442 | https://historysoa.com/items/show/442 | The Author, Vol. 03 Issue 04 (September 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+04+%28September+1892%29"><em>The Author</em>, Vol. 03 Issue 04 (September 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> | 1892-09-01-The-Author-3-4 | | | | | 117–148 | | | | | | | | | | | | | | | | | | <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=1892-09-01">1892-09-01</a> | | | | | | | 4 | | | 18920901 | The Muthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CPOWDUCTED BY WALTER BESANT.<br />
<br />
Vou. IIT'—No. 4.] SEPTEMBER 1, 1892. [Prick SIXPENCE.<br />
CONTENTS.<br />
<br />
PAGE PAGE<br />
<br />
Warnings ae cas eos i ahs = ni me fe 9 In the Lower Ranks ... ee a ie bes na ee as Lee<br />
How to Use the Society... aa ais ee oo wee an L20: What is Read—<br />
<br />
The Authors’ Syndicate ... pe wee as 85 oo s5, 12 1.—Brentford Free Library ... aoe os wae ae «.. 136<br />
<br />
Notices... oe ae = sae oon yet ae eee way ded 2.—The People’s Palace Library... ae 3 ace swe 186<br />
<br />
Literary Property— American Independence _... on BP aes wale a eee.<br />
<br />
1.—Lee v. Gibbings_... ae ee ae sas enh ao IL The Experiences of a Shy Woman oe one eS ee +.» 188<br />
<br />
2.—Quinton v. Arrowsmith ... 2 Women in Journalism a cos eon tne as son .-- 139<br />
<br />
Correspondence—<br />
<br />
Fraudulent Authors ... an see oe us ore me cs 126 1.—Long Oredit ... Be oe ie ee 2. 140<br />
<br />
Feuilleton— 2.—Does the Higher Work Pay? ... ows. ve ewe 140<br />
<br />
A Writer of Novelettes See ieee es vee teeny 129 3.—Praised, but Refused see ase igen were 4d<br />
<br />
The Athenzwm on Construction in Fiction... ee as we. 132 ‘© At the Author’s Head” ... = =e oe ae aw ee EL<br />
<br />
The Story of a Mistake .... i. See a ee ee sae 158 New Books and New Editions... aes ae eee aed ce ae<br />
<br />
<br />
<br />
<br />
<br />
PUBLICATIONS OF THE SOCIETY.<br />
<br />
1. 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<br />
Property. Issued to all Members.<br />
<br />
3. 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 />
4. Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher,<br />
g5, Strand, W.C.) 3s.<br />
<br />
6, The History of the Societe des Gens de Lettres. By S. Squirm Spricaz, late Secretary to<br />
the Society. Is.<br />
<br />
6. The Cost of Production. In this work specimens are given of the most important forms of type,<br />
<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.<br />
<br />
7, The Various Methods of Publication. By S. Squire Spricer. 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 />
<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 />
o<br />
<br />
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 />
<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br />
and Spottiswoode. 1s. 6d.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
THE<br />
<br />
<br />
<br />
LINOTYPE GOWPOSING JIAGHINE.<br />
<br />
SPECIALLY ADAPTED FOR BOOKWORK.<br />
<br />
<br />
<br />
<br />
<br />
“A MIGHTY BUT PEACEFUL REVOLUTION.”<br />
<br />
OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE.<br />
<br />
For full List of Eeperts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet.<br />
<br />
“Tt will do away with type, and composition, and<br />
distribution, as now practised, will be known no more.”—<br />
Manchester Courier.<br />
<br />
“ Saves 70 per cent. in cost of composing, and from three-<br />
fourths to nine-tenths in time.’—Shefield and Rotherham<br />
Independent.<br />
<br />
“Tt bids fair to revolutionise the present system,<br />
especially of newspaper production, for which it seems<br />
peculiarly well adapted. The instrument is one of the most<br />
beautiful and ingenious pieces of mechanism ever introduced<br />
in connection with the art of printing.” —Scotsman.<br />
<br />
“The absolute saving of distribution, which is reckoned<br />
<br />
as equivalent to one quarter of the cost of composition, is<br />
an important factor in the economy of this machine.<br />
With it comes emancipation from the frequent errors arising<br />
from faulty distribution. To pye matter is impossible.<br />
Unquestionably the most remarkable machine ever invented<br />
in the art of printing.” —The Printers’ Register.<br />
<br />
“ Tt stands to reason that an invention that economises as<br />
well as expedites work, without aiming a blow at those who<br />
had previously done without it, must be a success.”’—Echo.<br />
<br />
“The rapidity and accuracy of the process impressed Mr.<br />
Gladstone very powerfully, or, as he expressed it himself, it<br />
‘staggered’ him.”—Daily Chronicle.<br />
<br />
* One of the most remarkable machines ever invented.’’—<br />
Engineer.<br />
<br />
“A steam-driven, type-composing and casting machine<br />
which really promises to bring about a revolution in the<br />
<br />
<br />
<br />
composing-rooms of newspaper and book printing offices.”<br />
—Home and Colonial Mail.<br />
<br />
“ This remarkable invention promises to revolutionise all<br />
our ideas as to type-setting by machinery. It dispenses<br />
with movable type, and substitutes matrices in which the<br />
letters are cast in solid lines.”—Leeds Mercury.<br />
<br />
“One of the most remarkable labour-saving Machines<br />
ever devised in an age remarkable for such inventions.”<br />
—Western Mail (Cardiff).<br />
<br />
‘The work never stops, line after line is added with —<br />
<br />
astonishing smoothness and regularity.”—Newcastle Daily<br />
Chronicle.<br />
<br />
‘Has come into existence to create amazement, where<br />
surprise hitherto found a home.<br />
<br />
“The Linotype, to be brief, is a machine which does away<br />
with the present expensive and slow method of type-setting. —<br />
It performs all the work of a compositor automatically, with —<br />
<br />
greater precision and with far more rapidity. The most<br />
important feature of the patent, however, lies in the<br />
<br />
enormous saving it effects in the cost of setting, while a no ~<br />
<br />
less startling fact is that the labour of ‘ distributing,’ or the<br />
putting of the type back into cases, is dispensed with.”—<br />
Admiralty and Horse Guards Gazette.<br />
<br />
“ Printing without types. A marvellous machine that —<br />
The advance of —<br />
industrial science is so rapid that this machine must, sooner —<br />
or later, come into extensive use.”—Hvening News and Post —<br />
<br />
makes fresh types for every line.<br />
<br />
(London).<br />
<br />
<br />
<br />
<br />
<br />
THE ECONOMIC PRINTING & PUBLISHING CO. LIMITED,<br />
<br />
39, BOUVERIE STREET, FLEET STREET, E.C.,<br />
<br />
Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are<br />
in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by<br />
<br />
Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the<br />
best makers.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Che HMuthor,<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. III.—No. 4.]<br />
<br />
SEPTEMBER 1, 1802.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
for the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
<br />
<br />
<br />
responsible,<br />
oct<br />
WARNINGS.<br />
Specran Warnine. — Readers are most<br />
<br />
URGENTLY warned not to neglect stamping their<br />
agreements immediately after signature. If this<br />
{ _—~precaution is neglected for three weeks, a fine of<br />
£10 must be paid before the agreement can be<br />
used as a legal document. In almost every case<br />
| brought to the secretary the agreement, or the<br />
| letter which serves for one, is without the stamp.<br />
f The author may be assured that the other party<br />
1 to the agreement never neglects this simple pre-<br />
» caution, The stamp duty varies from 6d. up to<br />
10s. or more, according to the form of agreement.<br />
(] The Society, to save trouble, undertakes to get<br />
f all the agreements of members stamped for them<br />
‘= at no expense to themselves except the cost of the<br />
2 stamp.<br />
<br />
<br />
<br />
<br />
<br />
Reapers 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’ workupon the dangers to which literary<br />
property is exposed :—<br />
<br />
RB<br />
<br />
a oe<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 />
VOL, 111,<br />
<br />
(3.) Never, on any account whatever, bind<br />
yourself down for future work to any-<br />
one.<br />
<br />
(4.) Never accept any proposal of royalty<br />
until you have ascertained what the<br />
agreement, worked out on both a small<br />
and a large sale, will give to the author<br />
and 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. hes 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.) Never sign away American rights. Keep<br />
them. Refuse to sign any 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 />
(8.) Never sign any paper, either agreement<br />
or receipt, which gives away copyright,<br />
without advice.<br />
<br />
(9.) Keep control over the advertisements, if<br />
they affect your returns, by clause in the<br />
agreement. Reserve a veto. If you are<br />
yourself ignorant of the subject, make<br />
the Society your adviser.<br />
<br />
(10.) Nuvur 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, Portueau Srrent, Lincoun’s Inn Fiaxps.<br />
<br />
72ees<br />
<br />
Kk 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
120 THE AUTHOR.<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, new or old, for inspection and<br />
note. The information thus obtained may prove<br />
invaluable.<br />
<br />
’ 2, If the examination of your previous business<br />
transactions by the Secretary proves unfavour-<br />
able, you should take advice as toa change of<br />
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 />
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 left entirely in his hands; (2) a<br />
virtuous, good man’s pain at being told that his<br />
accounts must be audited; (3) a virtuous indig-<br />
<br />
nation at being asked what his proposal gives -<br />
<br />
him compared with what it gives the author;<br />
and (4) irrepressible irritation at any mention of<br />
the Society of Authors.<br />
<br />
6. Remember always that in belonging to the ©<br />
<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 />
everything important to literature that you may<br />
hear or meet with.<br />
<br />
eee<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
R. Colles desires to inform readers of the<br />
Author—<br />
<br />
1. That the Authors’ Syndicate is now in a<br />
<br />
position to take charge in whole or in part<br />
<br />
of the business of members of the Society.<br />
With, when necessary, the assistance of<br />
<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<br />
the Syndicate and members are duly<br />
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 effi-<br />
ciency. Meanwhile members will please<br />
accept this intimation that they are not<br />
entitled to the services of the Syndicate<br />
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 />
for them if they please to entrust them<br />
to 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 />
ask him to place certain work, and then<br />
go about endeavouring to place it by<br />
themselves.<br />
<br />
6. That when a MS. 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 />
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 />
dispute.<br />
<br />
3. Not to conceal or keep back any of the<br />
facts.<br />
<br />
ect<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
NOTICES.<br />
<br />
<br />
<br />
HE Editor of the Author begs to remind<br />
mewbers of the society that, although the<br />
paper is sent to them free of charge, the<br />
<br />
cost of producing it would be a very heavy<br />
charge on the resources of the society if a great<br />
many members did not forward to the secretary<br />
the modest 6s. 6d. subscription for the year. He<br />
finds that, while the interest in the paper increases,<br />
and while it is acknowledged to be doing good<br />
service by its exposures and investigations,<br />
there has been some tendency this year to forget<br />
the subscription. Perhaps this reminder may be<br />
of use. With 800 members, besides the outside<br />
circulation of the paper, the Author ought to<br />
prove a source of revenue to the society.<br />
<br />
<br />
<br />
The Editor is always glad to receive short<br />
papers and communications on all subjects con-<br />
nected with literature from members and others.<br />
Nothing can do more good to the society than<br />
to make the Author complete, attractive, and<br />
interesting. Will those who are willing to aid<br />
in this work send their names and the special<br />
subjects on which they are willing to write?<br />
<br />
<br />
<br />
All persons engaged in literary work of any<br />
kind, whether members of this Society or not,<br />
are invited to communicate to the Kditor any<br />
points connected with their work which it would<br />
be advisable in the general interest 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 circum-<br />
stances, undertake the publication of MSS.<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 of admission, &c.<br />
<br />
<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 />
AUTHOR.<br />
<br />
121<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<br />
themselves into literary bondage for three or five<br />
years P<br />
<br />
<br />
<br />
How, we are asked almost every day, is the<br />
young writer to make a beginning? He should<br />
first get an opinion from one of the Society’s<br />
readers as to the merits and chances of his book.<br />
It may be that certain points would be suggested<br />
foralteration. Itmay be that he will find himself<br />
recommended to put his MS. in the fire. He<br />
should, if encouraged, offer his MS. to a lst<br />
of houses or of magazines recommended by the<br />
Society. There is nothing else to be done. No<br />
one, we repeat, can possibly help him. If those<br />
houses all refuse him, it is not the least use trying<br />
others, and, if he is a wise man, he will refuse to<br />
pay for the production of his own work. If, how-<br />
ever, as too often happens, he is not a wise man,<br />
but believes that he has written a great thing, and<br />
is prepared to back his opinion to the extent of<br />
paying for his book, then let him place his work<br />
in the hards of the Society, and it shall be<br />
arranged for him without greater loss than the<br />
actual cost of production. At least he will not be<br />
deluded by false hopes and promises which can<br />
end in nothing.<br />
<br />
<br />
<br />
The address delivered by Mr. Edmund Gosse<br />
at the Shelley Centenary will be published in our<br />
October number, corrected by the author,<br />
<br />
ee<br />
<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
I.<br />
Lee v. GIBBINGS.<br />
<br />
HIS case promised ‘to raise a somewhat<br />
important question to authors, namely,<br />
whether, where an author has sold his<br />
<br />
copyright in a work, the work can be published ina<br />
condensed or popular form without stating that<br />
itis in fact condensed from the original work. The<br />
question arose upon the recent publication of a<br />
condensed edition of Mr. Sidney Lee’s “ Autobio-<br />
graphy of Edward, Lord Herbert of Cherbury.”<br />
The facts of the case were briefly these. In 1886<br />
the plaintiff, Mr. Sidney Lee, now editor of the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
122 THE<br />
“Dictionary of Biography,” prepared, at the<br />
request of Mr. J. C. Nimmo, the publisher, and<br />
at an agreed price, an edition of the “ Autobio-<br />
graphy of Edward, Lord Herbert of Cherbury,”<br />
who lived in the reigns of Queen Elizabeth and<br />
Kings James I. and Charles I. and II., and dis-<br />
tinguished himself as Ambassador to the Court<br />
of France, and a man of letters. Mr. Lee’s work<br />
contained a preface, a table of contents, an<br />
introduction, a bibliographical notice of the cir-<br />
cumstances under which the text was originally<br />
printed, explanatory notes, a continuation of Lord<br />
Herbert’s life from the point at which his auto-<br />
biography terminated until his death, also an<br />
appendix and an index. A certain number of<br />
copies were issued, but the work did not command<br />
any great sale. In May last the defendant, Mr.<br />
William Walter Gibbings, publisher, of Bury-<br />
street, Bloomsbury, announced the publication, at<br />
the price of 5s., of a smaller edition of the work,<br />
to form the third volume of a series called “ The<br />
Memoir Library,’ but omitting, in part or in<br />
whole, the preface, introduction, table of contents,<br />
bibliographical notice, and index of the original.<br />
On the title-page of this smaller edition Mr. Lee<br />
was stated to be the editor, and the date of<br />
publication as “1892.” It appeared that the<br />
defendant had purchased from Mr. Nimmo the<br />
remainder of the original work, omitted the<br />
parts already mentioned, and then published<br />
the smaller and cheaper form of the work,<br />
but without any intimation that it was taken<br />
from the original work of Mr. Lee. The<br />
plaintiff .complained that the omissions from a<br />
work of so serious and scholarly a character were<br />
so important as to be injurious to his reputation<br />
as an author and scholar, and accordingly he<br />
issued the writ in this action, and now moved for<br />
an interim injunction to restrain the defendant<br />
from publishing or selling any copies of the<br />
“ Autobiography of Edward, Lord Herbert of<br />
Cherbury,” edited by the plaintiff and published<br />
by Nimmo in 1886, with any material alteration<br />
or omission, and containing any representation to<br />
the effect that such copies had been prepared for<br />
publication by the plaintiff.<br />
<br />
Mr. Justice KexewicH gave judgment as<br />
follows:—There are two aspects of this case,<br />
one of which had better be left alone; but<br />
the other must, to some extent, be regarded.<br />
The one which I think had better be left<br />
alone, is what I may fairly call the moral side.<br />
The defendant’s evidence is directed almost<br />
entirely to that. Instead of giving me facts—and<br />
the disputed facts are extremely few—I have a<br />
considerable amount of evidence, which, of<br />
course, has occupied a long time in reading,<br />
<br />
‘respecting what is called the custom, or more<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
strictly, the habit of the publishing trade, and<br />
there is more than something about common<br />
sense. Those affidavits, hke many other affidavits,<br />
might, with great advantage, have been omitted<br />
altogether. Certainly they might have been cut<br />
down within the narrowest possible limits. No<br />
doubt the same observation is, to some extent,<br />
applicable to the affidavits on behalf of the<br />
plaintiff, but not to the same extent. Whether a<br />
jury would take into consideration the moral<br />
side of the case or not, it is not for me to<br />
prophesy. I certainly cannot. Ican only regard<br />
it from the legal point of view, and I refrain<br />
from making such remarks as occur to me on the<br />
moral side.<br />
<br />
The legal side of the case is one of consider-<br />
able interest, and not at all free from difficulty.<br />
I regard the defendant for this purpose as the<br />
owner of the copyright of this work. He is not,<br />
Iam aware, the owner of the copyright, but he<br />
has purchased the unpublished sheets of the<br />
plaintiff’s work, and as regards those unpublished<br />
sheets he stands in Mr. Nimmo’s place, and is the<br />
owner of the copyright. He has Mr. Nimmo’s<br />
assent to their publication. He has even Mr.<br />
Nimmo’s assent to the publication in the present<br />
form, and he, therefore, though having no right<br />
to multiply copies in the sense of printing further<br />
copies and publishing anything else but these<br />
sheets, can deal with these sheets as he pleases pro-<br />
vided he gives the plaintiff no cause to complain.<br />
<br />
He thinks fit—that is to say he finds it con-<br />
venient to his trade—to publish the plaintiff's<br />
work in a mutilated form. The word “ mutilated”<br />
may or may not imply something in derogation<br />
of the work or of the defendant’s manipulation<br />
of it, but strictly speaking the form is mutilated.<br />
The index is left out. Ido not myself attribute<br />
very great importance to that in such a work as<br />
this, but I only speak for myself in saying that.<br />
There are other parts left out, including the<br />
introduction, and I should certainly say that the<br />
omission of the introduction to such a work as<br />
this was very nearly leaving out the principal<br />
part of the work. Then the date is altered so as<br />
to give the impression that it isa new work. I<br />
am told that is not so; that nobody would sup-<br />
pose it was a work published in 1892 because the<br />
figures “1892” are on the title page. I suppose<br />
that there are some people who would regard<br />
“1892” as meaning nothing; I confess to be<br />
amongst those who would have regarded it as<br />
meaning that the work was published in 1892<br />
and not in 1886; but that is a question of<br />
injury to the plaintiff to which I will come<br />
presently, and not otherwise a mutilation of<br />
the plaintiff's work. The omission of the intro-<br />
duction does seem to me to be a very cogent<br />
<br />
<br />
<br />
<br />
fr<br />
<br />
f<br />
it<br />
[t<br />
<br />
So fey SO es<br />
<br />
$<br />
[<br />
[<br />
s<br />
3<br />
{<br />
i<br />
t<br />
t<br />
I<br />
<br />
<br />
<br />
THE<br />
<br />
instance of mutilation. Is the defendant entitled<br />
to do that? There is no law compelling a man<br />
