ALLEN, F. M. Green as Grass.<br />
Joseph Smith.<br />
<br />
With a frontispiece by<br />
Chatto and Windus.<br />
<br />
Elizabeth Farnese: ‘“ The Terma-<br />
Longmans. 16s.<br />
<br />
A Woman at THE HELM. Thiee vols.<br />
“Dr. Edith Romney,” &c.<br />
13, Great Marlborough Street,<br />
<br />
By the Author of ‘‘The Atelier du<br />
Longmans. 6s.<br />
<br />
In the Roar of the Sea: a tale of the<br />
Three vols. Methuen.<br />
<br />
BENNETT-EDWARDsS, Mrs. The Unwritten Law.<br />
smith, Bristol; Simpkin, Marshall.<br />
<br />
BetHam-Epwarps, Miss. Two Aunts and a Nephew.<br />
Volume of the ‘ Victoria Library for Gentlewomen.”<br />
Henry and Company, Bouverie Street, E.C. 6s.<br />
<br />
Buack, CLEMENTINA. Miss Falkland and other Stories.<br />
Lawrence and Bullen, Henrietta Street, Covent Garden.<br />
6s.<br />
<br />
Buackx, WILLIAM.<br />
Sampson Low.<br />
<br />
ARMSTRONG, EDWARD.<br />
gant of Spain.”<br />
<br />
By the Author of<br />
Hurst and Blackett,<br />
<br />
A Youncssr. SISTER.<br />
Lys,” &c.<br />
<br />
Barine Goutp, 8.<br />
Cornish Coast.<br />
<br />
Arrow-<br />
<br />
Kilmeny. New and revised edition.<br />
2s. Od.<br />
<br />
Burnanp, F. C. Some Old Friends.<br />
from Punch.<br />
Street.<br />
<br />
With illustrations<br />
Bradbury, Agnew, and Co., Bouverie<br />
<br />
AUTHOR. 35<br />
<br />
CARLTON-DAWE, W. Mount Desolation. An Australian<br />
<br />
Romance. Cassells.<br />
<br />
CaTHERWOOD, Mary H. The Lady of Fort St. John.<br />
Sampson Low.<br />
<br />
CHERRY Biossom. By the Author of ‘‘ Madam’s Ward,”<br />
&e. The Family Story Teller Series. William Stevens<br />
Limited, Strand. 1s. 6d.<br />
<br />
CHURCHWARD, W. B. Jem Peterkin’s Daughter: An<br />
<br />
Antipodean Novel. In 3 vols. Swan Sonnenschein<br />
and Co.<br />
<br />
Coscrove, Masrn. What was the Verdict? Sampson<br />
Low. Paper covers. Is.<br />
<br />
CUNINGHAME, LAapy Farrure. A Wandering Star.<br />
Ward and Downey 31s. 6d.<br />
<br />
3 vols.<br />
<br />
Dow1ine, RicHArD. Catmur’s Caves; or the Quality of<br />
<br />
Mercy. A. and C. Black.<br />
Dumas, ALEXANDER. The Three Musketeers. John<br />
Dicks. 6d.<br />
<br />
Fate oF Frenevia, THe. By Justin H. McCarthy, A.<br />
Conan Doyle, H. W. Lucy, G. Manville Fenn, and<br />
others. 3 vols. Hutchinson. g1s. 6d.<br />
<br />
FLEetTcHEeR, Ropert H. The Mystery of a Studio, and<br />
other Stories. Lawrence and Bullen, Henrietta Street,<br />
Covent Garden.<br />
<br />
“GANYMEDE.” Prince Arthur’s<br />
<br />
J. Flack.<br />
<br />
GISSING, GEORGE.<br />
and C. Black.<br />
<br />
GREENWOOD, JAMES.<br />
<br />
Voyage to the Moon.<br />
<br />
Born in Exile. A novel. 3vols. A.<br />
<br />
J. Dicks. 6d.<br />
<br />
Longmans. 6s.<br />
<br />
Kerrison’s Crime.<br />
Nada the Lily.<br />
<br />
A Modern Ulysses: the Strange History<br />
and His Adventures.<br />
<br />
HaAGGArRpD, H. RipER.<br />
<br />
HATtTon, JOSEPH.<br />
of Horace Durand, His Loves<br />
Hutchinson. 2s. 6d.<br />
<br />
HoBBEs, JOHN OLIVER.<br />
“ Some Emotions<br />
3s. Od.<br />
<br />
The Sinner’s Comedy. Author of<br />
and a Moral.” Fisher Unwin.<br />
<br />
HumpPHrEY WARD, Mrs. The History of David GRIEvE.<br />
Sixth Edition. Smith, Elder.<br />
<br />
Ines, E. Guy Darrel’s Wives:<br />
<br />
2g.<br />
<br />
a novel. Griffith Farran.<br />
<br />
KENLOcK, MARJorRyY G.<br />
Paul.<br />
<br />
A Song-book of the Soul. Kegan<br />
<br />
Knieut, H. B. Finuay. In Fool’s Paradise. Ward and<br />
<br />
Downey, York Street, Covent Garden. 6s.<br />
A Comedy Actress. J. Dicks. 6d.<br />
<br />
Layarp, G. Somrs. His Golf Madness, and other ‘‘ Queer<br />
Stories.” Sampson Low. Paper covers. Is.<br />
<br />
Kock, PAUL DE.<br />
<br />
LEAL FREDERICK.<br />
vols.<br />
<br />
Winter’s Masterpiece: a novel, in 2<br />
Swan, Sonnenschein and Co.<br />
<br />
Lemore, Chara. A Harvest of Weeds.<br />
Griffith, Farran. 3s. 6d.<br />
<br />
Lesuiz, Emma. Hetty’s Garden Party and What Came of<br />
it. Sunday School Union, Old Bailey.<br />
<br />
Daughters of Men.<br />
<br />
A new edition.<br />
<br />
Lyncu, HANNAH. A novel. Heine-<br />
<br />
mann. 3s. 6d.<br />
<br />
Lys, CuristiAn. A London Cobweb. Trischler and Co.,<br />
New Bridge Street, E.C. Paper covers. 1s.<br />
<br />
<br />
<br />
<br />
<br />
<br />
Macquoip, K.S. TooSoon,a story, and A Faithful Lover.<br />
New and revised editions. Innes and Co., Bedford<br />
street, Strand. 5s. each.<br />
<br />
Merriman, H. Seron. The Slave of the Lamp. Two<br />
volumes. Smith Elder.<br />
<br />
Merry, L.T. Queer Cards.<br />
Paper covers, Is.<br />
<br />
John Flack, High Holborn.<br />
<br />
An Enchanted Garden. Fairy stories.<br />
The Children’s<br />
<br />
Mo.eswortH, Mrs.<br />
Illustrated by W. J. Hennessy.<br />
Library. T. Fisher Unwin. 2s. 6d.<br />
<br />
The Bushranger’s Sweetheart: an Aus-<br />
F. V. White and Co.<br />
<br />
A sketch. Third edition.<br />
<br />
NissBEtT, Hume.<br />
tralian Romance.<br />
<br />
Norris, W. E. Mrs. Fenton.<br />
Eden Remington.<br />
<br />
Ouury, Mary. Ulf the Norseman.<br />
G. Cauldwell, Old Bailey.<br />
<br />
A tale of the Fiords.<br />
<br />
Pain, Barry. Stories and Interludes. Henry and Co.<br />
38. Od.<br />
<br />
Parkman, Francis. A Half Century of Conflict. 2 vols.<br />
Macmillan. 258.<br />
<br />
Parry, Masor G.—The Story of Dick. Macmillan. 6s.<br />
<br />
Raymonp, WALTER. Taken at His Word. 2 vols.<br />
Bentley.<br />
<br />
Rita. Brought Together: a volume of stories. Griffith,<br />
Farran. 33s. 6d.<br />
<br />
Satwey, Rearnatp E. Wildwater Terrace: a novel.<br />
2 vols., second edition. Digby, Long, and Co. 21s.<br />
<br />
Smart, Haw.LEyY. A Member of Tattersall’s. F.V. White<br />
andCo. Is.<br />
<br />
SprnDER, Mrs. J. K. A Waking. 3 vols. Hutchinson,<br />
Paternoster Square.<br />
<br />
Sruart, Esmé. Virginie’s Husband: a novel. A. D.<br />
<br />
Innes and Co., Bedford Street, Strand.<br />
<br />
Sytva, CARMEN. Edleen Vaughan, or, Paths of Peril; a<br />
novel. 3 vols. F.V. White and Co., 31, Southampton<br />
Street, Strand.<br />
<br />
Tuomas, ANNIE (Mrs. Pender Cudlip). Old Dacre’s<br />
Darling: a novel. 3 vols. F. V. White and Co.,<br />
Southampton Street, W.C.<br />
<br />
WatsH, B. Through Deep Waters.<br />
New Bridge Street, E.C.<br />
<br />
Trischler and Co.,<br />
<br />
Watson, AARON. For Lust of Gold: a romance. Walter<br />
Scott.<br />
Wetts, C. J. In and about Bohemia. Short stories.<br />
<br />
Griffith, Farran. 6s.<br />
<br />
Wuytst, Haine. In Part to Blame.<br />
<br />
38. 6d.<br />
<br />
Wicks, Freprerick. A Woman’s Courage: the Story of<br />
some Golden Lives. Originally published as “‘ Golden<br />
Lives, the Story of a Woman’s Courage.” Illustrated<br />
<br />
J. W. Arrowsmith,_<br />
<br />
by Jean de Paleologue. Eden Remington. Paper<br />
covers, I3.<br />
Woops, MaraareT L. Esther Vanhomrigh. John<br />
<br />
Murray. 6s.<br />
<br />
Yeats, W. B. Irish Fairy Tales. Wdited, with an Intro-<br />
abel Illustrated by Jack B. Yeats. Fisher Unwin.<br />
8. 2d.<br />
<br />
THE AUTHOR.<br />
<br />
Poetry and the Drama.<br />
<br />
Bantock, GRANVILLE. Rameses II. A drama of Ancient<br />
Egypt, in five acts. David Stott, Oxford-street. 18. 6d.<br />
<br />
BERNHARDT, Dr. W. Einfuhrung in Goethe’s Meister-<br />
werke. Selections from Goethe’s Poetical and Prose<br />
Works, with notes, vocabulary, and introduction, con-<br />
taining a life of Goethe, for school and home. D. C.<br />
Heath, Boston, U.S.A. 1 dol. 60c.<br />
<br />
DALLASTYPE SHAKESPEARE, THE; a reduced facsimile of<br />
the first folio (1623) edition in the British Museum.<br />
Part I. To be completed in 57 parts. Duncan C.<br />
Dallas, Furnival Street, W.C. Paper covers, 38.<br />
<br />
Daven, —. Blurs and Blottings.<br />
Simpkin, Marshall.<br />
<br />
A Miscellany of Verse.<br />
<br />
Derviu’s Visit, THe: Why he Came, What he Said, Why<br />
he Left, and the Present he Sent. A poem for the<br />
times. Second Edition. Excelsior Publishing House,<br />
New York. 1 dol.<br />
<br />
Haauz, J.B. The Odes and Epodes of Horace. Trans-<br />
lated into English verse, with an introduction and notes<br />
and Latin text. G. P. Putnam’s Sons, Bedford Street.<br />
7s. 6d.<br />
<br />
Hatt, JNo. Lustre. Beowulf. An Anglo-Saxon Epic<br />
Poem, translated from the Heyne-Socin Text. D.C.<br />
Heath and Co., Boston, U.S.A.<br />
<br />