to publish the whole of the work because he has<br />
the copyright in the whole. Nor can he be<br />
prevented from publishing extracts from the<br />
work. Whether it is right for him to publish<br />
extracts without saying they are extracts, or<br />
whether he can publish a work in a mutilated<br />
form without indicating in the least that there<br />
has been that mutilation is a question to my<br />
mind of some difficulty.<br />
<br />
The question resolves itself into this—does he<br />
thereby injure the author's reputation? For<br />
that, what is the author’s remedy in law? His<br />
remedy in law is, I think, undoubtedly libel or<br />
nothing. Injury to reputation is the foundation<br />
of the remedy in an action of libel. It is what<br />
you have to prove in order to get your damages,<br />
and if one endeavoured, which I am not intend-<br />
ing to do, to frame the innuendo in an action of<br />
libel by the plaintiff against- the defendant, it<br />
would necessarily point to the injury of the<br />
reputation of the author here, by informing the<br />
public that this mutilated work was really the<br />
work of the plaintiff, whereas in fact his work<br />
was something far superior; and that this would<br />
be discreditable to him. That would be neces-<br />
sarily the general line of complaint.<br />
<br />
It comes, therefore, to a question on this part<br />
of the case whether I ought to grant an injunc-<br />
tion now to restrain a libel before that question<br />
has been before a jury, which is the avowedly<br />
proper tribunal for the purpose of determining<br />
whether a libel exists or not. The jurisdiction<br />
of the court to restrain a libel is undoubted. It<br />
has been affirmed over and over again, even<br />
in those cases in which the court has<br />
refused to grant an injunction, in particular<br />
the last case of Bonnard v. Perryman. Of<br />
late years there has been no such thing as an<br />
injunction to restrain a libel except in the recent<br />
case, where Mr. Justice Chitty distinguished<br />
trade libels from other libels, and granted an in-<br />
junction, a decision with which, within the last<br />
week or two, I have had occasion to express my<br />
entire concurrence. But with that exception, as<br />
far as I know, the court has not of late granted<br />
an injunction to restrain a libel before the point<br />
has been submitted to a jury—ain other words, on<br />
interlocutory application.<br />
<br />
Now ought this to be an exceptional case? I<br />
see no reason for making an exception in favour<br />
of a case such as this. The balance of con-<br />
venience does not seem to me to point in favour<br />
of granting an injunction, because, though the<br />
sale of the work will no doubt go on, and though<br />
if it goes on it is injurious to the plaintiff's repu-<br />
tation—the injury will be continued—yet the<br />
<br />
AUTHOR.<br />
<br />
134<br />
<br />
injury must to a great extent be done by the<br />
mere publication ; and, after all, success in the<br />
ultimate result would be quite satisfactory to the<br />
plaintiff. I mean, if it were eventually deter-<br />
mined that the plaintiff was right and could sus-<br />
tain an action for libel against the defendant by<br />
reason of this publication, then, not by the<br />
damages awarded, but by the mere verdict of the<br />
jury, he would have, I will not say rehabilitated,<br />
but maintained his reputation at the level at<br />
which it before existed. It cannot be suggested<br />
that the mere sale of a few copies more or less<br />
would place him in any worse position if even-<br />
tually he succeeded, and of course if he did not,<br />
then he has no reason to complain.<br />
<br />
Now, on the balance of convenience, I think I<br />
ought not to grant an injunction, especially it<br />
being, of course, understood that I express no<br />
opinion whether it is a libel or not. That is<br />
really the reason why the court in these cases<br />
does not grant an injunction, because, if it<br />
granted an injuction, or even if it refused it on<br />
the other ground than the one I have mentioned,<br />
the court would be obliged to express an opinion,<br />
and the court ought not to express an opinion on<br />
a matter that is to be left to a jury.<br />
<br />
But the plaintiff's case has been put by Mr.<br />
Renshaw on another ground, which strikes me<br />
as extremely deserving of attention, though I do<br />
not think I ought to grant an injunction on that<br />
ground at the present moment. He says this is<br />
like the case of Clarke v. Freeman, and Clark v.<br />
Freeman may be considered for this purpose, as<br />
decided quite differently from the way in which<br />
it was decided. In that I follow him. Ido not<br />
think that after the observations of Vice-Chancellor<br />
Malins, Lord Cairns, and Lord Selborne, on that<br />
case, I ought to hesitate to regard it as really<br />
erroneously decided, and I do not think that,<br />
having regard to Lord Cairns’ observations on<br />
page 310 of the 2nd Chancery Appeals, in the<br />
case of Maxwell v. Hogg, I ought to doubt what<br />
the proper decision should have been in Clarke v.<br />
Freeman or on what gronnd that proper decision<br />
would have been rested, because he says distinctly,<br />
speaking, be it remembered, in the Court of<br />
Appeal, “It always appeared to me that Clarke<br />
v. Freeman might have been decided in favour of<br />
the plaintiff on the ground that he had a pro-<br />
perty inhisown name.” The question of whether<br />
a libel was a fit subject for an injunction either on<br />
motion or at the trial, was not discussed in Clarke<br />
v. Freeman. It is not discussed by Lord Justice<br />
Cairns; itis not discussed by Lord Selborne, and<br />
it is not discussed by Vice-Chancellor Malins ;<br />
but they disapprove of the decision, and Lord<br />
Justive Cairns says, because the plaintiff hada<br />
property in his own name the name was invaded<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
124 THE AUTHOR.<br />
<br />
by the action of the defendant, and the plaintiff<br />
could therefore restrain the defendant from<br />
doing what he did on that ground, Thatis<br />
entirely independent of libel.<br />
<br />
Now can I decide this case on that ground in<br />
favour of the plaintiff ? I think not; and I think<br />
not because, when you come to test that argument,<br />
according to my present opinion, you really come<br />
back again to the question of libel in this case,<br />
though you would not have done so in Clarke v.<br />
Freeman. The pluintiff’s case on this part of it<br />
is, ‘“‘ that the defendant is publishing as my own<br />
what is not my own, that is to say, I am the<br />
author of an entire book; the defendant is pub-<br />
lishing only part of it, and such part that really<br />
he is not publishing my work at all; he is<br />
bringing out what I never sanctioned as my work,<br />
and which cannot be fairly represented as my<br />
work, and therefore I complain of him using my<br />
name in connection with a book that is not<br />
mine.” It comes back to this: Is the book the<br />
plaintiff’s or not? It is avowedly only part of it ;<br />
but it is such a substantial part of it that it may<br />
be fairly called the plaintiff's. It is so unless the<br />
mutilations are such as to give the plaintiff a<br />
right of action for libel. £0 that, try it as you<br />
will, it comes back to the same point, and I<br />
think, therefore, I should be doing wrong in<br />
seizing hold of the doctrine, not of Clarke v.<br />
Freeman, but which ought to have been supported.<br />
in Clarke v. Freeman, to give the plaintiff relief,<br />
which ought, on the other hand, to be denied<br />
him because he is really bringing an action of<br />
libel. I therefore, on those grounds, must refuse<br />
the motion, without expressimg any opinion<br />
whether what has been done is injurious to the<br />
plaintiff's reputation or not.<br />
<br />
This is really the whole question in the case.<br />
Tf the case is tried out there is nothing else to<br />
be tried, and therefore the proper way to deal<br />
with the costs isto make the costs of both parties<br />
costs in the action.<br />
<br />
<br />
<br />
The following is an extract from a letter by<br />
Mr. Lee which appeared in the Atheneum of the<br />
13th ult. announcing tbat he had discontinued<br />
the action :—<br />
<br />
“ Lee v. Gibbings.<br />
<br />
“ My object in taking legal proceedings was to<br />
publicly show that I had no responsibility in the<br />
issue of the mutilated volume. The notices of<br />
the case in the Press have adequately relieved me<br />
of any suspicion that may have arisen on that<br />
score. But the judgment in the case secured for<br />
me, and I hope for other authors similarly placed,<br />
something more. Mr. Justice Kekewich held,<br />
despite the contentions to the contrary of Mr.<br />
Gibbings, his witnesses, and his counsel, that my<br />
<br />
work had been seriously mutilated. ‘The omis- :<br />
sion of the introduction to such a work as this,’ _*,<br />
he said, ‘was very nearly leaving out the a<br />
principal part of the work; this does seem to<br />
me,’ he continued, ‘to be a very cogent instance<br />
of mutilation.’<br />
“The alteration cf the original date to 1892<br />
was, in the judge’s opinion, calculated ‘to give<br />
the impression that it is a new work.’<br />
“The court further laid it down that the right ey<br />
of a purchaser who purchases the copyright of O38<br />
a work from the author to make changes in it, Don<br />
is subject to the limitation that he must give the , 8<br />
author ‘no cause to complain.’ :<br />
<br />
“Some friends have urged me, in the interest : x<br />
of myself and my fellow authors, to carry the | 8<br />
case to a final hearing. But I have already |x<br />
<br />
involved myself in much expense, and I am<br />
unwilling to incur more. I could not expect to<br />
recover very substantial damages, and I should<br />
be certain to suffer anxieties which must interfere<br />
with my usual avocations. I have done a little<br />
towards asserting the legal right of an author to<br />
some humane consideration at the hands of a<br />
publi her to whom he has parted with his copy-<br />
right. Iam content to leave the matter where<br />
it stands, and have instructed my folicitors to<br />
discontinue the action.”<br />
<br />
<br />
<br />
The points involved, to repeat, were the fol-<br />
lowing:<br />
<br />
1. Mr. Lee wrote a life of Lord Herbert of<br />
Cherbury, which, together with certain introduc-<br />
tions, notes, explanatory matter and indices, he<br />
sold to Mr. Nimmo for asum of money.<br />
<br />
2. Mr. Nimmo produced an edition of the work.<br />
<br />
3. Mr. Nimmo sold, or transferred, to Mr.<br />
Gibbings, the remainder stock of the book.<br />
<br />
4. Mr. Gibbings reproduced it in another<br />
edition, but without the introduction and other<br />
structural parts of the work.<br />
<br />
5. Mr. Lee brought an action to restrain the<br />
publication of this mutilated form of his work,<br />
<br />
It is a perfect illustration of the chaotic con-<br />
dition of literary property that this action should<br />
have to be brought, and that counsel should be<br />
able to maintain the right of producing a<br />
mutilated copy of a work as the work itself.<br />
However, the important point is this: when one<br />
sells a work—any kind of work—does one sell<br />
that work alone—as it is—indivisible—or does one<br />
sell the power of issuing garbled, mutilated,<br />
incomplete, altered forms of that work with the<br />
original author’s name still attached? In other<br />
words, in selling a novel does one sell tpsissema<br />
verba—the work just as it is—without power of<br />
alteration, or does one sell the power of altering,<br />
<br />
<br />
<br />
<br />
<br />
<br />
Sn Seen any ag a» ME<br />
<br />
Fy<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
une AUTHOR.<br />
<br />
adding, condensing, any part of it? In sellinga<br />
poem, does one sell the right of publishirg it,<br />
with such alterations as the proprietor may see<br />
fit to add—a new rhyme here and there, the<br />
addition of a couplet or so to a sonnet—any-<br />
thing? It is not enough to say that no respect-<br />
able publisher would commit such acts. Respect-<br />
able publishers die; for other reasons they<br />
sometimes sell copyrights. What protection has<br />
the author? None, it appears, so far.<br />
<br />
Mr. Lee very wisely and, so far as concerns<br />
the common good, very nobly undertook to bring<br />
the point to an issue by taking his case into court.<br />
What has he got by it ?<br />
<br />
1. Mr. Justice Kekewich, whose judgment we<br />
have given above verbatim from the note of the<br />
society’s shorthand writer, laid it down that the<br />
right of a publisher who purchases a copyright is<br />
subject to the limitation that he must give the<br />
author “no cause to complain’? But this is a<br />
very small thing. For who can decide what may<br />
constitute a ‘cause for complaint.” Perhaps he<br />
himself might decide that an additional couplet<br />
tacked on to a poet’s sonnet is not a ‘cause for<br />
complaint.’”” This admission, certainly, advances<br />
us a very little way.<br />
<br />
2. The injunction sought was refused on the<br />
ground that the plaintiff's only remedy was a<br />
libel against Mr. Gibbings.<br />
<br />
Mr. Lee publishes in the Atheneum certain<br />
opinions of publishers. Mr. Murray stated that<br />
“itis calculated to damage the reputation of a<br />
literary man that a book edited—he includes, per-<br />
haps, written—in one year should be republished<br />
in another year in a mutilated form, and as<br />
though it were a new piece of editorial work.’<br />
Mr. F. Macmillan is said to have expressed the<br />
same opinion. Mr. George Smith was more<br />
guarded. He said, “It is unusual to publish as<br />
anew book a muti'ated edition of an old book<br />
printed many years previously, and in my opinion<br />
it is an injustice to an author to print a new title<br />
page to such a mutilated work with a later date<br />
on it than that which appeared in the original<br />
edition.”<br />
<br />
Of the three publishers not one stated as his<br />
Opinion that the owner of the copyright has no<br />
right to make alterations or suppressions. Yet<br />
this is the real point at issue. The very guarded<br />
wording of the evidence of Mr. Murray and Mr.<br />
George Smith seems on the other hand to indi-<br />
cate that they think they have the right.<br />
<br />
We are left, therefore, as before, save for the<br />
little help gained by throwing light upon the<br />
doubt and confusion which wrap the subject. It<br />
still remains to bring a case before the court<br />
which shall decide this point. No one can com-<br />
<br />
VOL, III.<br />
<br />
<br />
<br />
125<br />
<br />
plain that Mr. Lee finds it necessary to withdraw<br />
<br />
from further prosecution of the case. He has<br />
incurred heavy expenses and grievous interrup-<br />
tion to his own work; he would probably have re-<br />
covered very small damages. Still, it is a most<br />
grievous thing for all concerned that the action<br />
should have been abandoned. All that has been<br />
substantially gained is that the publishers have<br />
received a warning that similar actions may<br />
result in similar mulctings by way of law<br />
expenses.<br />
<br />
Meanwhile, it remains for us to stipulate by<br />
clause of agreement that the sale of copyright<br />
includes the right of reproduction of the actual<br />
book complete in all its parts, and that without<br />
suppression, alteration, or mutilation of any kind.<br />
<br />
On Aug. 20 letters from Mr. Nimmo and Mr.<br />
Gibbing appeared in the Atheneum. We have<br />
nothing to do with Mr. Nimmo’s letter, which<br />
does not touch our point. That of Mr. Gibbings,<br />
however, fairly and squarely claims the right of<br />
mutilation. He says:<br />
<br />
“T may say that I understand Mr. Lee’s feel-<br />
ings, and sympathise with them so far as he is<br />
grieved that an important part of his work<br />
relating to Lord Herbert, and with which he<br />
doubtless took great pains, has been cut away.<br />
I believe such excision to be within the rights<br />
of a copyright holder, and, in fact, that such<br />
holder (who is not necessarily a publisher, be it<br />
remembered) can “ mutilate”? an author’s work,<br />
which, as the judge held, “may or may not<br />
imply something in derogation of the work and<br />
its manipulation.”<br />
<br />
This puts the case quite plainly and fairly.<br />
The defendant in the case says, “I have the right<br />
to excise what I please in my copyright.” If<br />
this is so, authors have not the least protection.<br />
Yet who could imagine that in parting with his<br />
copyright he was parting with himself—his name<br />
—his fame—his reputation—everything? This<br />
is the pomt which must be brought before the<br />
courts of law and settled somehow.<br />
<br />
<br />
<br />
i,<br />
Quinton v. ARROWSMITH.<br />
<br />
HIS was a case tried before Mr. Justice<br />
Wills in which the author charged a<br />
publisher with negligence in carrying out<br />
<br />
his agreement. The book was a ‘“ commission<br />
book,” z.e., one in which the author paid for the<br />
printing while the publisher undertook the<br />
management of the book. The author found<br />
that the book was not put out on the railway<br />
stalls, nor was it, as he considered, properly<br />
advertised. There were certain minor points<br />
L<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
126 THE AUTHOR.<br />
<br />
about commission. In the end the plaintiff lost<br />
his case.<br />
<br />
Perhaps it was not to be expected, in a case<br />
involving literary property, that either side<br />
should show any perception of the real point<br />
at issue. Nor was any perception of that point<br />
displayed. For the reai poimt was simply this.<br />
Did the defendant, when he undertook the<br />
sole management of the book — its “ publica-<br />
tion””—include all that is ordinarily understood<br />
by publication ? What is the “publication”<br />
of a book? It includes, without doubt, print-<br />
ing, binding, sending out press copies, and<br />
notification in some way or other, to the trade.<br />
Does it also include advertising for the general<br />
public? ‘The plaintiff clearly thought it did.<br />
The defendant, as clearly, thought it did not.<br />
That was the point which should have been<br />
pressed. Everything turned upon that. What<br />
would have been the result had it been pressed,<br />
had it been put forward as the chief point, the<br />
sole point, we do not venture to say. Perhaps<br />
—we do not say—the verdict would still have<br />
gone against the plaintiff. But that and nothing<br />
else was the real question involved. The minor<br />
points of which so much was made, the trade<br />
terms and commission, and so forth, had really<br />
nothing to do with the case. Anybody who<br />
knew the trade could have told the plaintiff that<br />
from 10 to 15 per cent. is a common publisher's<br />
commission, not in the least exorbitant. These<br />
things should have been kept out altogether, and<br />
the case should have been tried on the single<br />
broad question. The defendant undertook the<br />
publication of the book. Did that include adver-<br />
tising it? Probably, had he so understood it, he<br />
would not have undertaken it. Probably, had he<br />
not so understood it, the author would not have<br />
given his work into the defendant’s hands.<br />
There was a little playing about the question, but<br />
it was never pushed to the front. The defen-<br />
dant’s counsel asked the plaintiff if he was aware<br />
that the defendant had brought the book to the<br />
notice of 1400 retail booksellers. But he did not,<br />
according to the report before us, ask the<br />
defendant himself if that was so, and how he<br />
had done it. The defendant himself explained<br />
that he did not “ specially advertise” books of<br />
this kind, meaning commission books, and added,<br />
with amusing frankness, that while it paid him to<br />
do so at the authors’ request in his own periodi-<br />
cals, he did not see how it paid the author.<br />
<br />
The real question, itis repeated, was whether<br />
or no the defendant undertook, or should have<br />
undertaken, advertising as an integral part of<br />
publication. Clearly he did not, in his own mind.<br />
Clearly, also, the plaintiff thought that he did, or<br />
should have done, And the question, never<br />
<br />
seriously advanced, remains undecided. The<br />
judge, on the conclusion of the case, remarked<br />
that it should never have been brought into<br />
court. On the issues pressed, perhaps not. On<br />
the real question at issue, the case was a very<br />
proper one to be brought into court, but it should<br />
have been a friendly action.<br />
<br />
This kind of commission book is issued every<br />
day by certain London houses. In all cases the<br />
author is charged with the advertising, which is<br />
considered a part of the cost of production. A<br />
clause in the agreement generally makes that<br />
point safe from dispute. Lucky for the author if<br />
the money is spent in real advertising, and not in<br />
holes and corners, so that the publisher shall<br />
pocket all, and the public see no advertisements,<br />
and the author get no advantage.<br />
<br />
So we come back to the same stale point—the<br />
original agreement, All this litigation, all this<br />
worry, would have been sayed had there been a<br />
simple clause inserted in the agreement, defining<br />
what the publisher was prepared to do in the way<br />
of making the book known, and what the author<br />