Heatuey, H.R. Ballad and other Poetry. Compiled by<br />
Percival and Co. 1s. 4d.<br />
<br />
Henuey, W.E. The Song of the Sword, and other verses.<br />
David Nutt.<br />
<br />
Krpuine, Rupyarp. Barrack Room Ballads and other<br />
verses. Methuen, Bury Street. 6s.<br />
<br />
Pinrro, ARTHUR W. Lady Bountiful: a story of years.<br />
A play in four acts. Heinemann. Paper covers, Is. 6d. ;<br />
cloth, 2s. 6d.<br />
<br />
RazE-Brown, Cotin. The Dawn of Love, and other Poems.<br />
Complete edition, with portrait and memoir of the<br />
author. Alexander Gardner, Paisley and London.<br />
<br />
Rxoaves, H. T. Macaulay’s Lays of Ancient Rome, with<br />
“Tvry ” and other poems. With introduction and notes.<br />
Percival and Co. ts. 6d.<br />
<br />
SmirH, Henry JoHn. Dramatic Works and Minor Poems.<br />
Illustrated. Two vols. William Ridgway, Piccadilly.<br />
<br />
Sones AnD Lyrics. By Joseph Skipsey. Collected and<br />
revised. 250 copies, numbered and initialled. Walter<br />
Scott, Warwick Lane, Paternoster Row.<br />
<br />
SwINBURNE, A.C. The Sisters; a tragedy. Chatto and<br />
Windus.<br />
<br />
Educational.<br />
<br />
ARNOLD, Forstmr H. O. The Citizen Reader, with a<br />
preface by the Right Hon. W. E. Forster, M.P. For<br />
the use of schools. 175th thousand and 180th<br />
thousand (Scottish edition). Cassell’s Modern School<br />
Series. 1s. 6d. each.<br />
<br />
BarTHOoLOMEW, JoHN. Handy Atlas of England and<br />
Wales. A series of county maps and plans, with<br />
descriptive index and statistical notes. Edited by<br />
A. and C. Black.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
CHAMBERS’s EXPRESSIVE READERS.—Book I. (8d.), II.<br />
(od.), WL (12.), TV. (ts. 4d.), V. and VI. (1s. 64.).<br />
Chambers’s Expressive Primer.—Part I., 3d.; Part II.,<br />
4d. Chambers’s Expressive Infant Reader, 6d. W.<br />
and R. Chambers, London and Edinburgh.<br />
<br />
Fuint, Gzorer. Short and Easy Bookkeeping. New and<br />
enlarged edition. Effingham Wilson. Paper covers, 6d.<br />
<br />
Frost, Percy H. Handbook of Latin Difficulties for<br />
Beginners. Longmans. 2s. 6d.<br />
<br />
GARDNER, Mary. A Short and Easy Modern Greek<br />
Grammar, with exercises, phrases, and vocabulary,<br />
after the German of Carl Wied. With a preface by<br />
Ernest Gardner, M.A. David Nutt.<br />
<br />
Kimpatt, A.C. Exercises in French Composition. Heath,<br />
Boston, U.S.A. 12¢.<br />
<br />
NeEweE tt, A. Problems in Arithmetic and Mensuration, for<br />
the higher forms of commercial schools. 1s. 6d.<br />
<br />
PaRKIN, GEORGE R. Round the Empire. For the use of<br />
schools. With a preface by the Earl of Rosebery.<br />
Cassell. ts. 6d.<br />
<br />
Royaut ATLAs oF MopERN GEOGRAPHY. W. and<br />
<br />
A. K. Johnston. Paper covers.<br />
<br />
Part 7.<br />
<br />
Spencer, J. Theoretical Mechanics, a class book for the<br />
elementary stage of the Science and Art Department.<br />
Percival and Co. 2s.<br />
<br />
Manual Instruction in Woodwork. A<br />
Simpkin, Marshall.<br />
<br />
Woop, GEorGE.<br />
practical handbook for teachers.<br />
<br />
Law.<br />
<br />
Cuamizr, Danrex. Lunacy Law in its Relation to Custody<br />
of the Person. An explanatory treatise on the Lunacy<br />
Acts, 1890 and 1891. Effingham Wilson and Co.,<br />
Is. 6d.<br />
<br />
CHaRrLes, Lorp TENTERDEN. A Treatise of the Law<br />
Relative to Merchant Ships and Seamen. Thirteenth<br />
edition. By T. T. Bucknill, Q.C., Recorder of Exeter,<br />
and Joel Langley, of the Middle Temple. Shaw and<br />
Sons, Fetter-lane, E.C. £2 128. 6d.<br />
<br />
Lyncu, H. Foutxrs. Redress by Arbitration; a Digest of<br />
the Law relating to Arbitrations and Awards. Second<br />
edition, incorporating the Arbitration Act of 1889 aud<br />
the decisions of the Courts thereon. Effingham<br />
Wilson. 5s.<br />
<br />
Moyuz, J.B. The Contract of Sale in the Civil Law, with<br />
Reference to the Laws of England, Scotland, and<br />
France. Oxford, at the Clarendon Press; London,<br />
Henry Frowde. 10s. 6d.<br />
<br />
SHaw’s Parisw Law. By J. F. Archbold, Barrister-at-<br />
Law. Seventh edition, by J. Theodore Dodd, Barrister-<br />
at-law. Shaw and Sons, Fetter-lane. 148.<br />
<br />