would be expected to do.<br />
<br />
ao<br />
<br />
FRAUDULENT AUTHORS.<br />
<br />
<br />
<br />
HE following is taken from the Buokseller of<br />
July last. I am sorry to say that though I<br />
am called upon by name I did not see it<br />
<br />
until to-day (Aug. 18th), when it came to me<br />
from America. Our society meets with scant<br />
favour from either organ of the trade. This, as<br />
has been pointed out over and over again, is rather<br />
unfortunate for the trade, because those little<br />
trifling exposures we have found it necessary to<br />
make from time to time in the course of our<br />
<br />
existence, affect none but fraudulent persons, —<br />
<br />
whose fraudulent interests we should expect to see<br />
defended in the police-courts, and nowhere else.<br />
It is a pity, indeed, that another and a separate<br />
journal has not long since been started devoted<br />
to the interests of these gentlemen. It might<br />
be called “ The Fence, Conducted for Fraudulent<br />
Publishers, by Jonathan Wild (great great<br />
grandson of Jonathan the Great).”<br />
<br />
The Society of Authors.—‘ The society isacquainted with<br />
the methods, and—in the case of fraudulent houses—the<br />
tricks of every publishing firm in the country.” This we<br />
learn from the organ of the aforesaid society, conducted by<br />
Mr. Walter Besant. Does Mr. Besant know anything of<br />
the tricks of fraudulent authors? Authors, of a certain<br />
stamp, are ready enough to confide their woes to any<br />
friendly ear, or to print them as the opportunity offers. A<br />
publisher, on the other hand, when he has been taken in by<br />
an author, mostly keeps his own counsel. He has no wish<br />
to be regarded as a simpleton. Therein lies the difference.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Do we know anything of the tricks of fraudu-<br />
1 lent authors? Very little, it is true. But let us<br />
is) take up the question, and consider in what various<br />
*) ways an author may commit frauds upon a<br />
v4 publisher.<br />
<br />
1. He may trick him with a work copied, stolen,<br />
1) or made up of one or more previous works.<br />
.£ Against plagiarism a publisher would seem to be<br />
o9 powerless. But he can, and he does, take the ordi-<br />
*] nary precautions of employing—it is a part of<br />
1) his machmery—a reader of education and culture.<br />
'T This is always a certain protection—the memory<br />
1) of some readers in the matter of novels and plots<br />
| is extraordinary. But he may still be taken in.<br />
i Heis, however, otherwise protected. First, by the<br />
™ critic, who loves, above all things, to expose a real<br />
case of plagiarism; next, by the fact that he<br />
v2 generally knows something about the author and<br />
if his social position ; and, thirdly, by the fact that<br />
* exposure, sooner or later, is certain, and that any<br />
‘ writer convicted of real unmistakeable literary<br />
a) theft is thereby ruined for life. The position of<br />
ae an editor who may accept copied and stolen<br />
i articles or stories, and publish them in his<br />
m@ magazine, is much more precarious. For him<br />
a} there is no protection, except the certainty of<br />
ih discovery and exposure.<br />
<br />
2. He may land the publisher in-an action, or a<br />
iq prosecution, for libel, obscenity, or blasphemy.<br />
+ This can hardly be called a trick, but itis a danger.<br />
i In recognition of this danger many publishers most<br />
‘q properly insert a clause in the agreement, holding<br />
‘ them free from damages in case of such actions.<br />
rd<br />
id<br />
£0<br />
<br />
<br />
<br />
=<br />
<br />
I know a case in which a publisher was threatened<br />
by a certain firm with an action for libel unless<br />
he withdrew, instantly, a single passage, reflecting<br />
“9 on their business, from a newly issued novel.<br />
H He recalled the whole edition, took out the page<br />
<br />
‘ and substituted another. The whole operation<br />
“w was performed, I believe, in two days, and cost<br />
‘@ about £200. I know not whether the publisher<br />
™ called upon the author to pay back that £200.<br />
“| If he did not he ought to have done so, and the<br />
» author ought voluntarily to have made that repa-<br />
| ration, even though he had not intended a libel.<br />
‘4 No writer can possibly object to such a clause<br />
1 of protection.<br />
<br />
_ _ 3. An author may trade upon a name acquired<br />
@ by good work, and send in hasty, unconsidered<br />
' rubbish when a proper price has been paid for<br />
| good work. That is certainly a danger, and, it<br />
' would at first seem, a great danger. Publishers are,<br />
however, protected by the author’s own jealousy<br />
of his name. It is quite as easy to destroy a<br />
hame as it is difficult to build it up. I have,<br />
however, heard publishers complaining that so-<br />
and-so, being engaged beforehand, at a consider-<br />
able price, gave them after all only a work which<br />
<br />
VoL, II.<br />
<br />
a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
127<br />
<br />
proved a comparative failure. Well; but there<br />
is this to be said. An author is not always at his<br />
best. Did he, in this case, give the best that was in<br />
him? Was therescamping? Perhaps he thought<br />
he was actually giving work as good as any he<br />
had ever done. Or, again, the public is capri-<br />
cious ; not every work by the same man succeeds<br />
to an equal extent. Conceding the danger, the<br />
difficulty is to bring home the offence. How<br />
could one prove scamping and haste and care-<br />
lessness ? The author who can be guilty of these<br />
things is equally capable of denying them. One<br />
can quite understand a disappointment, a com-<br />
parative failure; but deliberate fraud in this<br />
direction is surely very, very rare.<br />
<br />
4. An author may contribute a serial to<br />
to a journal which is totally unfit for its pages.<br />
This has been done on more than one occasion.<br />
One remembers that Charles Reade’s “Terrible<br />
Temptation” appeared in a household magazine,<br />
which suffered, it was said, greatly in conse-<br />
quence. It is, indeed, hardly a story quite to be<br />
recommended for reading aloud at the family<br />
tea-table. Again, when Charles Lever’s ‘“ Day’s<br />
Ride ” appeared in ‘‘ Household Words,” Charles<br />
Dickens took it into his head that it was unfitted<br />
for the paper, and announced—which was a thing<br />
unprecedented—that the story would be con-<br />
cluded on such a date. And if one should find a<br />
real old-fashioned Jolly Roger, swearing and<br />
swaggering, drinking, kissing the girls, and<br />
talking of bona robas, through the pages of the<br />
‘Monthly Packet,” the world would stand agape,<br />
but those behind the scenes would know what it<br />
meant. Here again, one is protected by the<br />
common sense, as well as by the jealousy of<br />
authors over their own name; andI am sure that<br />
publishers will acknowledge that, as a rule,<br />
whenever an author, old or young, gets a chance<br />
he is zealous to acquit himself as loyally as he can<br />
to the magazine or the publisher who accepts his<br />
work, Isay,asarule. There may be, here and<br />
there, exceptions ; there may be abuse; but, as a<br />
rule, writers give honest work—their best work—<br />
for honest pay.<br />
<br />
5. An author, again, may misrepresent the<br />
pecuniary value of his work. I have heard it<br />
asserted that men do sometimes declare that they<br />
have received for a previous work a sum of money<br />
very far in excess of the truth. This may have<br />
been done; the profession of letters does not<br />
necessarily convert a dishonest man into an<br />
honest one. Against this danger, however, a<br />
publisher is guarded by the customary rule in<br />
every kind of business. not to accept such assur-<br />
ances without proof.<br />
<br />
But misrepresentation as to pecuniary value<br />
may be made without intention or guile. Every-<br />
<br />
L 2<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
128<br />
<br />
body knows the extraordinary ignorance of people<br />
about the details of publishing. Nothing used<br />
to be more common—it is not now so common,<br />
thanks to our society—than to hear an author<br />
declare with every sign of sincerity and unblush-<br />
ingly, that he knows that Messrs. A. and B. sold<br />
“thousands upon thousands” of his book for which<br />
he got no more than so much. Pressed for proof,<br />
he says that his bookseller told him there was a<br />
brisk demand, or that it was on all the stalls, or<br />
that all his friends bought copies, or that it was<br />
well reviewed in the Stoke Pogis Review. They<br />
simply know nothing, these people; we do our<br />
best to teach them. They say thousands, mean-<br />
ing many; they say many, Jumping at conclu-<br />
sions without any facts; their vanity is pleased<br />
by the mere imagination of a success which has<br />
been denied them. And, of course, there have<br />
been known such things as fraudulent returns,<br />
which make authors suspicious. And, again of<br />
course, authors have been kept designedly in<br />
ignorance of their own business.<br />
<br />
6. There has been, in my own experience, one<br />
instance, and only one, in which fraudulent<br />
practices have been seriously charged against an<br />
author who was a member of the Society. In<br />
this case, which was instantly brought before a<br />
committee specially convened, the person accused<br />
was called upon to explain. He did not. He<br />
ceased to be a member of the Society.<br />
<br />
7. A publisher may suppose the pecuniary<br />
value of a writer to be more than it really is.<br />
There are certain writers who refuse to treat<br />
except on the simple principle of purchase. One<br />
knows many men who take up the position that<br />
they must have a sum of money down for their<br />
work, and that the subsequent commercial history<br />
of their books concerns them nolonger. Thisis a<br />
very intelligible position. Given a reasonable<br />
amount of fair play it is perhaps a more comfort-<br />
able position than that of an equitable royalty.<br />
The difficulty is that of arriving at the sum which<br />
is equitable. It can only, in fact, be arrived at by<br />
a knowledge of previous sales. Now here follows<br />
a case in which a very distinguished man, and a<br />
voluminous writer, is concerned. He is dead, but<br />
those who loved him are not dead, and therefore<br />
his name must be concealed. He wrote many<br />
volumes; he sold them all; he frequently<br />
changed his publishers. He would not publish<br />
except for a sum of money down. He always<br />
got that, or some less, sum of money. He<br />
never knew, or inquired, or cared, about the<br />
circulation of his books. When he had a new<br />
one ready he offered it to his last publisher,<br />
who either refused him altogether or offered<br />
a great deal less than for the previous work.<br />
He either accepted the offer or he took his<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
work elsewhere. Now, what he did not know—<br />
what his successive publishers did not know until<br />
they learned by experience—was this: none of his<br />
books ever paid the publisher. They were all—<br />
<br />
perhaps not quite all— losses. Whether this <<<br />
means a real loss of the money invested, or whether oe<br />
it means a loss in the sense of not proving a a<br />
<br />
remunerative sale, I do not know.<br />
<br />
This man was not in the least sense fraudulent,<br />
He was a highly honourable gentleman, scrupu-<br />
lous in all his dealings. He said, ‘Give me so-<br />
much; make what you please for yourselves. IT 8 |<br />
don’t care what you make.” His publishers .<br />
were deceived by his great name and by his long ©<br />
list of published works, not by him at all.<br />
<br />
8. There are many other ways in which an —<br />
<br />
author may cheat a publisher, but they seem to «<br />
be antiquated. The eighteenth century presents =»<br />
many examples of literary frauds. There were<br />
<br />
travellers who never went beyond the walls ofthe =—«-_"<br />
city ; scholars who translated Euripides without ="<br />
out knowing the Greek alphabet; divines who ©<br />
wrote commentaries on Hebrew Prophets without —*<br />
<br />
being able to read Hebrew; historians who made<br />
histories of foreign countries without knowing<br />
more than their own language. These, and such<br />
things, need not be considered. They belong to<br />
a bygone time.<br />
<br />
9. My conclusion from such experience as I<br />
have indicated, and such considerations as I have<br />
set down, is that publishers have singularly<br />
little to fear in the matter of frauds. Incom-<br />
petence they can protect themselves against,<br />
Unpopularity they can ascertain before hand.<br />
Plagiarism—rare — difficult to prove —is not<br />
necessarily, even when alleged, a bar to success.<br />
Why, some people actually alleged plagiarism<br />
against “She!” That most magnificent creation<br />
of modern fiction swept past the charge without<br />
the least notice ; nor did it affect her popularity in<br />
the smallest degree. Scamped work. Well, one<br />
should know the general character of a man<br />
before having any dealings with him. Libel—<br />
actions for injury to public morals. These may<br />
partly be guarded against by clauses in the<br />
agreement. Overpay—but this is matter of<br />
business. Very few publishers ever do risk their<br />
money by buying books. The purchase of books —<br />
for considerable sums is practised by three or |<br />
four firms only.<br />
<br />
The subject proposed by the Bookseller may be —<br />
larger than I think. Perhaps it cannot be<br />
exhausted in a single paper. I will therefore<br />
call upon those gentlemen who have been our<br />
secretaries, and may know more than myself, if<br />
there is more to be learned, to supplement these<br />
remarks from their own experience. we<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE: AUTHOR.<br />
<br />
FEUILLETON.<br />
<br />
<br />
<br />
A Writer or NoveLeEtTtTeEs.<br />
<br />
a RANCES CHATELAIN,” otherwise Mrs.<br />
Gertrude Bradshaw, gave a sigh of relief,<br />
and placed her pen on the rack. She<br />
<br />
had finished her day’s work, and there was<br />
nothing more to do save to rest and chat with<br />
the girls. But before she gathered up the sheets<br />
of foolscap and covered them with the blotting<br />
paper she read her last paragraphs aloud :<br />
<br />
“Slowly, but surely, came the knowledge of<br />
the horrible death in store. Jocelynde went to<br />
the casement, threw it open, then returned to<br />
Truesdale’s side. She was trembling fearfully ;<br />
for between the window and the prospect dull<br />
volumes of smoke were rising, as 1f the lower<br />
story were a mass of flames. Her lover’s eyes<br />
were open now; she bent until her lips almost<br />
touched his ear.<br />
<br />
“«¢ We shall die together,’ she said. ‘ You have<br />
given up your life for me. Will death be so<br />
terrible—coming whilst we clasp hands?’ ”<br />
<br />
Mrs. Bradshaw’s eyes reddened ; a few tears<br />
crept downwards. Jocelynde’s peril was a very<br />
real thing to her creator. A fragment of an old<br />
song, however, heard from the next room, brought<br />
back her usual smile.<br />
<br />
“Three thousand and twenty-eight words to-<br />
day,” she said, “three thousand to-morrow, and<br />
then ‘The Mad Wooer’ will be finished. Ten<br />
guineas for it, and the nineteen hundred and<br />
ninety pounds changes to two thousand, and I<br />
can go back to my proper work. Thank God my<br />
task is so nearly done!”’<br />
<br />
The door opened, and a plaintive voice came<br />
in. ‘Mother, dear, do cease writing. The<br />
kettle is boilmg—Bessy is getting tea ready.”<br />
<br />
The authoress rose and hurried from the table<br />
to throw her arms around the neck of her eldest<br />
daughter Sylvia, a thin, tall woman of thirty,<br />
who was quite blind, although her eyes were as<br />
pretty as her mother’s. Mrs. Bradshaw was little<br />
and stout, so that she had much difficulty in<br />
embracing her; but Sylvia bent as low as she<br />
could.<br />
<br />
“T am coming now, child,” she said.<br />
just wait a minute.”<br />
<br />
She put the sheets neatly under the blotting<br />
paper and closed the ancient book on heraldry,<br />
which stood on a reading desk, and was valuable<br />
as a treasury of good names—Hornesey, Hunstan,<br />
Meres, Tourney, Guevero, Wyan, Fulnerby,<br />
Boraston—most of them she had utilised. Then<br />
she wiped her gold pen (a marriage gift thirty-<br />
five years old), and covering the inkpot, left the<br />
<br />
“There,<br />
<br />
129<br />
<br />
study and went to the parlour, with Sylvia’s arm<br />
encircling her waist.<br />
<br />
The parlour was low-ceiled, with mullioned<br />
windows. Mr. Bradshaw had bought Balburgh<br />
Hall a few years before his death ; and, although<br />
it was only a shred of the ancient mansion, his<br />
widow had chosen to spend the remainder of her<br />
life there. Quaint pictures hung on the painted<br />
walls; Bartolozzi’s ‘‘Fortune Teller” and<br />
“Psyche” were there, with wood carvings of<br />
naked little boys fastened between; Liverpool<br />
plates were scattered about, and above the high<br />
oaken mantel-shelf was Adam naming the Beasts,<br />
a needlework miracle performed by Mrs. Brad-<br />
shaw’s mother in her thirteenth year. The most<br />
noticeable feature of this was a human-visaged<br />
lion; very disproportioned, and, like Thersites in<br />
the Interlude, afraid of a horned snail.<br />
<br />
A round table spread with grotesque china<br />
stood near the fire ; everything shone with clean-<br />
liness. Bessy, the younger daughter, a fantas-<br />
tical girl, who copied her gowns from old<br />
engravings, knelt on the hearth with a toasting<br />
fork in her hands. She turned her reddened face<br />
and laughed gladly.<br />
<br />
“You must be nearly starved, mother!”’ she<br />
cried. She sprang up and wheeled the sacred<br />
arm chair to the verge of the fender. Mrs.<br />
Bradshaw sat down, and Sylvia drew forward her<br />
own hassock and nestled at her mother’s feet.<br />
Very tiny feet they were; infinitely more suited<br />
to a child than to a matron of fifty-six.<br />
<br />
Bessy poured out the tea and they talked for<br />
an hour. When the table was cleared, the<br />
curtains were drawn and the fire stirred; for it<br />
was dusk, and rain pelted on the windows. Mrs.<br />
Bradshaw became very silent; she had over-<br />
worked herself of late, and felt very weary.<br />
<br />
After a time Bessy took out her needlework,<br />
and Sylvia went to the cabinet piano—a family<br />
instrument, with high front of sea-green silk,<br />
quilted round an immense golden tassel. She<br />
began to extemporise, with the excessive intro-<br />
spection of the blind. When Sylvia was in<br />
the mood for playing she could sadden every-<br />
body, for her music was so devoid of hope.<br />
She melancholy grew until her sister rebelled<br />
against it, and made her play a fairy-like valse of<br />
Jensen’s.<br />
<br />
Mrs. Bradshaw sat looking at the red coals, for<br />
to night, now that her purpose of the last fifteen<br />
years was so near consummation, she made all<br />
her principal memories come out of their hiding<br />
places. She craved keenly for the promise of<br />
fame that had attended her early womanhood,<br />
and somehow the craving brought a glitter to her<br />
eyes and a brighter smile to her lips. Once again<br />
was she puffed with the young novelist’s pride,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
130 THE AUTHOR.<br />
<br />
And she was admired—praised by those whose<br />
praise was worth most, commended by the great.<br />
<br />
She glanced furtively at Bessy and saw her<br />
watching interestedly. Poor Mrs. Bradshaw<br />
blushed; it is not always agreeable for one’s own<br />
children to understand. The girl had read her<br />
through and through, and it was not for the first<br />
time that she had been caught thus. Bessy went<br />
to a small book-basket, that held only four<br />
volumes; she took them down; held them<br />
slanting in the lamp-light to see if any dust had<br />
settled since morning; and, clasping them like so<br />
many babies, came to her mother’s chair and<br />
knelt on the floor.<br />
<br />
Their writer thanked her witha kiss. ‘“ Love<br />
for Ever’ was the first book. She opened it,<br />
and sought the place where her own lover had<br />
begged to interpolate his description of herself.<br />
Here it was: ‘A slim, dainty maiden; her<br />
cheeks pink-flushed; her dull, black hair rippled<br />
like oats in a midsummer wind.’ How that face<br />
had changed! The forehead and chin had be-<br />
come doubly massive; the eyes had sunk into<br />
caverns; and the once rich hair was thin and<br />
grey. Her battle with the world had made her<br />
unlovely.<br />
<br />
The books were bound in calf—white once, but<br />
fawn-coloured now. None had ever brought any<br />
money; but in those days she did not care.<br />
They were works of genius; fresh and breezy,<br />
with an untainted touch. She turned over the<br />
pages of all. The second—“< A Holy Witch ”’—<br />
was written just before Sylvia’s birth. She had<br />
read the manuscript to her husband, and they<br />
had both cried, she wiping her eyes first. In<br />
this, ‘‘ Alnaschar’s Bride,” she had felt the divine<br />
ecstasy too strongly, and had selfishly begged for<br />
solitude, so that he had repined. Yet, after all,<br />
she regarded his jealous complaint that she<br />
gave him too little of her time, as her greatest<br />
triumph.<br />
<br />
Her last novel, ‘‘The Honeysuckle Knave,”<br />
had been praised most, but she passed over it<br />
quickly, for soon after its publication her husband<br />
had died, and, by no fault of his, had left her<br />
nothing save the tumble-down house and a<br />
thousand pounds. She had an annuity of a<br />
hundred and fifty pounds, and from the time of<br />
his death she had renounced, with the intention<br />
of making some provision for her daughters,<br />
the writing that did not pay for the writing<br />
that paid.<br />
<br />
Sylvia had become blind in her twenty-first<br />
year, but she bore her trouble very patiently.<br />
Bessy, who was ten years younger, was some-<br />
thing of an authoress herself, and had published<br />
several pretty little tales for children.<br />
<br />
“Frances Chatelain” had. done conscientious<br />
<br />
novelette-work, and, as her publishers respected<br />
the hack whose copy was always clear and in-<br />
teresting, she had been invariably successful,<br />
The time had come now when she might choose<br />
her own subjects, and with the broadened view of<br />
a lady of large experience, treat her stories so<br />
that, besides being artistic and healthy, they<br />
would appeal to all classes.<br />
<br />
‘Children,’ she said at last, ‘“‘I have some-<br />
thing to tell you to-night. I intended to wait<br />
till to-morrow, but I feel so happy that I must<br />
share my news with you.”<br />
<br />
Bessy leaned on the back of.the chair, and<br />
stroked her mother’s head. Sylvia sat again<br />
on the footstool, and took her hands. Mrs.<br />
Bradshaw was silent for some minutes; she had<br />
rarely spoken of her writing, and now her words<br />
would only come with an effort.<br />
<br />
“T have nearly finished my last novelette,’<br />
she said, ‘‘ and thereby left myself free to follow<br />
the real bent of my talent. You may, perhaps,<br />
have thought me careful of the money I earned ”<br />
(here Sylvia threatened her hands), ‘but it has<br />
all been for you. If I were to die soon you would<br />
find yourself comfortably off. Out ot what I<br />
got by writing I have saved two thousand pounds, .<br />
and, with this house and the small capital I had<br />
before, you will each be worth about that sum.<br />
When your father died, his affairs, owing to<br />
another man’s unscrupulousness, were deeply<br />
involved; I set everything straight, kept his<br />
name so that we are proud of it, and determined<br />
that my little ones should not suffer. After<br />
to-morrow I shall not write another line for money,<br />
and we shall be merry as the day is long.”<br />
<br />
Sylvia and Bessy cried, and fondled her—the<br />
undaunted mother liked fondling. As soon as all<br />
the tears were dried she went to the piano—a<br />
journey she made at most once a year—and,<br />
sitting there, sang “The Token.” Her voice was<br />
worn and husky, yet, as she varied its expression,<br />
you would have wanted to laugh and to sob both<br />
at once. Oh, it was pathetic!<br />
<br />
Upon his ’bacca box he views,<br />
Nancy the poet, love the muse,<br />
<br />
“Tf you loves I, as I loves you,<br />
No pair so happy as we two.”<br />
<br />
But she faltered and broke down. “ Girls, I’m<br />
not crying,” she said, defiantly. ‘“ Come, it’s bed-<br />
time now. Light my candle, Bessy.”<br />
<br />
Feeling that it was a kind of holiday night<br />
they escorted her, one on either side, to her<br />
chamber, and waited until she was in bed before<br />
giving the usual embrace.<br />
<br />
She lay awake; she was exhilarated, and her<br />
brain would not quieten. Her room was panelled,<br />
with a little praying closet in one wall,—how<br />
often had she utilised its description !—and some-<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
how grotesque shadows seemed to lurk in the<br />
corners. She turned from side to side, but not<br />
finding rest she rose at last, and, having wrapped<br />
herself up in a large shawl, drew up the blind,<br />
and sat in the window-recess, near the wide open<br />
lattice.<br />
<br />
Beneath lay a gardenful of budding lad’s-<br />
love and sweetbriar. The rain had released their<br />
odours, and the perfume suggested thoughts of<br />
Arcady. It was quite fine now; the moon was<br />
rising over the odd roofs of Balburgh, and in the<br />
far distance the line of the tide receded.<br />
<br />
So the world of letters lay before her again,<br />
and this time she was certain to conquer. If<br />
only he were here to share the fame and the<br />
glory! It was too exciting; she felt that she<br />
could not bear to be alone any longer, and she<br />
went to the next room, and stooped over Sylvia’s<br />
pillow to kiss her closed eyes. Then she did the<br />
same to Bessy, and returned ; her heart singing<br />
a solemn thanksgiving to God for her daughters.<br />
<br />
Early in the morning her restlessness became<br />
so tiresome that she determined to dress, and<br />
work at the novelette. If it were finished before<br />
noon, they might take a drive, yes—hire a pony<br />
and a wicker-work pheton, and have tea at the<br />
coastguard’s near Bluff Head.<br />
<br />
She descended the stairs quietly and lighted<br />
her lamp. When she had consulted her notes<br />
for the last chapter, she dipped her pen in the<br />
ink and began to write furiously. She had a<br />
singular habit of counting her words. At four<br />
o'clock, as the “long-sleeved” veteran in the<br />
lobby chimed, she had disposed of the lunatic<br />
abductor and murderer, and written a thousand ;<br />
at half-past five she had helped Lady Jocelynde<br />
and her lover Truesdale from the burning house,<br />
just as the agonised father drove up in his<br />
brougham. That meant another thousand. She<br />
had to depict a dawn after they were saved, and<br />
seeing from her window the morning sun just<br />
tinging the clouds, she did it with pre- Raphaelite<br />
exactness.<br />
<br />
‘At eight she completed the following para-<br />
graph; of the order which, according to estab-<br />
lished custom, should follow the climax of a<br />
novelette :<br />
<br />
“Fortune, for having given Jocelynde so large<br />
a share of calamity in so short a time, has striven<br />
since to atone by granting her a most happy and<br />
placid married life. The shocking story of her<br />
misadventures only rests in her memory like a<br />
faded dream, and out of the wealth of her<br />
wedded peace she can spare a thought of pity for<br />
her mad wooer.”<br />
<br />
The pen fell from her tired fingers, and her<br />
head sank forward. Half an hour later Bessy<br />
found her in this posture, ~~<br />
<br />
<br />
<br />
131<br />
<br />
“Qh!” she cried, maternally. “I did not<br />
know you were downstairs. It is wrong of you<br />
to hazard your health. Why, you’ve finished it!<br />
How could you?”<br />
<br />
Mrs. Bradshaw, looked up, laughing gently,<br />
“Yes,” she said, “my last novelette is done, and<br />
I’m a free woman.”<br />
<br />
Breakfast was ready soon, but the worker could<br />
eat nothing. She sat, idly sipping coffee, and<br />
toying with a piece of bread. Bessy remon-<br />
strated, to receive the reply, “ My dear, ’m not<br />
hungry. Ill lie down for a few hours. I have<br />
not slept at all in the night, and my head aches.<br />
Don’t tell Sylvia when you go up, for she’ll only<br />
be uneasy.”<br />
<br />
She returned to bed and fell into a heavy sleep,<br />
in which she dreamed of a perfectly rounded<br />
story that had never been written before, with a<br />
plot that probed to the core of holiest passion.<br />
She had written it herself, and men and women<br />
praised her; and her bosom swelled with joy in<br />
the thought of the good she had done to human-<br />
kind. Sylvia and Bessy thought it the grandest<br />
book in the world.<br />
<br />
When she woke they were standing at her bed-<br />
side. Some time passed before she could realise<br />
that she had not produced this marvellous work,<br />
but when the truth came a curious look of amuse-<br />
ment appeared on her face.<br />
<br />
“Children,” she said, “ I’ve had a most enjoy-<br />
able dream. I was the author of a story that<br />
began as a green-sheathed rose-bud, and unfolded<br />
until it became a flower of unparalleled beauty,<br />
radiant with life, and so sweet that everybody<br />
loved it. And at the very height of its loveliness<br />
it was endowed with eternal freshness.”<br />
<br />
She let her head fall back to the pillow. Her<br />
eyes were sparkling ; her features had_lost their<br />
look of a man’s features in miniature. Bessy went<br />
for some cooling drink, Sylvia lay on the bed and<br />
put her face beside her mother’s.<br />
<br />
Later in the day the old doctor came and felt<br />
her pulse.<br />
<br />
“Youve been working too hard,” he said<br />
pleasantly. “ You must rest in bed for a few<br />
days.”<br />
<br />
Downstairs he told Bessy that her mother’s<br />
brain was slightly over-wrought, and that she<br />
must be kept very quiet. He had not the least<br />
doubt that all would go well. Somebody was to<br />
stay with her always, and no business—he apolo-<br />
gised—professional affairs—must worry her.<br />
<br />
Meanwhile she was talking to Sylvia. ‘You<br />
know in my dream I felt very proud of the story,<br />
but I am sure I was not so proud as I shall be<br />
when Iam really writing it. I intend to put you<br />
and Bessy in, to make you the darlings of an<br />
old woman.”<br />
<br />
<br />
<br />
<br />
132 THE<br />
<br />
In the night her illness took a serious turn,<br />
and she forgot again that the masterpiece was<br />
not written, and held conversations with divers<br />
celebrated people ; introducing her daughters, and<br />
ingeniously putting aside compliments; thanking<br />
the critics for their flattering and tender usage ;<br />
pleased with everybody and everything.<br />
<br />
The time crept on slowly. It was the first<br />
illness she had ever had, but her daughters went<br />
about their task of nursing as cleverly as if they<br />
had been trained.<br />
<br />
Early on the fifth morning she rose in bed<br />
suddenly. ‘The book, Sylvia!” she cried.<br />
<br />
“T will bring it, mother,’ Sylvia said. She<br />
awakened Bessy and felt her way down stairs,<br />
paused there for a moment, then brought from<br />
<br />
the shelf her mother’s first volume, ‘‘ Love for-<br />
<br />
Ever.” This she put into the hot, nervous<br />
hands.<br />
<br />
Mrs. Bradshaw crooned, and held it close to<br />
her heart. ‘My fame, my last born darling,’<br />
she whispered.<br />
<br />
Bessy sobbed loudly. Sylvia went to the end<br />
of the bed, and, taking the little naked feet on<br />
her palms, stooped and kissed them.<br />
<br />
The mother spoke again, very indistinctly,<br />
“ Girls, you'll keep together.”<br />
<br />
A grayness came over her trembling face.<br />
Bessy ran to draw aside the curtain, thinking the<br />
dawn had broken.<br />
disappear with the added light.<br />
<br />
R. Murray Gincwrist.<br />
<br />
ec<br />
<br />
ON CONSTRUCTION IN FICTION.<br />
<br />
<br />
<br />
HE “leading literary ’’ journal—.The Athe-<br />
iy neum—showed. in its issue of August the<br />
6th so keen an appreciation of literature,<br />
and such a noble respect for popularity, especially<br />
that form of popularity which is greatly due to<br />
style, as to review Louis Stevenson’s latest work<br />
“The Wrecker” in the middle of a batch.<br />
It so happened— perhaps this may be urged<br />
as an excuse— that the batch was unusuall<br />
good. It contained books by Mrs. Oliphant, Mr.<br />
P..H. Emerson, and Mrs. Parr, besides others—<br />
nine in all, So important isa new book by Mr.<br />
<br />
Louis Stevenson that it is taken up fifth in the.<br />
<br />
batch and dismissed curtly with one-third of the<br />
space allotted to Mr. Emerson’s ‘Son of the<br />
Fens,” and about the same space as that given to<br />
a young lady’s first work, published by Messrs.<br />
Digby and Long. A week or two afterwards, the<br />
same paper gave Zola a review by himself, not<br />
one of a batch, several columns long, This<br />
<br />
But the grayness did not,<br />
<br />
AUTHOR.<br />
<br />
shows the comparative respect paid by the<br />
“leading literary” organ to Zola and to Steven-<br />
son. The reviewer, though this is not our<br />
concern, does not like the book. Such honour to<br />
an author of the first rank, afforded by the<br />
literary paper of the first rank, suggests matter<br />
for reflection by other authors. There is, of<br />
course, one simple remedy if the author does not<br />
like a review—he need not ask a paper to give him<br />
another. All this, again, concerns the Atheneum.<br />
It is only noticed here as a curious illustration of<br />
the respect to literature which one finds in a<br />
literary organ. We notice the review solely<br />
with reference to one passage in it. The<br />
writer lays down a maxim or law in the Art of<br />
Fiction. “It is impossible,’ she (or he) says,<br />
“to prove that the best way of telling a story is<br />
to introduce-it with a mass of irrelevant detail,<br />
and not to plunge into it at once.” We must,<br />
therefore, concludes the critic, plunge into the<br />
story at once. Is this so? Is this a law absolute<br />
in fiction ?<br />
<br />
Undoubtedly it is the duty of the novelist to<br />
interest his readers and to draw them on, to hold<br />
their attention, from the beginning. But is there<br />
no other way than by plunging into the story at<br />
once? Thackeray is a story-teller who may safely<br />
be produced in evidence. In which of his novels<br />
has Thackeray plunged into his story at once?<br />
In “ Denis Duval,’”’ which promised to become his<br />
finest story, as a story, he held the reader from<br />
the outset. Yet no one can tell what the story<br />
was going to be when the story-teller broke off in<br />
the middle. Again, who can tell Mrs. Gaskell’s<br />
stories from their beginning? Many novelists<br />
there are—and have been—who possess the art of<br />
leading the reader on, step by step, page by page,<br />
long before he is able to guess what the story is<br />
going to be. Yet in the long run he will find<br />
that this very introduction of detail, apparently<br />
irrelevant, helped to build up the characters, just<br />
as cement supports the house. To lay down as a<br />
law absolute that the only artistic way is to plunge<br />
straight into the story seems to us a dogma<br />
which shows ignorance, not only of the art itself,<br />
but of its practice. The motif may be preseuted<br />
in the form of a prologue, which is a very good<br />
way of presenting it; or it may be arrived at by<br />
a series of introductory chapters presenting it<br />
crude, undeveloped, growing into shape, till the<br />
reader arrives at certainty. There are, in fact,<br />
<br />
* many ways, all of them artistic, all of them<br />
<br />
legitimate, by which a novel may be opened.<br />
And to “plunge ”’ is only one.<br />
<br />
The first part of the story itself—The Wrecker<br />
—which is a very long one, longer than the<br />
average three-volume novel, will illustrate our<br />
point. We do not seruple to take an illustration<br />
<br />
<br />
<br />
<br />
—<br />
<br />
Shes ©<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
from it because the secret itself is contained in the<br />
second part. Here is the leading situation.<br />
<br />
A San Francisco speculator, member of a ring,<br />
discovers that half-a-dozen men, survivors of a<br />
wreck, have been landed; he learns that the<br />
wreck is lying high and dry ona reef in a lagoon ;<br />
she is therefore safe from storms; she contains a<br />
cargo ; she will be sold as she lies; he proposes<br />
with the aid of his ring to buy the ship for a trifle.<br />
At the sale he bids a small sum, expecting to<br />
have the ship knocked down to him. But a<br />
stranger goes fifty dollars more; he advances his<br />
price: so does the stranger by fifty dollars more.<br />
He ascertains that the stranger is a low class<br />
lawyer acting for an unknown client. If, he<br />
argues, this man goes on bidding there must be<br />
some limit laid down; that limit must very<br />
certainly be a long way within the margin of<br />
profit: that limit will indicate the value of the<br />
cargo. Therefore he will bid till he reaches that<br />
limit and a little beyond. He does. The wreck<br />
is knocked down to him for 50,000 dollars.<br />
<br />
He sends out his partner in a schooner to take<br />
the cargo out and to carry it where it can be sold.<br />
The partner does this. So far from the ship con-<br />
taining a cargo worth 50,000 dollars her whole<br />
freight is not worth 10,000 dollars. He sails<br />
home with the melancholy news. His partner is<br />
already bankrupt. Then comes the question—<br />
the secret of the ship—Why did the unknown<br />
client bid five times the value of that cargo? This<br />
is the question of the book. Wilkie Collins<br />
would have begun the story with the auction of<br />
the wreck. That would have been his prologue.<br />
Then he would have proceeded to the voyage of the<br />
schooner, introducing what is necessary concern-<br />
ing each character by the way. That would be<br />
plunging at once into the story. But we must<br />
remember that Wilkie Collins was a story teller<br />
and not a student of character.<br />
<br />
Louis Stevenson proceeds in a different way.<br />
He builds up the characters of his people before<br />
he writes the great auctionscene. He shows how<br />
one had attempted an artistic career, for which he<br />
was absurdly unfitted, and another had tried the<br />
same line with even more insufficient genius. He<br />
shows, with very great care and patience, and a<br />
considerable display of humour, what these men<br />
were before he proceeds to the action of the<br />
piece. He then fills in the canvas with the<br />
subsidiary characters, every one of whom he<br />
makes a finished study. These studies, these<br />
<br />
portraits, these pictures made in Paris, Scotland,<br />
San Francisco, are all intended with one object, to<br />
show the two characters, Pinkerton and Loudon<br />
Dodd, as they are, livingmen. The author does<br />
not ask us to admire their virtue, their honour, or<br />
any of the qualities which go to make the con-<br />
<br />
AUTHOR. 133<br />
<br />
ventional hero: they are, in fact, neither virtuous<br />
nor honourable. Pinkerton, for instance, does<br />
not understand what morality means in business.<br />
Can it be held, therefore, that the study of such<br />
a character is unworthy of a painter—that such<br />
a portrait is unworthy of Art? Why, Pinkerton<br />
is the man of the day, he is the note of the<br />
time ; the world is full of amiable men who bring<br />
into business everything except morality; they<br />
are generous, loyal to their friends, capable of<br />
love at its best; but in business they lie, cheat,<br />
thieve, and over reach without the least com-<br />
punction. The eighth commandment no more<br />
exists for them than the seventh for some men.<br />
Pinkerton begins where Loudon Dodd ends.<br />
The latter, indeed, makes a feeble attempt to<br />
assert principles of honour, but soon collapses.<br />
The delineation of the two partners is, in fact, one<br />
of the very finest things, artistically, that Mr.<br />
Stevenson has ever done. Observe that we do<br />
not advance, tentatively, an opinion that the<br />
work seems to us to be fine. The present writer,<br />
himself a humble dabbler in the Art, boldly<br />
says that it is fine; that it is artistic; that it<br />
is noble, strong, and beautiful work. To the<br />
Atheneum reviewer it is “irrelevant detail.”<br />
<br />
It will be observed that Pinkerton, the specu-<br />
lator, when he bids higher and higher for the<br />
wrecked ship, has no idea that anything but<br />
commercial reasons have made his opponent run<br />
up the price. He is certain of it; there is no<br />
doubt in his mind about it. With this convic-<br />
tion, he bids higher and higher; with this con-<br />
viction, he sends out his partner; with this<br />
conviction he awaits his return.<br />
<br />
This brings us to the second part, which con-<br />
tains the answer to the question—the secret<br />
itself. Whatever remarks we might find to make<br />
upon the presentation of that answer may be post-<br />
poned indefinitely. It was only intended here to<br />
question and to illustrate the doctrine of the<br />
Athenzxum reviewer, that, as a hard-and-fast rule<br />
—a law absolute—a novelist must at once<br />
“plunge ” into his story.<br />
<br />
Se ae<br />
<br />
A STORY OF A MISTAKE.<br />
<br />
<br />
<br />
ERE is a remarkable instance of how a<br />
<br />
|} blunder—one of the most obvious and<br />
<br />
glaring blunders possible—may escape<br />
<br />
the notice of a whole army of correctors and<br />
editors.<br />
<br />
A. B. wrote a certain paper for an American<br />
<br />
journal. This paper went through certain succes-<br />
<br />
sive stages during the process of production. At<br />
<br />
<br />
134<br />
<br />
each stage it received a new reading from begin-<br />
ning toend. Thus:<br />
<br />
1, It was written in MS. Then it was read<br />
through and in great part re-written.<br />
<br />
2. It was read through again when completed,<br />
and sent to be type written.<br />
<br />
3. The type writer read it through before<br />
sending it back.<br />
<br />
4. The author corrected the type-written MS.<br />
carefully and sent it to America.<br />
<br />
5. It was then set up in type.<br />
<br />
6. The author received a proof from America,<br />
which he read and corrected, sending it back for<br />
press.<br />
<br />
: 7, The editor or the sub-editor read it finally<br />