Soum, Rupotpx. The Institutes of Roman Law. Trans-<br />
lated (from the fourth edition of the German) by James<br />
Crawford Ledlie, B.C.L., M.A., of the Middle Temple,<br />
Barrister-at-Law, and of Lincoln College, Oxford.<br />
With an Introductory Essay by Erwin Grueber, Dr.<br />
Jur., M.A., of Balliol College, Reader in Roman Law<br />
in the University of Oxford. Oxford, at the Clarendon<br />
Press ; London, Henry Frowde. 183s.<br />
<br />
AUTHOR. 37<br />
<br />
Weep, ALonzo, R. Business Law. A manual for schools<br />
and colleges, and fo: everyday use. Revised edition.<br />
D. C. Heath and Co., Boston, U.S.A.<br />
<br />
Science.<br />
<br />
Brunton, T. LaupER, M.D. An Introduction to Modern<br />
Therapeutics, being the Croonian Lectures on the<br />
relationship between chemical structure and physio-<br />
logical action in relation to the prevention, control, and<br />
cure of disease, delivered before the Royal College of<br />
Physicians in London, June, 1889. Macmillan. 3s. 6d,<br />
<br />
CHAMBERS, George F. Pictorial Astronomy for General<br />
Readers. Whittaker’s Library of Popular Science.<br />
Whittaker and Co., White Hart Street.<br />
<br />
Dana, E. Sauispury. Descriptive Mineralogy. Sixth<br />
edition. Entirely re-written and much enlarged.<br />
Kegan Paul.<br />
<br />
Discussion on INTERNATIONAL BIMETALLISM at the Man-<br />
chester Chamber of Commerce. Full report on the<br />
three days’ debate, April 13 and 27 and May 4, 1892.<br />
Effingham Wilson, Royal Exchange. Paper covers, 2d.<br />
<br />
GipBons, H. pr B. English Social Reformers. Methuen,<br />
<br />
28. 6d.<br />
<br />
Imray, Joun, and Briaas, C. H. W. First Principles of<br />
Mechanical Engineering. Illustrated. Biggs and Co.,<br />
139, Salisbury Court, E.C. 3s. 6d.<br />
<br />
InisH Peasant, THe. A Sociological Study. Edited from<br />
the original papers by a Guardian of the Poor. Social<br />
Science Series. Swann Sonnenschein and Co. 2s. 6d.<br />
each.<br />
<br />
Loney, S. L.<br />
Elementary Dynamics.<br />
<br />
Lov, A. E.H. A Treatise on the Mathematical Theory<br />
of Elasticity. Vol. I. Cambridge University Press.<br />
<br />
MAXxweE.u, J. CuERK. Treatise on Electricity and Mag-<br />
netism. Third edition. 2 vols.. Oxford, at the<br />
Clarendon Press; London, Henry Frowde. 32s.<br />
<br />
Solution of the Examples in a Treatise on<br />
Cambridge University Press.<br />
<br />
Nicuonson, J. Suimup. The Effects of Machinery on<br />
Wages. New and revised edition.<br />
<br />
Pick, G. Vestan. Digest of Political Economy, and some<br />
of its applications to Social Philosophy. Swan Sonnen-<br />
<br />
schein.<br />
<br />
Quarin’s ELEMENTS oF ANATOMY. Edited by E. A.<br />
Schifer, F.R.S., and G.D. Thane. In 3 vols. Vol. IL.,<br />
Part II. Arthrology, Myology, Angeiology. TIllus-<br />
trated. Tenth edition. Longmans. 18s.<br />
<br />
Parliamentary Papers.<br />
<br />
Report from the Select Committee on the Eastbourne Im-<br />
provement Act (1885) Amendment Bill (1d.). Alien<br />
Immigration return for April (}d.). Piers and Har-<br />
bours (Ireland) (Expenditure, &c.) (}d.). Standards of<br />
Weight and Measure—Minute of Proceedings and Report<br />
upon ($d.). Gas Provisional Orders Bill, memorandum<br />
(¢d.). Paupers (England and Wales) relieved on Jan. 1,<br />
1892 (5d.). Report from the Select Committee on the<br />
Plumbers’ Registration Bill (1s. 2}d.). Foreign Office<br />
Annual Series—Reports for 1891 on the Trade of Costa<br />
Rica (id.), and of Genoa (1}d.). National Debt<br />
(Savings Banks) Balance Sheet (}d.). Copy of Statis-<br />
tical Tables and Memorandum relating to the Sea<br />
|<br />
|<br />
|<br />
|<br />
|<br />
<br />
<br />
<br />
<br />
38<br />
<br />
<br />
<br />
Fisheries of the United Kingdom (sid.). Return of<br />
the Number of Eviction Notices Filed in Trish Courts<br />
during the Quarter ended March 31 (3d.). Foreign<br />
Office Miscellaneous Series.—Further Report on the<br />
Progress of the Works of the Free Port of Copenhagen<br />
(Denmark) ($d.); Annual Series.—Reports for 1891, on<br />
the Trade of Adrianople (3d.); of Tripoli (1d.); of Kiung-<br />
chow (1d.); andof Java (1d.). Metropolitan Police Pension<br />