and passed it for the magazine.<br />
<br />
The paper thus had at least seven readings.<br />
Yet a blunder was passed, if the author made<br />
it—or committed, if he did not make it—of a<br />
most elementary description; one that leaps to<br />
the eyes; one that stands out of the page calling<br />
on everybody to spot it, correct it, put an end to<br />
it. The blunder was simply this: A certain strike<br />
of working men was spoken of as undertaken for<br />
“lower” wages—instead of “higher.” How the<br />
word “lower” got there; whether the author<br />
wrote it in the first instance, or the type writer,<br />
or the compositor, it is impossible to say.<br />
Probably it was an author’s mistake. A long<br />
succession of readings of the passage followed.<br />
Not one of the readers discovered the mistake.<br />
In a word, the critical faculty must have been for<br />
the moment asleep in every one who read the<br />
proofs, because did one ever hear of working men<br />
striking for lower wages ?<br />
<br />
oda<br />
<br />
IN THE LOWER RANKS.<br />
<br />
<br />
<br />
N this great world of literature, containing<br />
| strong and weak, great and small, compe-<br />
tent and incompetent, there is a certain<br />
class of whom we seldom hear, save when their<br />
wrongs, real or fancied, or their cruel poverty<br />
force them to complain either to the Society or<br />
elsewhere. It is a class which began to exist<br />
when magazines began to be published. It<br />
sprang into being with the Luropean Magazine,<br />
the Gentleman’s Magazine, and their successors.<br />
At the present moment, when the monthly<br />
magazines are numbered by the score, and<br />
the weekly magazines by the hundred, the<br />
class of those who live entirely by writing<br />
for these periodicals has increased enormously,<br />
and is daily increasing. The great majority of<br />
its members are humble persons who do not dream<br />
<br />
THE AUTHOR.<br />
<br />
of aspiring so high as a monthly magazine. The<br />
Cornhill, Longman’s, Temple Bar are far, very<br />
far, beyond their hopes. They live by contributing<br />
to the penny weeklies, of which there are at the<br />
present moment an extraordinary number. These<br />
journals maintain hundreds of writers ; they boil<br />
hundreds of kettles; they pay thousands of<br />
quarterly bills. It is true that the remuneration<br />
is not generally very great, but then the quality of<br />
the stuff produced is not very good. Moreover, the<br />
true connection between literary worth and coms<br />
mercial value has never yet and never will be dis-<br />
covered. The two things are incommensurable<br />
quantities. It will always be possible for a great<br />
monthly magazine to publish, for instance, a<br />
paper which, for literary merit, brightness,<br />
genius, cannot compare with another but a sixth<br />
part its length on the same subject appearing at<br />
the same time in the humble Family Teapot.<br />
Such instances are doubtless rare, because the<br />
writers to the latter valuable journal think of<br />
everything, as a rule, except style and form—but<br />
they are not impossible. It is indeed astonish-<br />
ing, in taking up the Teapot and others of its<br />
class, to remark how its writers seem to rej in<br />
bad slipshod prose. So far as can be learned of<br />
the secrets, carefully concealed, of the editor’s<br />
room, there is, in these journals, a certain rough<br />
and ready examination of all the contributions<br />
offered, and without doubt they do know how<br />
to present, whether the critic likes it the<br />
or not, the kind of paper which their readers<br />
want. Now the number of these papers is<br />
legion. Thousands upon thousands of pens are<br />
racing and tearing over thefoolscap day and night,<br />
producing copy for them. Every girl who wants<br />
to make a little money—what girl does not ?—for<br />
dress and for herself, tries a story for some penny<br />
weekly. Every ambitious and bookish young<br />
clerk dreams of lifting himself out of the ruck<br />
by writing for the penny weekly. Wives who<br />
want to help their husbands; husbands who have<br />
an hour or two to spare: widows and elderly<br />
spinsters who would fain increase their slender<br />
means: all these send up tons, waggon loads, of<br />
manuscripts to the penny weekly. Let no one<br />
suppose that the pure love of art, the noble spur<br />
of genius, the infirmity of desire for fame, or any-<br />
thing in the world but the simple necessity or<br />
longing to make money, inspires these writers.<br />
They have no higher aim than to reach the<br />
editor's standard; they hope no more than<br />
to get the “scale” pay. It is a trade? Cer-<br />
tainly it is a trade; and one far, very far, inferior<br />
to such skilled trades as watch-making, cabinet-<br />
making, engine-fitting, and the like. In saying<br />
that it is a trade no reproach is intended. Why<br />
should there not be a tradé in—not literature—<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 135<br />
<br />
but—call it—the composition, stuff, confection—<br />
that people buyin ordertoreadinthetrains? They<br />
buy buns to eat in the train; gingerbeer to drink<br />
in the train; penny magazines to read in the train.<br />
The buns and the beer are consumed and forgot-<br />
ten ; the penny weekly is read and left in the<br />
train. The two former area production of trade.<br />
Why not the latter? It is not disgraceful to<br />
make buns for a living—why should one be<br />
ashamed to turn out stories and paragraphs and<br />
essays for a living ? In fact, the writers are not<br />
at all ashamed of it; they are proud of it; they<br />
even call themselves followers (as they certainly<br />
are) of the literary craft. Many of these papers<br />
find it most convenient to engage salaried contri-<br />
butors forthe greater part of their space, which is,<br />
week after week, turned out on a uniform plan.<br />
They therefore engage a writer at so much a<br />
week, to undertake a department, such as the<br />
answers to correspondents, the children’s column,<br />
the paragraph colums, the riddles and prize de-<br />
partment, the notices of books, and the drama.<br />
<br />
- This salaried writer is responsible for his depart-<br />
<br />
ment; out of what he receives he may pay for<br />
assistance if he pleases. In some of the more<br />
successful journals the salaries are most liberal ;<br />
the work, of course, generally takes up the<br />
best part of the week, but it would be difficult<br />
to find any line of life in which so small an<br />
amount of skill may be rewarded by so much<br />
pay. Those writers are fortunate indeed who<br />
secure a sure footing on one of the successful<br />
weeklies, where the pay is generally high and<br />
gometimes even munificent. But these places<br />
are comparatively few. On the other hand, there<br />
are magazines where the pay is absolutely<br />
deplorable. One knows not whether the low<br />
pay is due to the slender circulation of the paper,<br />
or to greed and the sweating propensities of the<br />
proprietor. Insome cases, undoubtedly, the former<br />
is the cause. For whatever reason, the pay given<br />
by many of these papers, whether to their salaried<br />
writers or for occasional contributions, is most<br />
wretched. Nor is itonly that the pay is wretched.<br />
The miserable writer is continually, under one<br />
pretext or another, being cut down. He is engaged<br />
to furnish so many columns at so much ‘‘a year.”<br />
He interprets this to mean a year’s engagement<br />
or six months notice of change. After a few<br />
months he gets a letter to say that he must<br />
now, the circumstances, or the plan of the<br />
paper, or its shape, having been altered, furnish so<br />
much more a week, and that the pay is to be<br />
reduced by so much. What is he to do?. If he<br />
throws up the post in despair. there are plenty<br />
outside ready to take up the job for less—and<br />
always for less, This is the real secret of sweat-<br />
<br />
ing; the existence of plenty to do it for less.<br />
<br />
It is the same story whether of making cheap<br />
shirts or cheap magazine work; almost every-<br />
body can do it who gives his mind to it, after a<br />
fashion. Therefore it is the worst paid and most<br />
miserable work in the world.<br />
<br />
By what arguments, persuasions, reasons,<br />
examples, entreaties, can we induce people not to<br />
attempt to live by writing unless in the<br />
groove in which there is comparative safety—by<br />
journalism ? And Heaven forbid that we should<br />
help to swell the flock which is crowding into<br />
that profession !<br />
<br />
The man thus cut down has generally to endure<br />
and to go on. Presently, with another turn of<br />
the screw, he is cut down still worse. What can<br />
such aman do? Yet he would live by writing.<br />
Nothing else would suit him. He might have<br />
gone into a shop, and so have done well, or con-<br />
tinued in his clerk’s place and so have risen. But<br />
he would write. In such work, with such<br />
employers, there is no increase of pay for long<br />
and useful service; there is no pension; there is<br />
no recognition of useful service; the writers<br />
build up the magazine with long and powerful<br />
effort ; presently it succeeds; it becomes a great<br />
property ; the men who made it a property are<br />
turned off to starve. A great deal is made now-<br />
adays of the woes of the Irish peasant who<br />
makes a potato patch flourish on the barren rock<br />
and gets rack-rented—if he ever really does—for<br />
his pains. Is his case worse than that of the<br />
sweated writer ?<br />
<br />
There is another complaimt—a bitter cry—<br />
which is a new thing in the land, and means the<br />
beginning of worse trouble. It is alleged—<br />
whether truly or not—that in many of the<br />
women’s journals —the papers written for<br />
women, and supposed to be written by women<br />
—there has been of late a change of the women<br />
writers for men—at a lower rate of pay. It<br />
has come, therefore, to this: that where women<br />
have always been supposed to lower the rate of<br />
pay whatever work they undertook in these<br />
lower walks of literary work, itis now proved that<br />
men are actually found to be lowering the rate of<br />
women’s pay. And if anything were wanted to<br />
illustrate the congested state of the labour<br />
market, this might serve.<br />
<br />
What remedy for these things? Nothing.<br />
Absolutely nothing except the knowledge—which<br />
our people can spread everywhere if they will take<br />
the trouble to do so—that to attempt to live by<br />
writing, unless as a journalist properly trained<br />
and equipped, is, and always must be, to embark<br />
on a most precarious, badly-paid, hard-worked,<br />
ignoble and dependent career. No draper’s<br />
assistant behind a counter, no usher in a com-<br />
mercial academy, is so dependent on his employer<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
136 THE<br />
<br />
as this kind of writer. If this was understood<br />
there might perhaps—one does not know—be<br />
some relief of the cut-throat struggle for pay—<br />
pay—pay—any kind of pay. But perhaps even<br />
this would not be of any avail against the con-<br />
cested market. Only those who enter now with<br />
hope would enter then with despair.<br />
<br />
ect<br />
<br />
WHAT IS READ.<br />
I.<br />
A Frere Lrprary.<br />
<br />
HE third annual report of the Brentford<br />
Free Public Library, recently issued, is a<br />
short document but full of suggestion.<br />
<br />
The library is small; it contains no more than<br />
4092 volumes in all; but it seems to be well used.<br />
What, first, do the people read? The following<br />
is a list of books most frequently issued in order<br />
of popularity :<br />
<br />
Blackmore’s Lorna Doone ... Issued 65 times.<br />
Edna Lyall’s Jn the Golden<br />
<br />
Days a 05:<br />
Bosant’s Katherine Regina we ATs<br />
Cassell’s Popular Educator So Abe,<br />
Macdonald’s Robert Falconer... 430<br />
Stanley’s In Darkest Africa ... 5, 35 4<br />
Kingsley’s Westward Ho! .. 5, 31 5<br />
Cross’s Life of George Eliot ... 5, 30 55<br />
Besant’s All Sorts and Condi-<br />
<br />
tions of Men ... - 5 25a<br />
<br />
jsop’s Fables ... yo 22<br />
<br />
Holmes’ Autocrat of ‘the Break-<br />
<br />
fase Table a ee, Wo 22S<br />
Ball’s History of the Indian<br />
<br />
Mutiny: yo 2;<br />
Gulliver’s Travels - 20;<br />
Cumming’s Lion Hunter... nA<br />
Darwin’s Descent of Man oo IS<br />
Booth’s In Darkest England ... 3 Se<br />
Longfellow’s Poems... ... ... 4 lade<br />
Ruskin’s King of the Golden<br />
<br />
AUC ee a wo Ik,<br />
Bmiless Duty... 2 no ko<br />
Swedenborg’s Heaven and Hell ,, 14 5,<br />
Thompson's Electricity nw de<br />
Farrar’s St. Paul 1a<br />
<br />
Taking individuals we find that “ A Cooper’?<br />
has read during the year the following books:<br />
Countries of the World, Darwin’s Descent of<br />
Man, Darwin’s Forms of Flowers, Du Chaillu’s<br />
Land of the Midnight Sun, Oliphant’s Literary<br />
History, Drammond’s Tropical Africa, and<br />
James’s Wanderers. ‘‘ A Railway Servant” read<br />
Balfour’s Manual of Botany, Caine’s Trip Round<br />
<br />
AUTHOR.<br />
<br />
the World, Cassell’s Technical Educator, Figuier’s<br />
Insect World, Figuier’s Reptiles and Birds,<br />
Lamb’s Warrior Kings, and Stanley’s In Darkest<br />
Africa. This is not bad as a record. Of course<br />
the great majority of readers in a free library go<br />
there simply to pass the time. They are, in the<br />
daytime, the unemployed; they call for a story<br />
book ; very often they drop off to sleep over it.<br />
Then there are the curious middle-aged men who<br />
read regularly and read hard. Who are they?<br />
What have they been? They seem too young to<br />
have retired. Perhaps they have shops which<br />
they can leave in the afternoon. A free library<br />
is an interesting place at all times of the day,<br />
but especially in the morning, when all those who<br />
have got “billets” are at work, and those who<br />
have none, and are sick of seeking, sit in the free<br />
library and rest if they cannot eat. There are<br />
20,000 parishes in England and Wales. Before<br />
long there will be a free library, little or great,<br />
for everyone. These notes of books read by<br />
working men should show that we must not fill<br />
the shelves of the new free libraries with goody<br />
trash. It must also be observed, as an indica-<br />
tion of popular taste, that the only book of poetry<br />
taken out was Longfellow.<br />
<br />
<br />
<br />
II.<br />
Tur Prorue’s Patace.<br />
<br />
Men readers, many of whom are not so high<br />
up in the social scale as clerks or shopmen, read<br />
the following works on political and social sub-<br />
jects, I quote in order of popularity :<br />
<br />
Marx, “ Capital;” Smith, “ Wealth of<br />
Nations;” Mill, “ Liberty,” “ Logic; Howell,<br />
“Conflicts of Labour and Capital;” Kraoly,<br />
“Dilemmas of Labour and Education ;”’ Michelet,<br />
“The People” (translated); Mill, “ Political<br />
Economy ;” Fawcett, “ Political Economy ; .<br />
Lubbock, “« Representative Government ; ”<br />
Walker, “ Political Economy ;” Fawcett, “ Free<br />
Trade ;” Maine, “ Popular Government ;” Fowle,<br />
“The Poor Law;” “Jevons, “ Money ;” George,<br />
“Social Problems;” Sidgwick, ‘“ Falacies ;”<br />
Spencer, “ Sociology and Education ;” Bain,<br />
« Education; ” Smith, “False Hopes ;” Gronlund,<br />
“Co-operative Commonwealth ;”’ and almost any<br />
of the ‘“ Citizen Series.”<br />
<br />
Science.—Darwin, “ Descent of Man,” “ Origin<br />
of Species,” ‘Expression of the Emotions ;”<br />
Huxley, “Physiology;” Furneaux, “Physiology; y<br />
Jago, “Elementary and Advanced;” Roscoe,<br />
“Chemistry ;”’ Thorpe and Wilson, &c.<br />
<br />
Natural History.—Fulton’s “Book of the<br />
Pigeon” (an Hast-end Pet) ; Buffon, Buckland,<br />
Wood, White, and Figuier (translated).<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE * AUTHOR.<br />
<br />
Astronomy.—Ball, “ Story of the Heavens;”<br />
Proctor; Dunkin, “The Midnight Sky;”<br />
Lockyer, Brewster, and Herschel.<br />
<br />
The International Scientific Series and Science<br />
Primers.<br />
<br />
Electricity Jenkins, Angell, Poyser, Urba-<br />
nitsky, Thompson, Munro, Fergusson.<br />
<br />
Geology.—Geikie and Lyall.<br />
<br />
Physiography.— Huxley, Thornton, and Law-<br />
son,<br />
<br />
Botany.—Masters, Hooker, Thome, Carpenter,<br />
Coffin (Thome and Bennett most popular).<br />
<br />
Geography.—Reclus, Stanford, Cornwell, and<br />
Geikie.<br />
<br />
The pet subjects here are travel, topography,<br />
geography, history, biography, poetry, technical<br />
works, botany, electricity, chemistry, physics, and<br />
so on.<br />
<br />
Of course, more fiction is read than anything<br />
else; but a good deal of study goes on in the<br />
evening.<br />
<br />
Psychology and sociology have been taken up<br />
of late, and this is only a hasty list and by no<br />
means complete; but it may sutfice to show that<br />
the masses do sometimes read something better<br />
than fiction, though perhaps not as often as could<br />
be wished.<br />
<br />
M.S. R. James<br />
(Librarian).<br />
<br />
ect<br />
<br />
AMERICAN INDEPENDENCE.<br />
<br />
<br />
<br />
R. BRANDER MATTHEWS publishes,<br />
in the Cosmopolitan for July, a paper on<br />
the literary independence of the United<br />
<br />
States. That America has broken away from<br />
British traditions, British standards, and British<br />
methods, has long been patent to all of us, yet it<br />
is useful to be reminded how this came about.<br />
In Lowell’s “ Fable for Critics,’ for instance, the<br />
writer shows how strong was then the influence of<br />
the old country.<br />
<br />
I myself know two Byrons, one Coleridge, three Shelleys,<br />
<br />
Two Raphaels, six Titians, (I think) one Apellis,<br />
<br />
Leonardos and Rubenses plenty as lichens,<br />
<br />
One (but that one is plenty) American Dickens.<br />
<br />
A whole flock of Lambs, any number of Tennysons—<br />
<br />
In short if a man has the luck to have any sons,<br />
<br />
He may feel pretty certain that one out of twain,<br />
<br />
Will be some very great person over again.<br />
<br />
No one now would think of calling Mark Twain<br />
the American Dickens ; or James the American<br />
Thackeray. They have left off comparing them-<br />
selves with English writers—all, that is, except<br />
Mr. Howells, who is continually measuring him-<br />
self beside somebody on this side the water.<br />
<br />
<br />
<br />
<br />
<br />
137<br />
<br />
Next, Mr. Matthews states that many British<br />
authors used to believe that “ unbounded afilu-<br />
ence”’ would burst upon them when copyright was<br />
granted. Perhaps. Not those authors who take<br />
counsel with us. What he says is that inferior<br />
books are ceasing to be reprinted in America, and<br />
that the American has got his chance at last.<br />
And then he states that there has been a steady<br />
decrease in the American reprints of English<br />
books going on for thirty years. In the classifica-<br />
tion by which he proves this statement we<br />
need not follow him. Let us consent to his<br />
conclusion. It seems natural, without the<br />
trouble of consulting catalogues, that as the<br />
American nation advances in culture it should<br />
provide its own literature for itself; and as there<br />
are few who would now be so daring as to deny<br />
the best English culture to the best bred American,<br />
it is still more natural that America should<br />
endeavour to be sufficient for itself in matters of<br />
modern literature. Atthe same time, why does Mr.<br />
Brander Matthews always write in aspirit of hostile<br />
rivalry towards ourselves? ‘There is no necessity<br />
for any hostility atall. We have so much thatis<br />
common to Americans and English that a great<br />
writer will most certainly, and always, meet with<br />
an equally large clientéle on both sides the Atlantic.<br />
The same may be said of writers—dramatists,<br />
historians, poets, novelists, essayists—who are not<br />
great writers, yet possess the charm which makes<br />
them popular. There need be no fear that these<br />
authors will fail to find an audience wherever the<br />
common language is spoken. It is not, indeed, a<br />
duello between the American and the English<br />
author. The former is welcome here if he can<br />
compel a hearing. The latter will always be<br />
welcome there whether Mr. Matthews tries to<br />
silence him or not. The paper speaks of another<br />
point which is interesting and yet somewhat dis-<br />
heartening. It is of the popularity of the<br />
American magazine in this country. One sees it<br />
everywhere; it is beating a certain class of<br />
English magazine clean out of the field. But,it wi'l<br />
be said, such new papers as the Strand circulate by<br />
hundreds and thousands. That is quite true.<br />
But what circulation have , and 5 and:<br />
, &¢c., those most respectable old magazines ?<br />
Are they going down? It is reported that they<br />
are, and rapidly. Whatis thereason? There are<br />
many reasons. First, the matter of editing. It<br />
is understood that half-a-dozen men are wholly<br />
engaged in editing Harper. They give their<br />
whole time and all their thoughts to editing<br />
Harper. They are paid handsome salaries.<br />
What salaries are paid to the editors of , and<br />
, and , those above named most respect-<br />
able periodicals? How much time do the editors<br />
of those respectable magazines give to their work ?<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
138<br />
<br />
Then there is the delicate subject of pay for<br />
contributors. Writers who talk about pay must<br />
expect to be called tradesmen. Nevertheless, the<br />
poet—A pollo himself—if he had a MS., for which<br />
one publisher offered a thousand pounds and<br />
another ten pounds, would give it to the former.<br />
This is exactly the case with the American and<br />
the English editors. Consequently, the best<br />
things are fast flowing to the former. There<br />
exists at this office a list of prices paid to con-<br />
tributors by nearly all the leading magazines<br />
and periodicals of the country. It is an instruc-<br />
tive and a surprising list. It includes such items<br />
as a cheque for two guineas — actually, two<br />
guineas !—for an excellent story filling several<br />
pages in what is generally considered to be a first-<br />
class magazine. Another so-called first-class<br />
magazine pays at the rate of ten shillings a page.<br />
Another once sent a well-known writer one guinea<br />
—it seems incredible, but it is true—one guinea!<br />
for a paper of six pages—and so on.<br />
<br />
S20<br />
<br />
THE EXPERIENCES OF A SHY WOMAN.<br />
<br />
<br />
<br />
HERE are some women who walk into an<br />
editorial office with as little concern as if<br />
<br />
they were entering the boudoir of a<br />
bosom friend. To them there is no pausing on<br />
the threshold of the outside door, no sinking of<br />
heart, no wild desire to turn and flee, and beg<br />
their bread from door to door, rather than face<br />
the quiet gentlemanly man inside. To such<br />
women life is easy, and passing through the<br />
waters thereof they use it as a well, while their<br />
less fortunate sisters flounder and sink in the<br />
torrent. I am not one of those happy women.<br />
Had I been afflicted with heart disease, I should<br />
have been long ago picked up. dead outside the<br />
glass door leading int» the sanctum of one of the<br />
editors for whom I have the pleasure of working.<br />
There may be other women beside myself who<br />
know the sickening feeling of shyness, drawing<br />
the blood from their hearts, as they turn the<br />
handle of the editorial door; leaving their hearts<br />
only to rush back as the preliminary politenesses<br />
have been made, with such force, that the editor<br />
and his crowded table, the mantelpiece and the<br />
piles of books thereon, sway and swim around<br />
them as if they were in a heavy swell off the<br />
Nore. Those who have attempted it will be able<br />
to say if this condition is favourable to con-<br />
ducting one’s own business, and whether under<br />
the circumstances the editor may not be excused<br />
for placing his eyeglass in his eye and looking as<br />
if he thought, though he is too much of a gentle.<br />
<br />
THE AUTHOR.<br />
<br />
man to say it, that fools and women are closely<br />
allied. Yet this is one of the. minor evils to be<br />
endured by the would-be journalist, and,<br />
when I have made my confession of weak-<br />
ness, let others go and do as I have done<br />
before they judge me and condemn me, and<br />
thrust me out of their society, literary or<br />
otherwise. For months I had struggled on,<br />
making desperate efforts to gain a footing on the<br />
ladder of journalism. Article after article had<br />
been sent to this paper and that paper. I was<br />
supposed to be a successful beginner, and there<br />
was much that greatly encouraged me, but the<br />
greatest achievements were embittered by the<br />
little note, which in most cases accompanied the<br />
editorial letter—‘ the editor will be glad if Miss<br />
Smith will make it convenient to call at his office<br />
at such and such a time.” Then I knew that it<br />
was all over with me. I flatter myself I can be<br />
rather imposing in a letter, but those keen eyes,<br />
so accustomed to gauge character, read me<br />
through and through in a moment, and I was as<br />
dough in their hands, and, left their offices having<br />
agreed to terms that in my saner moments I<br />
should have looked upon as suicidal. -Never for<br />
one moment let it be thought that. I mean to<br />
accuse any editor of taking an unfair advantage<br />
of my helplessness. That is far from my<br />
thoughts. We are all partly fools and partly<br />
wise, and when only the fool part is apparent, it<br />
is natural that-one~ should “be judged as a fool.<br />
That is a condition of life. “Can I get no one<br />
to do my business: for me?” I cried in my<br />
despair, and Echo answed “No one.” I was<br />
recommended to a young lawyer, whose pro-<br />
fessional career did not occupy his entire time,<br />
and who was said to have some experience in<br />
literary matters. I was delighted with the<br />
prospect, but a further investigation showed me<br />
that his experience was not so successful as to<br />
lead me to imagine, that my pocket would be more<br />
benefitted than his own had been by his business<br />
arrangements, and with a sigh I gave up that<br />
idea. Wild ideas of being a literary agent<br />
myself passed through my mind. It was<br />
impossible to be an author and an agent at<br />
the same time, and the agent might be more<br />
succcessful than the author, but I compromised<br />
the matter by setting apart so many days during<br />
the month to act as my own agent. On these<br />
days I may almost say I camped out in the Strand.<br />
When I had written several times about any<br />
article to any given office, I boldly went to that<br />
office and sent up my card. Then, trembling and<br />
shaking, I went up to the editor’s office. “Iam<br />
extremely sorry you should have had to write<br />
again about your article (to which, again, out of<br />
the many, was the allusion made?) I think I<br />
<br />
<br />
<br />
<br />
<br />
<br />
wee ee ee re ee Ne ee ey ee ee eh LAL<br />
<br />
+<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
PE AUTHOR.<br />
<br />
have it here, and if you will sit down I will<br />
just look through it again. Thank you.” This<br />
latter remark being made as I occupied the<br />
leather chair placed at my disposal. Iwas grate-<br />
ful for the respite from further conversation while<br />
one pile of manuscripts after another were being<br />
skimmed through, and my composure was gained<br />
by the time that the third and fourth drawers in<br />
the editorial table were turned over. Sometimes<br />
an MS. arrested his attention, which from his look<br />
he had never imagined to have been there. Two or<br />
three were taken out and laid on his blotting pad<br />
with an air asif to say, “ well that is a surprise,”<br />
but my well-known writing came not forth. Time<br />
was going on, and the drawers were coming to an<br />
end, so I ventured to say that it might be lost, to<br />
my mind a very possible contingency. A look of<br />
extreme surprise and pain came over his face.<br />
Such a thing was not possible, and in a moment I<br />
felt what a low-minded woman I was to have<br />
thought such a thing. “My clerk shall look for<br />
it, and you shall have an answer to-morrow,”<br />
he said blandly. “I cannot think why it has<br />
been mmislaid—but without fail you shall hear<br />
to-morrow.” And so I left, having been there<br />
just an hour and a quarter, and went on my<br />
campaign. I did not hear the next day, nor<br />
on any other day, but I have not ventured<br />
to thmk, even in my own mind, that<br />
the article is lost—it is mislaid. Then on<br />
to another office to keep an appointment,<br />
and to hear that the editor has been suddenly<br />
called away, and could I come back in an hour's<br />
time? And in an hour’s time to be asked if I<br />
could wait, as, contrary to every expectation the<br />
editor had not returned, but had left his profuse<br />
apologies in case he should be late. And again I<br />
felt what a low-minded woman I was to let the<br />
thought enter into my head that he was down<br />
the river with friends, and the arrangements we<br />
were to have made respecting my articles were no<br />
more to him than the champagne corks that float,<br />
down the stream. So low one sinks, when one<br />
attempts to grapple with the arch-fiend business.<br />
And so on and so on, through tedious hours,<br />
always meeting with courtesy and kindness,<br />
always failing to make any progress in my<br />
business affairs, till my mind became so worried<br />
with such matters that all pleasure in writing<br />
departed, and with it the power of writing well.<br />
And then there was John. I have not mentioned<br />
John before, because he had nothing to do with<br />
my literary career—in fact, he was the opposition.<br />
He had long ago stated that he thought it quite<br />
wrong that a woman should toil and moil, as he<br />
called it, and bustle about with men ; let them<br />
write at home if they liked, but let them not<br />
enter into the arena of the literary world; and<br />
<br />
<br />
<br />
139<br />
<br />
much more to that effect, and when I said that<br />
beggars must not be choosers, he only replied<br />
that some people were beggars who needn’t be<br />
beggars, and some people had to beg—and a great<br />
deal more that would be quite out of place ina<br />
literary magazine, which is intended to help people<br />
who are far above such paltry things as John was<br />
thinking about. It was after one of these field<br />
days in the Strand, when the vanquished<br />
party had beaten a retreat, via Charing<br />
Cross and Pall Mall, and was sitting worn-out<br />
and heavy hearted before the fire that John<br />
came in. It was very weak of me, I know; I told<br />
him again and again that he could not be of the<br />
smallest help to me in arranging my business<br />
matters, to which he simply said “ Bother busi-<br />
ness.” Itoldhim I would never never marry if<br />
I could get some good trustworthy agent to go to<br />
see the editors for me, and look after my concerns,<br />
but at that time I knew of none, so what was I to<br />
do? I told him years ago I would think over<br />
the matter when I was a successful journalist, and<br />
that particular evening he was brutal enough to<br />
ask me to reconsider the subject before that date.<br />
The literary world may sneer or grieve over what<br />
they have lost, but let them know it is they who<br />
have driven me to this extreme, and, had I not<br />
been a shy woman, I should not have been writing<br />
quietly at home, and producing long MSS. that<br />
only John and I admire in secret.<br />
<br />
ee<br />
<br />
WOMEN IN JOURNALISM.<br />
<br />
<br />
<br />
DO not propose to deal seriatim with the<br />
points advanced by Miss Billington. There<br />
is not a single line in my article to justify the<br />
<br />
assumption that I condemn all journalism intended<br />
for women and written by women; and I was<br />
careful to point out (bearing in mind many well-<br />
known ladies with distinct literary gifts) that<br />
some of the higher branches of journalism were<br />
in the hands of women who had, however, as a<br />
rule, achieved a literary reputation elsewhere.<br />
This, however, does not in the least affect my<br />
theory that, on the whole, the influence of women<br />
in journalism is a deteriorating one. Miss Billing-<br />
ton, in reply, whilst evading the real issue, points<br />
out that the majority of lady journalists are not<br />
journalists at all; they have not got the “ abnor-<br />
mal faculty of observation,” ‘bright human<br />
sympathy and peculiar gifts” so happily and<br />
modestly possessed by some journalists, who are<br />
“born and not made.’ Now, meeting ber upon<br />
her own ground for a moment, what I say is:—<br />
Are you talking of the great journalists, the<br />
140<br />
<br />
Albany de Fonblanques, the Delanes, the Archi-<br />
bald Forbes, Harriet Martineaus, and so forth:<br />
or are you talking of the average descriptive<br />
reporter, who does weddings, interviews, reports,<br />
and the other matter which go to make up the<br />
greater portion of the ordinary newspaper?”<br />
In this latter case it appears to me (and<br />
I may here say that articles of mine appear<br />
in the St. James’s Gazette, Pall Mall Gazette,<br />
Strand Magazine, and other publications of<br />
equal literary merit to the Daily Graphic) that<br />
no special gift or qualification of any kind<br />
is required; and that any ordinarily intelligent<br />
woman, who has quickness, a fairish amount<br />
of observation, and some capacity for expres-<br />
sion,- could, after a little practice, adequately<br />
carry out this kind of journalism. With regard<br />
to the question whether journalism is a desirable<br />
occupation for women, it is one that purely<br />
depends on the point of view taken up; and,<br />
Miss Billington’s experiences being, as she admits,<br />
“‘ unique,” do not seem to me legitimate ground<br />
for any general deductions.<br />
<br />
A provincial journalist, whose philosophy I<br />
admire, asks, in a delightful leaderette, why on<br />
earth a journalist should care whether the wares<br />
sold by his master are good or bad? The<br />
grocer’s boy, he says, might just as reasonably<br />
weep over the adulterated sugar or marmalade<br />
his master sells. - It is simply an affair of supply<br />
and demand, and, if demand be for rubbish. the<br />
conscientious literary proletariat is bound to<br />
supply the public needs. The only qualms<br />
that trouble this genial gentleman are those<br />
which occur about rent day, when his salary has<br />
been forestalled and spent. Well, there is some-<br />
thing in this airy way of looking at affairs, and,<br />
so long as the wares be only rubbish, perhaps it<br />
doesn’t matter much; but even the grocer’s boy<br />
would not altogether like to see his master drop<br />
poison into the family marmalade.<br />
<br />
Mr. Andrew Lang seems rather to have missed<br />
my point. I never intended to imply that the<br />
young woman was a lady, quite the contrary ; nor,<br />
of course, did I suggest that the most susceptible<br />
of elderly editors would put a pretty girl on to<br />
writing leaders, or to any other important work.<br />
<br />
The writer “ F. L. 8.” whilst practically agree-<br />
ing with me, very rightly points out that women<br />
journalists are not alone to blame for the<br />
vulgarity and personalities of newspaper literature.<br />
Editors will fill their columns, and apparently<br />
there is so large a market for tittle tattle that the<br />
temptation to supply it is irresistible ; which, alas !<br />
only brings us back to the supply and demand<br />
theory. I am not quite in agreement with<br />
<br />
. “Grace Gilchrist’s”? assumption that the cleaner<br />
tone of modern newspapers is due to women<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
readers (by the way, in her last paragraph she<br />
brings a far graver indictment against her own<br />
sex than I did); I fancy it is a case of autre<br />
temps autres meurs, and that decent men would not<br />
tolerate the coarse wit of the eighteenth century<br />
to-day. On the whole, the matter is a difficult and<br />
complex one; and perhaps the best thing that<br />
each of us can do is to keep his own page as<br />
white and spotless as possible.<br />
AY. Ze<br />
<br />
spec<br />
<br />
CORRESPONDENCE.<br />
<br />
<br />
<br />
I.<br />
Lone Creprt.<br />
<br />
ANNOT anything be done to break down the<br />
long credit system in literature ? At present<br />
editors cram their drawers with accepted<br />
<br />
MSS. which they cannot use for years, and which<br />
they donot intend to pay for until after publication.<br />
To those authors who can afford to wait the delay<br />
may be no great hardship, but that is no reason<br />
why it should be forced upon them. Only a short<br />
time ago I was shown, at the office of a weekly<br />
newspaper, a serial story which would not be pub-<br />
lished for two years, and not one penny was to<br />
be paid for it until then. Would a doctor ora<br />
lawyer be expected to. wait for his money like<br />
this? But the real sufferers are those who must<br />
quickly turn their wares into money or starve.<br />
They are compelled to decline all offers involving<br />
the usual delay in payment—I could mention<br />
instances, if necessary—and must struggle on by<br />
means of chance openings, living from hand to<br />
mouth, until some substantial success enables<br />
them to join the fortunate few who can afford to<br />
<br />
"wait, or until they go down into the deep sea,<br />
<br />
with the many. Yet it seems to me that the<br />
matter is one which authors have very much in<br />
their own hands. I am told that one leading<br />
novelist always requires immediate payment for<br />
his work. Will not others do the same? Or, at<br />
least, when asked their terms, will not they name<br />
one sum for cash, and another, very much higher,<br />
for payment after publication ? If all would do<br />
this, the custom—already started in America—of<br />
paying for every MS. upon acceptance, would<br />
soon become general here.<br />
A MEMBER.<br />
<br />
<br />
<br />
I.<br />
<br />
Dors tHE HieHEer Literature Pay?<br />
<br />
Permit me one word more with reference to<br />
this question. Our Editor appears to think that<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
PHE AUTHOR.<br />
<br />
) if a man of scientific genius, and capable of<br />
f what I will still take leave to call the Higher<br />
i) Literature, saves himself from starvation by<br />
J. abandoning scientific work, itis of no consequence.<br />
() The only difference between us is, that I think it<br />
* of very great consequence, and of even more con-<br />
»- sequence to the commonwealth than to the<br />
“ individual; and I trust, therefore, that the<br />
‘. Author, and the Authors’ Society, may some day<br />
=) take up the advocacy of the endowment of<br />
ert. J. S. Srvart-GuLenniz.<br />
<br />
[Mr. Stuart-Glennie returns to the question of<br />
Je starving genius. It is not quite correct to say<br />
d} that the editor of this paper regards the failure<br />
«= and abandonment of a career as of no importance.<br />
/@ Such a thing is a tragedy of the deepest impor-<br />
*) tance. But what has happened with poetry,<br />
»= scientific research, and all the various depart-<br />
‘2 ments of science, letters, archeology, and the like,<br />
*) by which a man cannot live is, I apprehend, this:<br />
)) lt is now well known that a man cannot live by<br />
i practising certain arts, crafts and pursuits. No<br />
19 one, therefore, tries to live by them. Where is<br />
»— your starving poet? Where is your starving<br />
if numismatist’ Where is your starving physicist ?<br />
‘T They do not exist. Those who take up these lines<br />
»| begin by assuring for themselves the daily bread.<br />
‘T They are civil servants, professors, teachers,<br />
»| persons of private income, some of them in<br />
‘J business, some holding posts in museums, some<br />
i are librarians or secretaries. None are starving,<br />
»{ because none are so foolish as to try to live by<br />
7 what is, nevertheless, their only real and serious<br />
99 occupation.—Ep. |<br />
<br />
—— +<br />
<br />
TAT,<br />
‘“ PRAISED BUT REFUSED.”<br />
<br />
I have before me now a reader’s report from a<br />
7 very well-known, old-established firm, who<br />
‘{ principally publish children’s books. The MS. is<br />
f spoken of as “rather clever,’ “ charmingly<br />
’ “too satirical for children, but the<br />
parents would understand the satire,” ‘ very like<br />
Hans Anderson in style.”’ ‘ Rather clever,” may<br />
be “damning with faint praise,” but in my<br />
opinion there can be no higher praise than to be<br />
considered in style like Hans Christian Anderson,<br />
the prince of child storytellers. The MS. was<br />
returned with the reader’s opinion inclosed and<br />
no further comment. Before this I had taken<br />
the same story to a firm that has a world wide<br />
reputation; they “ knew my name and would ke<br />
delighted 1o publish anything” they said,<br />
because of it, I presume they meant. They<br />
returned it. ‘Very charmingly written,’ but<br />
<br />
<br />
<br />
‘ written,’<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
141<br />
<br />
“it would cost too much to produce, coloured<br />
illustrations were so expensive.” I had left them<br />
some illustrations, but had especially said I did<br />
not care if they used them or not.<br />
<br />
I kept my stcry some years and then sent it to<br />
a magazine. It was returned with “the story is<br />
very charming and graceful, Lut the editor fears<br />
it is scarcely suited.” It seems curious how<br />
everybody should think it ‘‘ charming” and yet<br />
not care to publish it.<br />
<br />
Another MS. I sent about, and finally lost ; a<br />
few years later, I had the pleasure of seeing a<br />
story with exactly the same characters and<br />
incidents in it, published and illustrated in a<br />
popular illustrated paper. No doubt it was a<br />
‘“mere coincidence,” but I should like to know<br />
what became of my story. I believe most<br />
authors could tell innumerable stories of this<br />
lind. As arule publishers Lave so many MSS.<br />
and so many reasons for taking or refusing an<br />
MS. that they evidently do not always abide by<br />
their reader’s opinion,<br />
<br />
J. Harn FRISwWELL.<br />
<br />
oe<br />
<br />
<br />
<br />
“AT THE AUTHOR'S HEAD.”<br />
<br />
\ | R. BERTRAM MITFORD’S new novel,<br />
“?Tween Snow and Fire,’ dealing with<br />
stirring times on the Kaffrarian border,<br />
<br />
will be published immediately by Mr. Heine-<br />
<br />
mann.<br />
<br />
“Wedderburn’s Will,” a detective story, by<br />
Thomas Cobb, author of “On Trust,” ‘The<br />
Westlakes,”’ &c., will be published early in<br />
October by Messrs. Ward, Lock, Bowden, and<br />
Co. “One Night’s Work ’”’: a serial story by the<br />