Fund and Metropolitan Police-Courts Accounts, 1891-2<br />
(2kd.). Fifth Report of the Royal Commission on<br />
Vaccination (1d.). Treaty and Convention between<br />
Great Britain and the United States relating to Behring<br />
Sea, signed at Washington, February 29 and April 18,<br />
1892 (id.). Treaty of Friendship, Commerce, and<br />
Navigation between Great Britain and Muskat, signed<br />
at Muskat February 20, 1892 (1d.). Return of Import<br />
and Export Duties levied in the Niger Territories (}d.).<br />
Foreign Office Annual Series.—Parliamentary Report<br />
for 1891 on the Trade of Stettin (1}d.); Reports for<br />
1891 on the Trade of Callao (1d.) ; and on the Trade<br />
of the Pireus (1d). Navy.—(1) Dockyard Expense<br />
Annual Accounts, with the Report of the Comptroller<br />
and Auditor-General thereon (2s. 9d.); (2) Victualling<br />
Yard Manufacturing Annual Accounts, with the Report<br />
of the Comptroller and Auditor-General thereon (3d.).<br />
Trish Land Commission, Return of Judicial Rents fixed<br />
during December 1891 (7d.). Census of Ireland, 1891,<br />
County of Tyrone (11d.). Railway and Canal Commis-<br />
sion, Third Annual Report, with Appendix (13d).<br />
Annual Diplomatic and Consular Reports on Trade and<br />
Finance—Mogador (2}d.); Amoy and Kiukiang (1d.<br />
each); Boston (Mass.) (1d.). Brussels Conference,<br />
General Act relative to the African Slave Trade (53d.).<br />
Volunteer Camps, &c., 1892. List of Parliamentary<br />
Papers for Sale, with prices :—Railway Commissioners,<br />
Return of Sittings (4d.); Emigration and Immigration<br />
from and into the United Kingdom in 1891; Army<br />
(Terms and Conditions of Service). Returns showing<br />
the net Army and Navy Expenditure for 1891-2 (1d.) ;<br />
and the net Estimated Expenditure for 1892-3 (3d.), with<br />
the provision made to meet it. Census for Ireland,<br />
Part 1, Vol. III, Ulster, No. 8, County of Monaghan (gd.).<br />
Report on Mines for the South Wales District for 1891<br />
(1s. 1d.). General Act of theBrussels Conference relative<br />
to the African Slave Trade, signed at Brussels, July 2,<br />
1830 (54d.). Report of the Progress of the Ordnance Sur-<br />
vey to December 31, 1891 (28. 2d.). Report of Mr. Arthur<br />
H. Stokes, H. M. Inspector of Mines for the Midland<br />
District, No. 8 (7d.). Report of Mr. Henry Hall, H. M.<br />
Inspector of Mines for the Liverpool District, No. 7<br />
(8d.). Report by Mr. Joseph Dickinson, F.G.S., H. M.<br />
Inspector of Mines for the Manchester and Ireland<br />
District, No. 6 (o}d.). Report of Mr. Frank<br />
N. Wardell, H. M. Inspector of Mines for the<br />
Yorkshire and Lincolnshire District, No. 5 (43d).<br />
Report for the year 1891 on the Trade of Wenchow<br />
(id.). Return of the Number of Agrarian Outrages<br />
reported to the Inspector-General of the Royal Trish<br />
Constabulary during the quarter ended March 31 (3d.).<br />
Ordinance made by the Scottish Universities Commis-<br />
sioners with regard to Libraries (1d.). Census of<br />
Ireland, Vol. I11.—Province of Ulster (8d.). Return to<br />
Army Officers’ Service (}d.). Foreign Office Miscel-<br />
laneous Series—Report on the History and Progress of<br />
Telephone Enterprise in Belgium (1d.). Report from<br />
the Select Committee on Greenwich Hospital (Age<br />
Pensions), with the proceedings of the committee (2d.).<br />
Returns as to Railway Accidents during 1891 (1s. 10d.).<br />
Return as to Equivalent Grant (Scotland) Distribution<br />
(14d.). Report on Mines for the Cornwall and Devon<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
District for 1891 (3d.). General Abstract of Marriages,<br />
Births, and Deaths Registered in England in 1891<br />
(1d.). Reports of Her Majesty’s Inspector of Mines for<br />
(1) the East Scotland District (63d.) ; (2) the Newcastle<br />
District (4d.); (3) the North Staffordshire District<br />
(11d.). Return as to the amounts paid in 1891 under<br />
the Local Taxation (Customs and Excise) Act, 1890<br />
(2d.) ; Financial Statement, 1892-93 (14.) ; Ordinances<br />
made by the British South Africa Company (1d.).<br />
Return as to the American Mail Service (1}d.).<br />
Colonial Report, Annual—Reports for 1890 on British<br />
Honduras, Labuan, Barbados, Mauritius, and St.<br />
Helena (id. each); for 1889, on Ceylon (13d.); and on<br />
Basutoland, for 1890-91 (2d.) Foreign Office Annual<br />
Series—Reports for 1891 on the Trade of Rosario<br />
(1d.); on the Trade of Santos and Immigration into<br />
Brazil (2}d.); on the Agricultural Condition of the<br />
Consular District of Mogador (1d.); on the Trade of<br />
Santo Domingo (}d.); on the Trade of the Philippines<br />
(13d.). Report for 1890-91 on the Trade of Palestine<br />
(1d.). Statement of the Trade of British India with<br />
British Possessions and Foreign Countries for the five<br />
years from 1886-87 to 1890-91 (1 1d.). Return by the<br />
Railway Companies of the United Kingdom for the<br />
six months ended December 31, 1891 (18.). Report on<br />
Mines in the South-Western District for 1891 (5d.).<br />
Census of Ireland, Vol. I1—Munster. Summary,<br />
tables, and indexes (1s.); Vol. TII.—Ulster, No. 5,<br />
Down (11d.). Public Income and Expenditure, Account<br />
for year ended March 31. 1892 (3d.). Public Expen-<br />
diture and Receipts for the same period (4d.). Return<br />
of the dates on which each Parliament was Elected and<br />
Dissolved since the passing of the Septennial Act,<br />
together with the periods that elapsed in each case<br />
between the Dissolution and the Meeting of the new<br />
Parliament (}d.). Accounts Relating to Trade and<br />
Navigation of the United Kingdom for April (7d.).<br />
Foreign Office Annual Series—Reports for 1891 on the<br />
Trade of the Consular district of Taganrog, Russia<br />
(2kd.); of the District of the Consulate-General at<br />
Antwerp (13d.); of Foochow (1d.) ; and of Ichang (5d.).<br />
Foreign Office Annual Series—Reports for 1891 on the<br />
Trade of Madeira (id.); of Pakhoi, China (1d.) ; and of<br />
the Consular district of Brest (id.). Mines, Miners,<br />
and Minerals, Return (}d.) Further paper relative to<br />
the present working of the “ Liquor Laws” in Canada<br />
(13d.). Government Contracts (Wages), Return (23d.).<br />
Report on the Ignition and Partial Explosion of<br />
Gelatine Dynamite at Nantywyn Lead Mine, Car-<br />
marthenshire, on March 28 last (1d.). 16th Annual<br />
Report of Her Majesty’s Inspectors of Explosives, for<br />
1891 (}d.). Report of the Meteorological Council to<br />
the Royal Society for the year ending March 31, 1891<br />
(s$d.). Education Department, Return relating to<br />
Blementary Schools (2$d.). Foreign Office—Annual<br />
Series, Report for 1891 on the Trade of Marseilles and<br />
Lyons (rd.). Miscellaneous Series, Report on the<br />
Native Industries of Japan (2d.). Special Report from<br />
the Select Committee on Railway Servants, Hours of<br />
Labour (1s. o}d.). Irish Land Commission, Return of<br />
proceedings during March (id.). Supplemental rules<br />
under the Redemption of Rent (Ireland) Act, 1891<br />
(id.). Return as to Government Contracts with<br />
Foreigners (}d.). Universities Act, 1877—Statutes<br />
made by the Governing Body of Trinity Hall (d.).<br />
Report on the Circumstances attending the Ignition<br />
and Partial Explosion of Gelatine Dynamite at<br />
Nantymwyn Lead Mine, Carmarthenshire, on March 28,<br />
1892; by Lieut.-Colonel Cundill, B.A., Her Majesty’s<br />
Inspector of Explosives ; Eyre and Spottiswoode (1d.).<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ADVERTISEMENTS<br />
<br />
<br />
<br />
<br />
<br />
PORNO I TOO VOTO Ts<br />
4<br />
<br />
PS<br />
<br />
CHRONICLE. E Es<br />
Eas<br />
<br />
CSS SOOT TY Poo<br />
<br />
<br />
<br />
AONE<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
LEADERS<br />
RE viven every week on current and<br />
interesting topics.<br />
<br />
<br />
<br />
“GAZETTE DES DAMES ”<br />
HHRONICLES all events of special in-<br />
terest to ladies. It also contains<br />
correspondence on the social subjects<br />
that are within the province of women.<br />
<br />
<br />
<br />
“MUSIC AND MUSICIANS ”<br />
REATS of all the Musical Societies, the<br />
Operas, and the new Vocal and<br />
Instrumental Music.<br />
<br />
<br />
<br />
“THE DRAMA.”<br />
RITIQUES of all Performances at the<br />