same writer will be shortly begun in Household<br />
Words.<br />
<br />
We understand that the committee of the<br />
Shelley Memorial Library and Museum are about<br />
to put forward a definite scheme as to the site of<br />
the proposed institution, cost of the building, and<br />
the sum required as an endowment fund. Itis<br />
thought that £3000 will suffice to give effect to<br />
the committee’s proposals. The honorary secre-<br />
taries, Mr. J. Stanley Little, Buck’s Green,<br />
Rudgwick, Sussex, and Mr. J. J. Robinson,<br />
Arundel, Sussex, appeal to men and women of<br />
letters for subscriptions. It may be mentioned<br />
that West Sussex has no library.<br />
<br />
Mr. J. Stanley Little contributes an article,<br />
entitled “To be or not to be: a Twentieth<br />
Century Problem,” to the August number of the<br />
Library Review. This article continues ‘and<br />
<br />
<br />
<br />
142<br />
<br />
elaborates the argument which formed the basis<br />
of Mr. Little’s paper in a recent number of<br />
Greater Britain.<br />
<br />
The first victory in the United States under<br />
the new international copyright has been scored<br />
by Messrs. D. Appletonand Co. Judge Lacombe,<br />
in the United States Circuit Court, on June 30,<br />
handed down a decision ina suit brought by that<br />
firm to restrain the American News Company<br />
from publishing and selling copies of Carlyle’s<br />
novel “ Wotton Reinfred.’’ A permanent injunc-<br />
tion is granted against the company, prohibiting<br />
them from handling the work, and also ordering<br />
them to pay to Messrs. Appleton all the profits<br />
they have derived from the sale.<br />
<br />
“The Sting of the Scorpion,” is the title of<br />
Mr. J. E. Muddock’s new historical novel, which<br />
will commence simultaneous publication in a<br />
large number of newspapers in October. The<br />
Author’s Syndicate have had the placing of the<br />
story.<br />
<br />
Mr. J. E. Muddock’s “ Maid Marian and Robin<br />
Hood: A Romance of Old Sherwood Forest,”<br />
the publication of which was withheld on account<br />
of the election, will be issued this month by<br />
Chatto and Windus. It will be embellished by<br />
twelve original drawings from the pencil of<br />
Stanley L. Wood.<br />
<br />
A new volume of essays by the late James<br />
Hain Friswell, author of “The Gentle Life,”<br />
“The Better Self,’ &c., will shortly be issued.<br />
The essays have been edited and revised by the<br />
author’s daughter, and will be published by<br />
Messrs. Hutchinson and Co., of Paternoster-<br />
square,<br />
<br />
Dick Donovan, the well-known writer of detec-<br />
tive stories, is attracting a large number of new<br />
readers to the ever popular Strand Magazine to<br />
which he will contribute up to the end of the<br />
year, when he will commence a new serial for Mr.<br />
Newnes’ Million. His last story which appears<br />
in the August number of the Strand under the<br />
telling title of ‘‘The Great Cat’s Hye,” is one of<br />
the most powerful things of its kind that we<br />
have ever read.<br />
<br />
A series of ten original sketches from Dick<br />
Donovan’s pen for simultaneous appearance next<br />
<br />
year will be published through the Author’s<br />
Syndicate.<br />
<br />
: Mr. Hume Nisbet’s next novel which bears the<br />
title of “The Divers: a Romance of Oceania,”<br />
is published by A. and C. Black. It is astory of<br />
savage lifeand adventure. ‘ Where Art Begins”<br />
<br />
by the same author is promised by Messrs. Chatto<br />
and Windus by September.<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Walter Besant’s “ London,” which has been<br />
held over by Messrs. Chatto and Windus, will be<br />
published in September.<br />
<br />
“In Love,” astory of Scotch country life, by<br />
I. K. Ritchie, has been published by Mr. Eliott<br />
Stock.<br />
<br />
Messrs. J. Baker and Sons, of Clifton, have<br />
published “ Lyrical Studies,’ by Marcus 8. ©.<br />
Rickards.<br />
<br />
A new work by Mr. J. E. Gore, F.R.A.S.;<br />
entitled ‘‘The Visible Universe: Chapters on the<br />
Origin and Construction of the Heavens,” is in<br />
the press, and will shortly be published by Messrs;<br />
Crosby Lockwood and Son. The work deals<br />
with the Nebular Hypothesis, the Meteoritie<br />
Hypothesis, and other theories which have been<br />
advanced to account for the origin and construe-<br />
tion of the solar and sidereal systems. The<br />
volume will be illustrated with nebular and stellar ~<br />
photographs and other drawings.<br />
<br />
eS<br />
<br />
NEW BOOKS AND NEW EDITIONS.<br />
<br />
<br />
<br />
Theology.<br />
<br />
James, Montaaur R. The Testamentof Abraham. With<br />
an appendix by W.E. Barnes, B.D. At the Cambridge<br />
University Press. Clay and Sons. 5s. ‘<br />
<br />
Len, J. Cameron, D.D. Life and Conduct. Edinburgh:<br />
A. and C. Black. Paper covers, 6d. net.<br />
<br />
Newman, John H. Oxford University Sermons (1826-<br />
1843). New edition. Longmans. 3s. 6d.<br />
<br />
Newman, Jown H. Sermons Preached on various Occa-<br />
sions. New edition. Longmans. 3s. 6d.<br />
<br />
Roprnson, J. Armrrace. Texts and Studies; contribu-<br />
tion to Biblical and patristic literature. Edited by.<br />
Vol. Il., No. 2. Clay and Sons.<br />
<br />
Wittrams, Rev. C. E., D.D. Morning and Evening Devo-<br />
tions, for the use of Preparatory Schools. Compiled<br />
and composed by the. Fifth Edition. Henry Frowde.<br />
Cloth, 6d.; morocco, Is. 6d.<br />
<br />
History and Biography.<br />
<br />
Cavz-Brown, J., M.A. The History of Boxley Parish,<br />
including an account of the Wiat family and of the<br />
trial on Penenden Heath in 1076. With illustrations.<br />
Printed for the author by E. J. Dickinson, High-street,<br />
Maidstone.<br />
<br />
Conyprare, Rev. W. J.; Howson, Very Rev. J.S. The<br />
Life and Epistles of St. Paul. New Edition. Long-<br />
mans. 3s. 6d.<br />
<br />
Fiurmr, A., Ph.D. Archwological Survey of India, the<br />
Monuments, Antiquities, and Inscriptions in the North-<br />
Western Provinces and Oudh, described and arranged<br />
by. Archeological Survey. W. H. Allen.<br />
<br />
HIsTORICAL SKETCHES OF OUR PRODUCTIVE SocIETIES.<br />
Co-operative Printing Society, Manchester. Paper<br />
covers.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
Lives of the English Poets:<br />
<br />
«6 Jounson, Samuet, LL.D.<br />
Cassell’s National Library.<br />
<br />
Addison, Savage, Swift.<br />
Cloth, 6d.<br />
<br />
4. Lecxy, W.E.H. A History of Ireland in the Eighteenth<br />
Century. New edition. Vol.I. Longmans. 6s.<br />
<br />
‘« Lez-Ruzs, W. The Life and Times of Sir George Grey,<br />
K.C.B. Two vols. Hutchinson. 32s.<br />
<br />
ei, LircHFIELD, FREDERICK. Illustrated History of Furniture,<br />
from the Earliest to the Present Time. With Ilustra-<br />
<br />
tions. Truslove and Shirley, Oxford-street. 25s. net.<br />
‘0. Lown, Cuarues. Prince Bismarck: an_ historical<br />
biography. A new and revised edition. William<br />
<br />
Heinemann. 6s.<br />
<br />
4) Macxarness, Rzy. C.C. Memorials of the Episcopate of<br />
John Fielder Mackarness, D.D., Bishop of Oxford from<br />
1870 to 1888. James Parker and Company, Oxford<br />
and London.<br />
<br />
ay New Hovuszt or Commons, July, 1892, THE, with<br />
Biographical Notices of its Members. Reprinted from<br />
the Times. Macmillan; and the Times office. Paper<br />
covers. Is.<br />
<br />
oy Nicuot, Joun, LL.D. Thomas Carlyle. ‘“ English Men<br />
of Letters” Series. Macmillan. 2s. 6d.<br />
<br />
10° Porn, Rev. G. U., D.D. Longman’s School History of<br />
India. Longmans. 2s. 6d.<br />
<br />
10) RoosEVELT, BuancHE. Victorien Sardou: a Personal<br />
Study. With portrait of M. Sardon, and Preface by W.<br />
Beatty-Kingston. Kegan Paul.<br />
<br />
mi Tuurston, Rev. Herbert. The Pallium. No. IV. of<br />
“Historical Papers.” Edited by the Rev. John Morris,<br />
S.J., 18, West-square, §8.E. Paper covers.<br />
<br />
0% Worssam, W. Samvurn, C.E. The History of the Band-<br />
Saw. Emmott and Co., Manchester. Paper covers,<br />
Is. Od.<br />
<br />
General Literature.<br />
<br />
"i? AuTENBURG, Winn. The Kursaal Maloja in the Upper<br />
Engadine and its Environs. With plans, illustrations,<br />
and map. Art Institut, Orell Fiissli, Zurich. rf.<br />
<br />
v2 ANNUAL Report oF THE SANITARY COMMISSIONER WITH<br />
THE GOVERNMENT OF INDIA, 1890, with appendices<br />
and returns of sickness and mortality among European<br />
troops, native troops, and prisoners in India for the<br />
year. Office of the Superintendent of Government<br />
printing, Caleutta. 5 rupees.<br />
<br />
242 Anson, Sin Wm. R. The Law and Custom of the Consti-<br />
<br />
tution. Parti. Parliament. Second edition. Oxford,<br />
at the Clarendon Press; London, Henry Frowde,<br />
128. 6d.<br />
<br />
af AruipaE, J.T. The Hygiene, Diseases, and Mortality of<br />
Occupations. Percival. 21s. net.<br />
<br />
vf Avetina, F. W. The Classic Birthday Book. Kegan<br />
Paul.<br />
<br />
tak Barpexrer, K. The Rhine, from Rotterdam to Constance.<br />
Handbook for travellers. Twelfth revised edition.<br />
Dulau and Co., Soho-square.<br />
<br />
Ae Barrett, C. R. B. Round Southwold. Lawrence and<br />
<br />
: Bullen. Paper covers. 6d.<br />
<br />
6h Barton, A.C. W. The Quinquennial Proceedings of Two<br />
<br />
: Administrations, 1881 to 1891. Strand. 6d.<br />
<br />
Carnation Manvan, Tue. Edited and issued by the<br />
<br />
National Carnation and Picotee Society (Southern<br />
<br />
Section). Cassell. 3s. 6d.<br />
<br />
a CHIGNELL. RopEert. London Charities (unendowed). A<br />
series of articles contributed to the Statist by. Cassell.<br />
Paper covers, 18.<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
143<br />
<br />
CHINA: ImpPERIAL MARITIME CusToms.. RETURNS OF<br />
TRADE AND TRADE ReEporTS FoR 1891. Part 2.<br />
Reports and statistics for each port. P.S. King and<br />
Co., Canada-buildings, King-street, Westminster.<br />
5 dollars.<br />
<br />
Conpeck, J. A. Letters from Mandalay. A Series of<br />
Letters written in 1878-79 and 1885-88. Edited by<br />
G. H. Colbeck, formerly Mission Priest of Mandelay.<br />
A. W. Lowe, Knaresborough. 2s. gd. net.<br />
<br />
Darsy, JosEPpH. Day Visions and Clairvoyant Night<br />
Dreams, with facts on Somnambulism and Pre-vision.<br />
Simpkin Marshall. Paper covers, Is.<br />
<br />
Dixon, CHaruEs. The Migration of Birds ; an attempt to<br />
reduce Avian season-flight to law. Chapman and Hall.<br />
<br />
The Vosges Mountains. With illus-<br />
<br />
Art Institut Orell Fiissli, Zurich.<br />
<br />
EHRENBERG, FRITZ.<br />
trations and maps.<br />
of.<br />
<br />
Euuis, W. AsHTon. Wagner Sketches, 1849; A Vindica-<br />
<br />
tion. Kegan Paul. Paper covers.<br />
<br />
Garner, R. L. The Speech of Monkeys. William Heine-<br />
man. 7s. 6d.<br />
<br />
Griz, SiR ARCHIBALD. Geological Map of Scotlands<br />
<br />
With explanatory notes by John Bartholomew.<br />
<br />
Gipps, Wm. AtFrepD. Home Rule. A Tale for these<br />
Times. Popular edition. Paper covers. 6d.<br />
<br />
GLADSTONE, IRELAND, Rome: a Word of Warning to<br />
Electors. Reprinted with additions from the English<br />
Churchman. ‘Twentieth thousand. John Kensit,<br />
Paternoster-row. Paper covers, 6d. net.<br />
<br />
Grirrin, Sir Leren. Ranjit Singh, and the Sikh barrier<br />
between our growing Empire and Central Asia.<br />
(‘Rulers of India” series, edited by Sir W. W.<br />
<br />
Hunter). Oxford, Clarendon Press; London, Henry<br />
Frowde. 2s. 6d.<br />
Grimeis, A. Shooting and Salmon Fishing. Hints and<br />
<br />
Recollections. Illustrated. Chapman and Hall. 16s.<br />
<br />
Harriny, Caries. The English Elocutionist. A collec-<br />
tion of passages for recitation and reading aloud. O.<br />
Newmann and Co.<br />
<br />
Havinanp, ALFRED. The Geographical Distribution of<br />
Disease in Great Britain. Second edition, Swan<br />
Sonnenschein.<br />
<br />
Hawkes, JosepH Henry. A Liberal’s Appeal to Liberals<br />
for the Toleration of the Christian Morality and<br />
Religion in some of the Schools of the State. Kegan<br />
Paul. Paper covers, 1s. 6d.<br />
<br />
Herpart, J. Friepricu. The Science of Education.<br />
Translated from the German, with a biographical intro-<br />
duction, by Henry M. and Emmie Felkin, and a preface<br />
by Oscar Browning, M.A. With a portrait. Swan<br />
Sonnenschein.<br />
<br />
Hiaarys, Frank C. America Abroad: An annual hand-<br />
book for the American traveller. Summer season,<br />
1892. Forster Groom, Charing-Cross.<br />
<br />
Howarp. Lapy Constance. Everybody’s Dinner Book<br />
from one shiling to ten. Henry and Co. 3s. 6d.<br />
<br />
Houme-Witirams, W. E. The Irish Parliament from<br />
1782 to 1800. Cassell. Paper covers, Is.<br />
<br />
Issuns, 1892.—Jan. 1—June 30. A Reprint of the Prospec-<br />
tuses of Public Companies, &c., advertised in the<br />
Times. Price 10s. 6d. To be obtained at the Times<br />
City Office, Bartholomew-house, H.C.<br />
<br />
Jonus, H. Lewis; Lockwoop, C. B. Swin, Swale, and<br />
Swatchway ; or, Cruises down the Thames, the Med-<br />
way, and the Essex Rivers. Illustrated. Waterlow<br />
and Sons.<br />
<br />
<br />
<br />
<br />
<br />
<br />
144 THE<br />
<br />
Kempr, H.R. The Electrical Engineers’s Pocket Book of<br />
Modern Rules, Formule, Tables, and Data. Second<br />
edition, revised with additions and illustrations. Crosby<br />
Lockwood.<br />
<br />
Kurz, Louis. The Chain of Mont Blanc. ‘ Conway and<br />
Coolidge’s Climber’s Guide. Fisher Unwin. 10s.<br />
<br />
Lawson, Sir Cuaries. Where Warren Hastings rests.<br />
Being the July number of the Journal of Indian Art<br />
and Industry. Published under the patronage of<br />
the Government of India. Bernard Quaritch. Paper,<br />
2s.<br />
<br />
Lrnpury, Percy. Holidays in North Germany and Scan-<br />
dinavia. Edited by. 30, Fleet-street. 6d.<br />
<br />
MacDaraus, Joun. Who are the Disturbers of the Peace<br />
in Europe. Swan Sonnenschein. 28.<br />
<br />
Macxrntosu, W. R. Curious Incidents from the Ancient<br />
Records of Kirkwall (taken principally from the<br />
official records of the burgh). James Anderson,<br />
Kirkwall.<br />
<br />
New Hovse or. Commons, 1892, THE. “ Mems” about<br />
<br />
_ members, with over 500 portraits, electoral maps, and<br />
particulars of the polls. Pall Mall Gazette office.<br />
Paper covers. Is.<br />
<br />
Nor, Hon. E. International Time. A scheme ‘for har-<br />
monising the hour all the world round. With a<br />
folding diagram. Edward Stanford. Paper covers.<br />
Is.<br />
<br />
O’Brien, M.D. Socialism tested by Facts. Liberty and<br />
Property Defence League. Paper covers. 2s. 6d.<br />
PALGRAVE, REGINALD. The Chairman’s Handbook.<br />
Highth and Enlarged Edition, with additional chapters<br />
on the duties of chairmen of board and shareholders’<br />
<br />
<br />
<br />
<br />
meetings and the practice of committees. Sampson<br />
Low.<br />
<br />
Panarave, RB. H. Inauts. Dictionary of Political<br />
Economy. Edited by. Third part. Chamberlen-<br />
Conciliation Boards of. Macmillan. Paper covers.<br />
3s. 6d. net.<br />
<br />
Puart, James. Excelsior. Simpkin Marshall. 1s.<br />
<br />
Pouanp, Henry. Fur-bearing animals in nature and in<br />
commerce. Gurney and Jackson (successors to Mr.<br />
van Voorst), Paternoster-row.<br />
<br />
PROCEEDINGS OF THE Royan CoLontaL INSTITUTE.<br />
Edited by the Secretary. Vol. XXIII. 1891-92.<br />
Published at the Institute, Northumberland-Avenue,<br />
W.C.<br />
<br />
Raz-Brown, CAMPBELL. A Cockney in Kilts; or, the<br />
Highlands up to date. Morrison, Buchanan-street,<br />
Glasgow. Paper covers. Is.<br />
<br />
Resuyts or A CENSUS OF THE COLONY OF THE CAPE OF<br />
Goon Hops, as on the night of Sunday, April 5, 1891.<br />
Richards and Sons, Government Printers, Castle and<br />
Berg-streets, Cape Town.<br />
<br />
RicHarpson, Raupu. Pocket Guide to Melrose, Abbots-<br />
ford, &c., the Land of Scott, with maps and illustra-<br />
tions. John Bartholomew and Company, Edinburgh<br />
<br />
Geographical Institute. Paper covers. 6d.<br />
<br />
Roprinson, W. Garden Design and Architects’ Gardens.<br />
Two Reviews illustrated, to show by actual examples<br />
from British gardens that clipping and aligning<br />
trees to make them “harmonise” with architecture<br />
<br />
is barbarous, needless, and inartistic. John<br />
Murray.<br />
<br />
Ross’s ParnIAMENTARY Recorps of the Past Session.<br />
Alphabetically arranged. James Wade, Tavistock-<br />
<br />
street, Covent-garden.<br />
<br />
AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ScueLuina, Ferrx E.° Ben Jonson’s Timber; or Dis- —<br />
coveries made upon Men and Matter. Edited, with<br />
introduction and notes. Ginn and Co. Boston, and<br />
Edward Arnold. 4s.<br />
<br />
Smrep, Ernest B. Statistics and Notes on the General<br />
Election, 1892. Compiled by. Sussex Evening Times,<br />
Brighton. Paper Covers.<br />
<br />
SouTHALL, JoHN E. Wales and her Languages. Hicks,<br />
Amen Corner, H.C.<br />
<br />
Stronz, J. M. Faithful unto Death, an account of the<br />
sufferings of the English Franciscans during the 16th<br />
and 17th centuries, from contemporary records. With<br />
an appendix containing a short history of the Franciscan<br />
Convent (Third Order) at Taunton, Founded by Father<br />
Gennings in 1621, and a preface by the Rev. 8. J.<br />
Morris, 8.J. Kegan Paul.<br />
<br />
Srreet, Linran. Faith which Worketh by Love, and other<br />
sketches. J. Bigg, High Street, Barnes. Paper<br />
covers, Is.<br />
<br />
SUTHERLAND, W.<br />
their management and diseases.<br />
Nephews, Berkhampstead. Is.<br />
<br />
Usuer, J. E., M.D., F.R.G.S. Alcoholism and its Treat-<br />
ment. Ballitre, Tindall, and Cox. 3s. 6d.<br />
<br />
VoyAGES IN SEARCH OF THE NorTH-WesT PassaGE.<br />
from the collection of Richard Hakluyt. Cassell’s<br />
National Library. Cloth, 6d.<br />
<br />
Warp, James. The Principles of Ornament. Edited by<br />
George Aitchison, A.R.A., Professor of Architecture<br />
at the Royal Academy of Arts. Chapman and<br />
Hall. 6s.<br />
<br />
Warner, Harpine. Potato Culture, with an improved<br />
method of cultivation ; the disease, its cause and<br />
remedy. Simpkin, Marshall. Paper cover, Is.<br />
<br />
WexsTer’s RoyAt RED Boox—Nerw HovusE or Commons.<br />
<br />
July, 1892. A. Webster and Company, Piccadilly. 6d.<br />
WHAT WILL BE THE First GREAT Move In THE NEW<br />
PARLIAMENT, 1892? Cassel. Paper covers, 3d.<br />
“WHERE To Stay.” Guide to the best Hotels in the<br />
United Kingdom and Abroad. Arranged alphabetically.<br />
Third edition. Issued by the Gordon Hotels (Limited)<br />
Printed by Veale, Chifferiel, and Company.<br />
Witpr, Henry. On the Origin of Elementary Substances<br />
and on some New Relations of their Atomic Weights.<br />
Kegan Paul. Paper covers, 4s.<br />
Year Book or THE ImprRIAL InstiTUTH, THE. A<br />
statistical record of the resources and trade of th<br />
colonial and Indian possessions of the British Empire<br />
compiled chiefly from official sources. First issue<br />
John Murray and the offices of the Institute; South<br />
Kensington.<br />
<br />
Sheep Farming: a treatise on Sheep—<br />
W. Cooper and<br />
<br />
Fiction.<br />
Awan, St. AuByN. The Old Maid’s Sweetheart: A Pro<br />
Idyl. Chatto and Windus.<br />
Anrorp, ExmasetH. The Fair Maid of Taunton, a<br />
of the siege. Seeley and Co. Cheap edition. Pape<br />
covers, Is.<br />
A. M. The Wooing of Webster, and other stories. Vo<br />
of Wheeler’s Indian Railway Library. Walter Seo<br />
Paper covers. One rupee.<br />
Anstey, F. The Giant's Robe. New and revised editio<br />
Smith, Elder. 2s. 6d.<br />
Besant, Water. Verbena Camelia Stephanotis, an<br />
other stories. Containing “ The Doubts of Dives” an<br />
“The Demoniac.” Chatto and Windus. gs. 6d.<br />
<br />
<br />
ote<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
ByoRNSON BJORNSTJERNE. The Hermitage of the Kurts.<br />
A novel. Vol. X. of MHeinemann’s International<br />
Library. William Heinemann. Paper covers, 2s. 6d.;<br />
cloth, 3s. 6d.<br />
<br />
Buiack, Wiuu1AmM. The Maid of Killeena, and the Marriage<br />
of Moira Fergus. New and revised edition. Sampson<br />
Low. 2s. 6d.<br />
<br />
v8 BucHANAN, RoBERT. Come Live with Me and be my Love.<br />
William Heinemann. 5s.<br />
<br />
1 Cargny, Rosa Novucuerrz. But Men Must Work.<br />
Bentley.<br />
<br />
— CaRRUTHERS, ANNIE. A Left-handed Murder. Gale and<br />
Polden. Paper covers, Is.<br />
<br />
7) CiirForRD, Mr. W.K. Aunt Anne. Twovols. Bentley.<br />
<br />
=) Cromiz, Ropert. A Plunge into Space. Second edition,<br />
with a preface by Jules Verne. F. Warne.<br />
<br />
o@ Donovan, Dick. Wanted! a Detective’s Strange Adven-<br />
tures. Chatto and Windus.<br />
<br />
°@ Dovueatt, L. Beggars All: a Novel. Sixth edition.<br />
Longmans. 3s. 6d.<br />
<br />
a Enuicort, Grace. A Big Mistake. John Flack, High<br />
Holborn.<br />
<br />
72 Etmsiiz, THEopors. His Life’s Magnet. F.Warne. 6s.<br />
<br />
a Frrnivant, C. C. The Fascinating Miss Lamarche.<br />
Trischler and Co.<br />
<br />
of GouLp, Nat. (“ VeRAx”). Jockey Jack. George Rout-<br />
Routledge.<br />
<br />
‘4 Hawsuck GRANGE; or the Sporting Adventures of Thomas<br />
Scott, Esq. By the author of “Handley Cross,”<br />
“Sponge’s Sporting Tour,’ &c. The “Jorrocks”’<br />
edition. Bradbury, Agnew. 4s. 6d.<br />
<br />
ea Kerra, Lesuiz. In Spite of Herself. 3 vols. Bentley.<br />
<br />
‘1 MacEwen, Constancz. Mr. Horatio Mandeville’s Expe-<br />
riences; or, the Bachelor. Eden Remington. Paper<br />
covers, Is.<br />
<br />
‘0. Marryatt, Fiorence. The Nobler Sex. 3 vols. F.V.<br />
<br />
White.<br />
<br />
1M Meyrruermm, Maup. Onlya White Butterfly. Illustrated.<br />
Lang, Neil, and Co., Chancery-lane, W.C. 6d.<br />
<br />
wf Mitirr, Jonn. The Working Man’s Paradise. An Aus-<br />
tralian Labour Novel. Edwards, Dunlop and Co.,<br />
Sydney and London. 2s. 6d.<br />