: London Theatres, Theatrical Gossip,<br />
C.<br />
<br />
PORTRAITS AND BIOGRAPHIES<br />
OF the most celebrated Personages,<br />
<br />
both men and women, of the<br />
paee and present ages, are frequently<br />
given.<br />
<br />
<br />
<br />
THE “WORK TABLE”<br />
iG devoted to designs and descriptions<br />
of all new and useful work. Orna-<br />
mental Feather Work, Fretwork, Solid<br />
Wood Carving, Church Embroidery,<br />
Crochet, Tatting, Leatherwork, Knitting,<br />
&c., &c., are all fully treated.<br />
<br />
SATURDAY.<br />
<br />
COLOURED FASHION PLATES<br />
<br />
RE given gratis with THE QUEEN of<br />
the first Saturday of every month.<br />
<br />
“THE PARIS FASHIONS”<br />
IVES Mlustrations and Descriptions<br />
of the Dresses worn in Paris at the<br />
Promenades, Balls, Fétes, and elsewhere<br />
<br />
EMBROIDERY, CROCHET, AND<br />
TATTING<br />
<br />
RE all treated by Ladies well qualified<br />
to dosso.<br />
<br />
<br />
<br />
|<br />
<br />
IO<br />
[Price 6d.<br />
<br />
THE NEW BOOKS<br />
HAT would be likely to interest Ladies<br />
are carefully reviewed.<br />
<br />
“LYRA DOMESTICA”<br />
(Gexzes Original Poetry.<br />
J<br />
<br />
<br />
<br />
Ace the NEW MUSIC is noticed.<br />
<br />
<br />
<br />
“THE TOURIST”<br />
Gus account of Travel and Places.<br />
<br />
<br />
<br />
“CAUSERIE DE PARIS”<br />
S aweekly letter from Paris, giving all<br />
the chit-chat and doings of that city.<br />
<br />
“THE COURT CHRONICLE”<br />
IVES all the fashionable movements at<br />
home and abroad.<br />
<br />
<br />
<br />
THE DOINGS OF THE UPPER<br />
EN THOUSAND<br />
A T Home and Abroad are chronicled.<br />
<br />
LETTERS<br />
{ROM Paris and Vienna, with Notes<br />
from Scotland, Ireland, and else-<br />
where, are given weekly.<br />
<br />
“NATURAL HISTORY”<br />
OR ladies also ferms a feature of<br />
THE QUEEN.<br />
<br />
COLOURED PATTERNS<br />
A given, gratis, monthly.<br />
<br />
“THE EXCHANGE”<br />
<br />
1 a department of THE QUEEN that<br />
<br />
enebles ladies ‘and others to procure<br />
articles that they want for those for<br />
which they have no further use. Crests,<br />
Monograms, Seals, Stamps, Feathers,<br />
Coins, Objects of Art or Vertu, Patterns,<br />
Jewellery, or, in short, any of those mul-<br />
titudinous articles that interest, or are<br />
of use to, ladies, are readily disposed of.<br />
<br />
<br />
<br />
THE BOUDOIR<br />
S set apart for Notes and Queries on<br />
Etiquette and such-like.<br />
<br />
NOTES AND QUESTIONS,<br />
Woe their Answers, on every subject<br />
<br />
relating to Ladies, will be found in<br />
their respective departments.<br />
<br />
“PASTIMES ”<br />
eae Acrostics, Croquet, Chess,<br />
Acting Charades &c., &.<br />
<br />
<br />
<br />
“THE GARDEN”<br />
1é a column set apart for instructions for<br />
Ladies’ Gardening.<br />
<br />
<br />
<br />
PATTERNS<br />
OF all kinds, both coloured and plain,<br />
including Traced Paper Patterns,<br />
Braiding Patterns, Cut Paper Patterns,<br />
Crest Album Designs, Wood-Carving De-<br />
signs, Berlin Wool Patterns, Fretwock<br />
Patterns, &c., &c., are given.<br />
<br />
<br />
<br />
THE QUEEN<br />
EE published every Saturday, price 6d.,<br />
stamped 64d.<br />
<br />
<br />
<br />
“THE HOUSEWIFE”<br />
IVES practical instructions for the<br />
management of a household, useful<br />
and valuable recipes for cooking, pre-<br />
serving, pickling, &c. &c.<br />
<br />
“THE LIBRARY TABLE”<br />
(ae reviews of the New Books,<br />
Literary, Artistic, and Scientific<br />
Gossip, Notes and Queries about Authors<br />
and Books, &c.<br />
<br />
<br />
<br />
ORNAMENTAL WORK<br />
0? every kind is fully discussed.<br />
<br />
LL interesting TOPICS are treated<br />
ed writers well-known in the literary<br />
world,<br />
<br />
<br />
<br />
ILLUSTRATIONS<br />
ORM a conspicuous feature of the<br />
paper.<br />
<br />
SUBSCRIPTION:<br />
Qos 7s.; Half-yearly, lds.<br />
Yearly, £1 8.<br />
<br />
<br />
<br />
OFFICE:<br />
346, STRAND LONDON, W.c<br />
<br />
<br />
<br />
FORM OF ORDER.<br />
<br />
<br />
<br />
To Mr. Horace Cox, Bream’s Buildings, London, E.C.<br />
Please send me Tue QUEEN, commencing with last Saturday's number, and continue<br />
sending it until cowuntermanded. TI enclose £ : : x<br />
<br />
Subscription in advanee.<br />
Di w/e<br />
<br />
<br />
<br />
Name<br />
<br />
for<br />
<br />
<br />
<br />
<br />
<br />
Address<br />
<br />
<br />
<br />
<br />
i<br />
<br />
:<br />
|<br />
/<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
40 ADVERTISEMENTS.<br />
<br />
<br />
<br />
Not Work, but Play.<br />
<br />
<br />
<br />
<br />
<br />
Leave the drudgery of the Pen—Soiled Fingers—Blotted and Obscure<br />
Manuscript, to those who prefer darkness to light. Quick, up-to-date<br />
<br />
writers use<br />
<br />
THE BAR-LOCK<br />
Why?<br />
<br />
TYPE-WRITER.<br />
<br />
Easiest Managed; Soonest Learned; Most Durable; Writing Always<br />
Visible ; does best work, and never gets out of repair.<br />
<br />
Chosen, by Royal Warrant, Type-Writer to the Queen. Only gold medals<br />
—Edinburgh (1890) and Jamaica (1891) Exhibitions; is used in principal<br />
Government Departments, and greatest number of English business houses,<br />
<br />
and by the Society of Authors.<br />
<br />
We send interesting supply of further information free.<br />
<br />
THE TYPE-WRITER COMPANY LIMITED.<br />
12 & 14, Queen Victoria-street, London, E.C.; 22, Renfield-street, Glasgow.<br />
Local Agents in all Districts.<br />
<br />
THE AUTHOR'S HAIRLESS PAPER-PAD.<br />
<br />
(Tue LeapENHALL Press Lrp., E.C.)<br />
i<br />
Contains hairless paper, over which the pen<br />
<br />
slips with perfect freedom.<br />
Siepence each: 58. per dozen, ruled or plain.<br />
<br />
<br />
<br />
<br />
<br />
Miss RR. V. GILE,<br />
TYPE-WRITING OFFICES,<br />
6, Adam-street, Strand, ‘W.C.<br />
<br />
ne<br />
Authors’ and dramatists’ Work a Speciality. All kinds<br />
of MSS. copied with care. Extra attention given to difficult<br />
hand-writing and to papers or lectures on scientific subjects.<br />
Type-writing from dictation. Shorthand Notes taken<br />
and transcribed.<br />
<br />
(ON Se ee ee<br />
FURTHER PARTICULARS ON APPLICATION.<br />
<br />
THE BOOK REVIEW INDEX—No. 1.<br />
<br />
An Index to the Reviews of New Books published during<br />
the current Quarter (since 1st March last).<br />
<br />
<br />
<br />
Ready, June 2, 24 pp., medium 4to. Price 6d., net, by<br />
post 7d.<br />
OWLES & READER, 58, Furer-strEET, LONDON, E.C.<br />
<br />
[NV. B.—Current reviews extracted and supplied.]<br />
<br />
<br />
<br />
MRS. GILT,<br />
TYPH- WRITING OFFICE,<br />
35, LUDGATE HILL, E.C.<br />
(ESTABLISHED 1883.)<br />
<br />
2<br />
Authors’ MSS. carefully copied from 1s. per<br />
1000 words. Plays, &c., 1s. 3d. per 1000 words.<br />
<br />
Reference kindly permitted to Walter Besant, E~q.<br />
Miss ae<br />
<br />
IST,<br />
44, Oakley-street Flats, Chel-ea, S.W.<br />
<br />
Authors’ MSS. carefully transcribed, 1s. 3d. per 1000<br />
words. Plays, &c., ss. per Act of 18 pages. Special<br />
estimates given for extra copies (Carbon) on application.<br />
Reference Kindly permitted to George Augustus Sala, Esq.<br />
<br />
Stickphast<br />
<br />
PASTE<br />
for joining papers and sticking in scraps:<br />
Sixpence and One Shilling, with strong useful brush.<br />
<br />
TO AUTHORS.<br />
<br />
The skilled revision, the honest and competent criticism,<br />
and the offering of MSS. in the American market, are the<br />
specialities of the New York Bureau of Revision.<br />
Established 1880. Endorsed by George W. Curtis, J. R.<br />
Lowell, and many authors.—20 W., Fourteenth-street,<br />
New York.<br />
<br />
HE AUTHORS’ AGENCY. Established 1879. Proprietor, Mr. A. M. BURGHES,<br />
<br />
i Paternoster Row. ‘The interests of Authors capably represented. Proposed agreements and estimates<br />
examined on behalf of Authors. MS. placed -with Publishers. ‘Transfers carefully conducted. Twenty-five years’<br />
practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials from<br />
leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br />
<br />
<br />
<br />
<br />
<br />
Printed and Published by Horace Cox, Bream’s-buildings, London, E.C. | https://historysoa.com/files/original/5/439/1892-06-01-The-Author-3-1.pdf | publications, The Author |