<br />
<2 Paro in Fuuu. By the author of “ Love will find out the<br />
way,’ “The Family Story Teller.” William Stevens,<br />
Strand.<br />
<br />
11 Russevy, Dora. An Evil Reputation. Griffith Farran.<br />
38. 6d.<br />
<br />
2 Scorr, Sir Water. The Fair Maid of Perth. Copyright<br />
edition. A.andC. Black. Paper covers, 6d.<br />
<br />
OY Toustor, Count A. K. The Terrible Czar: A Romance of<br />
the Time of Ivan the Terrible. Translated by Captain<br />
H. Clare Filmore. Two volumes. Sampson Low.<br />
<br />
uf Turner, J. The Life History of a Crime. 41, Lullington-<br />
<br />
: road, Anerley. Paper covers, Is.<br />
- Waurorp, L. B. The One Good Guest. Longmans. 6s.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
| WARDEN, FLORENCE.<br />
<br />
A Shock to Society: a novel. F. V.<br />
White. Paper covers. 1s.<br />
<br />
| Warers,W.G. Dr.Campion’s Patients. Eden, Remington.<br />
<br />
House of the Wolf: a<br />
38. 6d.<br />
<br />
Srantey J. The<br />
New edition. Longmans.<br />
<br />
WEYMAN,<br />
romance.<br />
<br />
Poetry and the Drama.<br />
Buxtron-Forman, H. The Poetical Works of Percy Bysshe<br />
Shelley. Edited with a memoir. In five vols. Vol. II.<br />
Aldine edition. George Bell. 2s. 6d.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
145<br />
<br />
Pinrro, ARTHUR W. The Magistrate: A Farce in Three<br />
Acts. William Heinemann. Paper covers, 1s. 6d.;<br />
cloth, 2s. 6d.<br />
<br />
Sutin, J. R. The Shelley Birthday Book. Compiled by<br />
Griffith, Farran.<br />
<br />
Educational.<br />
<br />
Donat, Karu von. Studies in Applied Tactics. Guide<br />
for officers preparing for tactical examinations. No. 33.<br />
With map. William Clowes.<br />
<br />
GEE, Grorcr E. The Jeweller’s Assistant in the Art of<br />
Working in Gold. A practical treatise for masters<br />
and workmen, compiled from the experience of 30<br />
years’ workshop practice. Crosby Lockwood.<br />
<br />
Hovauton, Rev. W. Sketches of British Insects. A<br />
handbook for beginners in the study of Entomology.<br />
Illustrated. O. Newmann and Co.<br />
<br />
Huaues, Rey. M. J. A Guide to Preparation for Candi-<br />
dates for Holy Orders. Swan Sonnenschein. 2s.<br />
Maxey, Carront Lewis. Shakespeare’s Tragedy of<br />
Hamlet: A Study for Classes in English Literature.<br />
<br />
Ginn and Co., Boston, and Edward Arnold. 2s.<br />
<br />
Nixon, R.C. J. Elementary Plane Trigonometry, that is,<br />
Plane Trigonometry without Imaginaries. Oxford, at<br />
<br />
the Clarendon Press; London, Henry Froude. 7s. 6d.<br />
Science.<br />
ArriecK, JosErH, Jun. Affleck’s Popular Digest upon<br />
<br />
Income-tax; Returns and Repayments of Duties, with<br />
Examples of Accounts, &c. Second edition. Income<br />
Tax Agency, Tib-land, Manchester. Is.<br />
<br />
Craizs, W. F. A Treatise on the Construction and Effect<br />
of Statute Law, with appendices by Henry Hardcastle,<br />
of the Inner Temple. Second edition, revised and<br />
enlarged by Stevens and Haynes.<br />
<br />
Forses-Winstow, L. On Uncontrollable Drunkenness<br />
Considered as a Form of Mental Disorder. Second<br />
edition. Henderson and Spalding, Marylebone-lane.<br />
Paper covers, Is.<br />
<br />
Forster, CHARLES D. A Manual of the Law Relating to<br />
Small Agricultural Holdings, with the Small Holdings<br />
Act, 1892. Solicitor. Stevens and Sons, 2s. 6d.<br />
<br />
Griasspy, W. E. Commentaries on Equity Jurisprudence.<br />
By the Hon. Mr. Justice Story, LL.D., some time<br />
one of the Justices of the Supreme Court of the<br />
United States. Second English edition. Stevens and<br />
Haynes.<br />
<br />
Horstry, Vicror. The Structure and Functions of the<br />
Brain and Spinal Cord; being the Fullerian Lectures<br />
for 1891. With illustrations. Charles Griffin.<br />
10s. 6d.<br />
<br />
Macnamara, N.C. Asiatic Cholera.<br />
to July 18, 1892. Causes and Treatment.<br />
2s. Od.<br />
<br />
SERVANTS AND Masters: the Law of Disputes, Rights,<br />
and Remedies in plain language. By a Barrister.<br />
Horace Cox, Law Times office, Bream’s-buildings, H.C.<br />
18,<br />
<br />
History from 1781<br />
Macmillan.<br />
<br />
Parliamentary Papers.<br />
<br />
Papers relating to Uganda (14d.). Report of the Commis-<br />
sioners under the Universities (Scotland) Act, 1889, as<br />
to the Subscription of Tests by Principals, Professors,<br />
and other University officers in the Scottish Univer-<br />
|<br />
{<br />
f<br />
|<br />
|<br />
|<br />
<br />
<br />
<br />
<br />
146<br />
<br />
sities (6d.), also an Appendix to the report containing<br />
minutes of evidence, &c. (1s. 6d.). Report by Consul<br />
Parker on Annam (6d.). Foreign Office, Annual Series<br />
—Reports for 1891 on the Trade of the district of the<br />
Consulate-Gencral at Bushire (Persia) (2d.) ; of Tamsui<br />
(China) (1d.); of Dunkirk (1d.); of Port Said and<br />
Suez (1d.); of Chungking (1d.); of Nagasaki (id.); of<br />
Shanghai (2d.) ; of Jeddah (id.) ; of the Consular Dis-<br />
trict of Chicago (3d.); of the Kharput Vilayet (3d.) ;<br />
for the years 1889-91—of the Consulate-General at<br />
Constantinople (2d.). Further Reports on the Finances<br />
of the Argentine Republic (3d.). Reports on the<br />
financial, commercial, and industrial condition of<br />
Guatemala (3d.). Foreign Office, Miscellaneous<br />
Series — Reports on the New Danish Maritime<br />
Code (13d.); on Provisions of Industrial Popula-<br />
tion for Old Age in Russia (3d.) ; on the Shipping and<br />
Harbour Improvements at Rouen (7d.); on the New<br />
Swiss Regulations respecting Commercial Travellers<br />
(4d.). Thirty-eighth Report of the Postmaster-General<br />
on the Post Office (43d.). Thirty-ninth Report of the<br />
Department of Science and Art of the Committee of<br />
Council on Education (2s.). Return — East India<br />
—Behar Correspondence (1s. 74.) ; Alien Immigra-<br />
tion Return for July (}d.). Return as to Con-<br />
victions for Drunkenness in England and Wales<br />
during 1891 (id.). Return as to the National<br />
Debt (3d.). Return of Public Expenditure (Exchequer<br />
issues) Charges on Taxes (13d.). Public Accounts<br />
and Charges Act, 1891, Treasury Minute (id.).<br />
Secondary Education, Scotland. Report for 1892 on<br />
the Inspection of Higher Class Schools, and the Exam-<br />
ination for Leaving Certificates (1d.). Correspondence<br />
respecting Sir C. Euan-Smith’s Mission to Fez (6d.).<br />
Accounts relating to Trade and Navigation of the<br />
United Kingdom for July, 1892 (7d.). Statistical<br />
Abstract forthe principal and other Foreign Countries<br />
in each year from 1880 to 1889-90 (as far as the parti-<br />
culars can be stated). Highteenth number (1s. 3d.).<br />
Report from the Select Committee on the Salmon<br />
Fisheries (Ireland) Acts Amendment Bill (3s. 14d.).<br />
Report of the Committee appointed to inquire as to<br />
the best means of distributing the grants in aid of<br />
Secondary Education in Scotland ; Foreign Office,<br />
Miscellaneous Series, Reports on the social and econo-<br />
mical condition of the Canary Islands (3d.) and on the<br />
condition of Labour in Switzerland (6d.). Eyre and<br />
Spottiswoode. Department rf Science and Art, Direc-<br />
tory with regulations for establishing and conducting<br />
Science and Art Schools and Classes (6d.). Eyre and<br />
Spottiswoode. Minute of the Committee of the Council<br />
on Education in Scotland providing for the distribution of<br />
the sum available for Secondary Education under the<br />
Education and Local Taxation Account (Scotland) Act,<br />
1892. 36th Reportof the Commissioners of Her Majesty’s<br />
Customs on the Customs for year ended March 31,<br />
1892 (23d.). The Annual Local Taxation Returns,<br />
1890-91, Part I. (114d.). Local Taxation Licenses,<br />
1891-92, Return (1}d.). Public Income and Expenditure,<br />
Return from 1875-76 to 1891-92 (43¢.). Comparative<br />
Statement of Pauperism, England and Wales, June,<br />
1892 (2d.). Return of the Number of Persons who<br />
‘Voted as “Tlliterates” at Parliamentary Elections in<br />
the United Kingdom from April 9, 1891, to June 20,<br />
1892 (4d.). Foreign Office Annual Series: Reports for<br />
1891 on the Trade of Bulgaria (3d.) and of Canton,<br />
China (1d.) ; Further Report for 1888-91 on the Trade<br />
of Angola (3d.). Miscellaneous Series: Report on<br />
Public Works in the Consular District of Hankow<br />
4d.). Summary of the Evidence taken by the<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Netherlands State Commission appointed to examine —<br />
the question of Labour, Wages, &c., on Dutch Rail and<br />
Tram Ways (1d.). 36th Report of the Civil Service<br />
Commissioners with appendix (jd.). 53rd annual :<br />
report of the Deputy-Keeper of the Public Records<br />
(23d.). Further correspondence relating to Polynesian —<br />
Labour in the Colony of Queensland (3d.) Royal Com- —<br />
mission on Labour—Minutes of Evidence taken before —<br />
“Group A.” Vol. I. Mining (js. 104d.). Foreign —<br />
Office, Annual Series. Reports for 1891 on the Trade<br />
of Portugal (2d.); of New Caledonia (3d.); of the —<br />
the Consular District of Calais (2d.); of Rio Grande do<br />
Sul (5id.); of the Consular District of Philadelphia<br />
(2hd.); of the Consular District of Brindisi (2d.)<br />
of the District of the Consulate-General of<br />
New York (2d.); of the Consular District of<br />
San Francisco (3d.); of the District of the<br />
Consulate-General of Frankfort, with a review<br />
of German Commercial Policy (4d.); of Hiogo and”<br />
Osaka (13d.); of Yokohama (13d.); of Amsterdam<br />
(1d.); of Bangkok (3d.); of Corea (14d.); of Chieng-<br />
mai (1d.). Reports for 1891 on the Agriculture of —<br />
Denmark (3d.); and of the Consular District of San<br />
Francisco (13d.). Report by Mr. Clennell of an Over-<br />
land Journey from Amoy to Foochow and Back (9d.).<br />
Report by Consul Parker on Annam (6d.). Army<br />
Veterinary Department, Statistical and General Report<br />
for the year ending March 31, 1892; Foreign Office<br />
Annual Series: Portugal (Macao) for 1891 (4d.). Tunis<br />
for 1891 (134.). Treaty Series—No. 18, Arrangement<br />
between Great Britain, Spain, France, Switzerland, and<br />
Tunis for the Prevention of False Indications of Origin ©<br />
on Goods (}d.). No. 14, Protocol respecting the ex-<br />
penses of the International Office Industrial Property<br />
1d.). Report of the Committee on Colour Vision (9d.).<br />
Report of the Committee of Council on Education<br />
(England and Wales) (2id.). Return as to the Signal<br />
Arrangements and Systems of Working on the Railways<br />
of the United Kingdom (10d.). Education Department,<br />
North-Western Division, report for 1891 (2d.). 46th<br />
report of the Commissioners in Lunacy to the Lord<br />
Chancellor (1s. 73d.) Unfunded Debt Statement (3d.).<br />
Companies (Winding-up) Act 1890, account (3d).<br />
Business of the House (Days occupied by Government<br />
and by private members (1d.). Land Law (Ireland)<br />
Act 1887. Eviction notices filed during second quarter<br />
of this year (3d.). Return of Agrarian Outrages re-<br />
ported in Ireland during the same period (#d.)<br />
Adjournment Motions under Standing Order No. xyil.<br />
(d.). Report of Commissioner of Police of the Metro-<br />
polis for 1891 (53d.). Correspondence respecting the<br />
Persion Tobacco Concession (10d.). Return of the<br />
Cost, &c., of Preparing the various borough Lists of<br />
Parliamentary and County Council voters in the Metro-<br />
polis for 1890 (2d.). Evictions and Tenancies in Ireland<br />
determined in the quarter ended June 30 (#d.) Standing<br />
orders of the House of Commons; Public and Private<br />
Business (1s. 2$d.); Labour Commission ; Evidence<br />
before Group B.; Vol. I Docks, Wharves, and Shipping<br />
(5s. 9d.) Report of Solway White Fishery Commission<br />
(1jd.); minutes of Hividence and Appendices to the<br />
same (9d.) ; Irish Land Commission ; return of Judicial<br />
Rents Fixed During March and April, 1892 (9d.).<br />
Comparative statement of Pauperism (England and<br />
Wales) for May (14d.); Report on Prisons in Scotland ~<br />
for the year 1891-92 (10}d.) Cyprus, Report by the<br />
High Commissioner for 1889-90 and 1890-01 (2}d.)5—<br />
Report on Barbados for 1891 (1d.); Army Medi<br />
Department, Report for 1890 (1s, 4d.). Eyre and<br />
Spottiswoode.<br />
<br />
<br />
<br />
<br />
Rabe > a<br />
<br />
see<br />
tet<br />
<br />
“<br />
<br />
pire<br />
<br />
HA ot Re<br />
<br />
Asha<br />
<br />
ADVERTISEMENTS.<br />
<br />
147<br />
<br />
<br />
<br />
Che Sociefy of Authors (SBncorporafed).<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
Tue Rieut Hon. toe LORD TENNYSON, D.C.L.<br />
<br />
COUNCIL.<br />
<br />
Str Epwin ARNo.Lp, K.C.I.E., C.S.I.<br />
ALFRED AUSTIN.<br />
<br />
J. M. Barrie.<br />
<br />
A. W. A Becxkerr.<br />
<br />
RoBERT BATEMAN.<br />
<br />
Sim Henry Berane, K.C.M.G.<br />
WALTER BESANT.<br />
<br />
AUGUSTINE BIRRELL, M.P.<br />
<br />
R. D. BuackMoreE.<br />
<br />
Rev. Pror. Bonney, F.B.S.<br />
Lord BRABOURNE.<br />
<br />
James Brycez, M.P.<br />
<br />
Hatt CAINE.<br />
<br />
P. W. CLAYDEN.<br />
<br />
EDWARD CLODD.<br />
<br />
W. Morris Couuezs.<br />
<br />
Hon. JoHN COLLIER.<br />
<br />
W. Martin Conway.<br />
<br />
F. Marion CRAWFORD.<br />
<br />
Austin Dogson.<br />
A. W. Dupoure.<br />
<br />
EpMUND GossE.<br />
<br />
THomas Harpy.<br />
<br />
J. M. Lery.<br />
<br />
<br />
<br />
OswALD CRAWFURD, C.M.G.<br />
THe Earn or DESART.<br />
<br />
J. Eric EricHsEn, F.R.S.<br />
Pror. MicHart Fostsr, F.R.S8.<br />
HERBERT GARDNER, M.P.<br />
RIcHARD GARNETT, LL.D.<br />
<br />
H. RipER Hage@arp.<br />
<br />
JEROME K. JEROME.<br />
RupYARpD KIPLING.<br />
Pror. E. Ray LANKESTER, F.R.S.<br />
<br />
Rey. W. J. Lorrin, F.S.A.<br />
Pror. J. M. D. MEIKLEJOHN.<br />
GEORGE MEREDITH.<br />
Herman C. MERIVALE.<br />
<br />
Rev. C. H. MippLEeTon-WAKE. F.L.S.<br />
<br />
Lewis Morris.<br />
<br />
Pror. Max MULuzER.<br />
<br />
J. C. PARKINSON.<br />
<br />
Tur EArt or PEMBROKE AND Monrt-<br />
GOMERY.<br />
<br />
Sir FREDERICK PoLLocK, BArt., LL.D.<br />
<br />
WALTER HERRIES POLLOCK.<br />
<br />
A. G. Ross.<br />
<br />
GrorGEe AuGUSTUS SALA.<br />
<br />
W. BaptistEe Scoongs.<br />
<br />
G. R. Sms.<br />
<br />
J. J. STEVENSON.<br />
<br />
Jas. SULLY.<br />
<br />
WitiiAm Moy THomas.<br />
<br />
H. D. Traut, D.C.L.<br />
<br />
Baron HENRY DE Worms,<br />
E.R.S.<br />
<br />
EpMUND YATES.<br />
<br />
MP.,<br />
<br />
<br />
<br />
Hon. Counsel—E. M. UNDERDOWN, Q.C.<br />
<br />
Solicitors—Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br />
<br />
Secretary—C. Hurpert Turina, B.A.<br />
<br />
OFFICES.<br />
<br />
4, Portugan Street, Lincoun’s Inn Fietps, W.C.<br />
<br />
<br />
<br />
NOTICE TO THE PROFESSION.<br />
<br />
Ghe “ Standard”<br />
TYPE-WRITING OFFICE<br />
<br />
HAS REMOYED TO<br />
31, Douglas Terrace, Newcastle-on-Tyne.<br />
<br />
oe<br />
ALL KINDS OF MSS. COPIED WITH CARE BY<br />
EXPERT TYPISTS.<br />
WE GUARANTEE THE SAFE RETURN OF ALL MSS.<br />
STRICTLY CONFIDENTIAL. MODERATE RATES.<br />
WRITINGS PER Post RECEIVE EVERY ATTENTION.<br />
<br />
THE AUTHOR’S HAIRLESS PAPER-PAD.<br />
<br />
(Tue LzapennaLtL Press Lrp., B.C.)<br />
ee<br />
Contains hairless paper, over which the pen<br />
slips with perfect freedom.<br />
Sixpence each: 58. per dozen, ruled or plain.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Twenty-fourth Issue, Super-royal 8vo., price 15s., post free.<br />
<br />
ROCKFORD’S CLERICAL DIRECTORY 1892.<br />
Being a Statistical Book of Reference for facts relating to the<br />
Clergy in England, Wales, Scotland, Ireland, and the Colonies; with<br />
a fuller Index relating to Parishes and Beneflces than any ever yet<br />
given to the public.<br />
<br />
Horace Cox, Windsor House, Bream’s-buildings, E.C.<br />
<br />
<br />
<br />
A BOOK FOR MEMBERS AND CANDIDATES.<br />
<br />
Now ready, Third Edition, with Additions throughout, in demy 8vo.,<br />
700 pages, price 15s.<br />
<br />
AN ANECDOTAL HISTORY<br />
<br />
OF THE<br />
<br />
BRITISH PARLIAMENT,<br />
<br />
From the EARLIEST PERIODS to the PRESENT TIME.<br />
<br />
With Notices of Eminent Parliamentary Men, and Examplos of<br />
their Oratory. Compiled from Authentic Sources by<br />
<br />
GHORGEH HENRY JENNINGS.<br />
CONTENTS :<br />
<br />
Part I.—Rise and Progress of Parliamentary Institutions.<br />
<br />
Part Il.—Personal Anecdotes: Sir Thomas More to John Morley.<br />
<br />
Part I1L.—Miscellaneous. 1. Election. 2. Privilege; Exclusion of<br />
Strangers; Publication of Debates. 3. Parliamentary<br />
Usages, &c. 4. Varieties.<br />
<br />
APPENDIX.—(A) Lists of the Parliaments of England and of the<br />
United Kingdom. (B) Speakers of the House of<br />
Commons. (C) Prime Ministers, Lord Chancellors, and<br />
Secretaries of State from 1715 to 1892.<br />
<br />
OPINIONS OF THE PRESS OF THE PRESENT EDITION.<br />
<br />
‘The work, which has long beemheld in high repute as a repertory<br />
of good things, is more than ever rich in both instruction and amuse-<br />
ment.’’—Scotsman.<br />
<br />
“It is a treasury of useful fact and amusing anecdote, and in its<br />
latest form should have increased popularity.”—Globe.<br />
<br />
“Tt is a work that possesses both a practical and an historical<br />
value, and is altogether unique in character.”—Kentish Observer.<br />
<br />
‘* We can heartily recommend this work to the politician, whatever<br />
may be his party leanings.”—WNorthern Echo.<br />
<br />
ifg” Orders may now be sent to<br />
<br />
Tiorace Cox, ‘' Law Times” Office, Windsor House, Bream’s-<br />
buildings, E.C.<br />
<br />
<br />
148 ADVERTISEMENTS.<br />
<br />
<br />
<br />
It Makes Writing<br />
<br />
<br />
<br />
asy.<br />
<br />
<br />
<br />
Leave the Drudgery of the Pen—Soiled fingers, Blotted and Obscure Manuscript—to those<br />
Quick, up-to-date Writers use<br />
<br />
THE 1892 BAR-LOCK TYPE-WRITER.<br />
<br />
who prefer Darkness to Light.<br />
<br />
Gentlemen,<br />
<br />
WHY<br />
<br />
other Machine I have seen.<br />
<br />
Iam very much pleased indeed with the Bar-Lock. I greatly prefer it to an<br />
The alignment is perfect, the working easy, and the inestimabl<br />
advantage of being able all the time to see what you are writing and what you have alread<br />
<br />
. GR ANT ALLEN | written makes it, out and away, the best instrument for a literary man. Though I hay<br />
|<br />
<br />
The Nook, Dorking,<br />
May 18th, 1892.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
| | sal learnt for a week, I find I can already write quite as much in a day as I used to di<br />
with my own right hand before it was disabled by writer’s cramp.<br />
I need hardly say, after this, I am going to keep the Machine, and enclose cheque,<br />
<br />
USES IT.<br />
<br />
Full Informaticn Free.<br />
<br />
MESDAMES BRETT & BOWSER,<br />
<br />
TYPISTS,<br />
SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br />
<br />
Authors’ MSS. carefully and expeditiously copied, 1s. per<br />
1000 words. Extra carbon copies half price. References<br />
kindly permitted to Augustine Birrell, Esq., M.P.<br />
<br />
MIss RR. V. GILL,<br />
TYPE-WRITING OFFICES,<br />
<br />
6, Adam-street, Strand, W.C.<br />
ee<br />
Authors’ and dramatists’ Work a Speciality. All kinds<br />
<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 />
FURTHER PARTICULARS ON APPLICATION.<br />
<br />
Beware of the Party offering Imitations of Macniven<br />
and Cameron’s Pens.<br />
<br />
THE FLYING “J” PEN.<br />
MAD Ba eee<br />
<br />
EE<br />
baad ha ia y<br />
<br />
Writes over 150 words with one dip. ‘Seems «ndowed w'th the<br />
magician’s art.’’ Soli everywhere, 6d. and 1s. per box.<br />
¢> Sample box, with all the kinds, 1s. 1d. by Post.<br />
<br />
MAGNIVEN & CAMERON, WaverLey Works, EDINBURGH,<br />
<br />
<br />
<br />
HE AUTHORS’ AGENCY. Established 1879. Proprictor, Mr. A. M. BURGHE<br />
<br />
1, Paternoster Row. ‘The interests of Authors capably represented. Proposed agreements and estima’<br />
examined on behalf of Authors. MS. placed with Publishers. . Transfers carefully conducted. Twenty-five y:<br />
practical experience in all kinds of publishing and book producing. Consultation free. Terms and testimonials :<br />
leading Authors on application to Mr. A. M. Burghes, Authors’ Agent, 1, Paternoster-row.<br />
<br />
Machines sent on Free Trial.<br />
<br />
THE TYPE-WRITER COMPANY LIMITED,<br />
<br />
12 & 14, Queen Victoria-street, London, E.C.; 22, Renfield-street, Glasgow ; 35, Charles-street, Bradford.<br />
Local Agents in all Districts.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Yours very faithfully,<br />
GRANT ALLEN,<br />
<br />
MRS. GiLeg,<br />
TYPH-WRITING OFFICE,<br />
35, LUDGATE HILL, E.C.<br />
(ESTABLISHED 1883.)<br />
<br />
Authors’ MSS. carefully copied from Is. pe<br />
1000 words. Plays, &c., 1s. 3d. per 1000 word<br />
Reference kindly permitted to Walter Besant, Esq<br />
<br />
Miss PATTEAEN,<br />
TYPIST,<br />
<br />
44, Oakley Street Flats, Chelsea, S.W.<br />
<br />
AutHors’ MSS. CAREFULLY TRANSCRIBED. REFERENC!<br />
<br />
KINDLY PERMITTED TO GEORGE AUGUSTUS SALA, EsqQ.<br />
<br />
FWire-Resisting Safe for MSS.<br />
Particulars on Application,<br />
<br />
Stickphast<br />
<br />
PASTE<br />
for joining papers and sticking in scraps:<br />
Sixpence and One Shilling, with strong useful brus!<br />
<br />
TO AUTHORS.<br />
<br />
The skilled revision, the honest and competent criticis<br />
<br />
and the offering of MSS. in the American market, are<br />
<br />
specialities of the New York Bureau of Revisio<br />
<br />
Established 1880. Endorsed by George W. Curtis, J.<br />
<br />
Lowell, and many authors.—20 W., Fourteenth-sti<br />
New York.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, H.C. | https://historysoa.com/files/original/5/442/1892-09-01-The-Author-3-4.pdf | publications, The Author |