446 | https://historysoa.com/items/show/446 | The Author, Vol. 03 Issue 08 (January 1893) | <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+08+%28January+1893%29"><em>The Author</em>, Vol. 03 Issue 08 (January 1893)</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> | 1893-01-02-The-Author-3-8 | | | | | 265–304 | | | | | | | | | | | | | | | | | | <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=1893-01-02">1893-01-02</a> | | | | | | | 8 | | | 18930102 | The HMutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Vou. III.—No. 8.] JANUARY 2, 1803. [Prick SIXPENCE.<br />
<br />
<br />
<br />
CONTENTS.<br />
<br />
<br />
<br />
PAGE | PAGE<br />
) Warnings ae tie .. 267 | Notes and News. By the Editor... = ake oe ene wow 284<br />
| How to Use the Society = ies Pee ee =e aoe cre | Ethics of Criticism ... oe ee Bee see ies ae «se 288<br />
# The Authors’ Syndicate... ae eS Ce oe es .. 268 | Authors, Publishers, and Reviewers... ee a es wes 288<br />
| Notices... ee 269 | Correspondence—<br />
The Annual Meeting— | 2 Bs 970 | 1.—An Omnium Gatherum for the New Year... 0 « se. 290<br />
a aaa Retiring Chairman... —... wee eee ee SIO 2.—Religious Firms Pee ok Re er eee OD<br />
‘ y era | 3.—Seale Pay... ae o. ee vse ay ee ae |<br />
1.—Canadian Copyright a aa ae = me + 275 | 3 mhe Reotistical Amateur ... vas 591<br />
2.—Contributors’ Remuneration... 0. ss eve ve 276 EP Opipiahers’ Aereanianita, LL 292<br />
3.—Magazines and Copyright Pee eke ere ene oe a | 6.—The Public Criticism of Books... 9.1 sve ewe, te 292<br />
= v. eget ee au 7.—A Literary Scholarship ... 00 4. se sue aus, ane 298<br />
Sia Sve ot se on Se sre 978 | een ere ieee a ove eo Ps a<br />
ee Oe<br />
§8.—American Copyright in New Editions... a & cae 11.—The Magazines : a t) 295<br />
- By fh Bo Woveton. 3:5 se eas bee ge ame ti opie a i aon<br />
“Very Inaccurate and Very Unreliable.” By S.S. Sprigge ... 279 | ae : Be Bae ore ec<br />
Mee @ethor” and the “Bookseller”... ... ss wwe wee 280 | At the Sign of the Sulliors ROMs Sas Ciceeh ey wan aes soe 295<br />
A Rejected Author ... ae ws Be ss Ps nee sc. 28) New Books and New Editions... ore Son oe os see 296<br />
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<br />
<br />
PUBLICATIONS OF THE SOCIETY.<br />
<br />
<br />
<br />
<br />
<br />
1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br />
<br />
4<br />
§ 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members.<br />
<br />
The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br />
the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br />
<br />
Literature and the Pension List. By W. Morris Coxtns, Barrister-at-Law. (Henry Glaisher,<br />
95, Strand, W.C.) 35.<br />
<br />
The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br />
the Society. Is.<br />
<br />
The Cost of Production. In this work specimens are given of the most important forms of type,<br />
size of page, &c., with estimates showing what it costs to produce the more common kinds of<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
The Various Methods of Publication. By S. Squire Spricas. In this work, compiled from the<br />
papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br />
‘Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 33s.<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 />
containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br />
and Spottiswoode. 15. 6d.<br />
<br />
<br />
<br />
<br />
266<br />
<br />
ADVERTISEMENTS.<br />
<br />
<br />
<br />
The Society of Authors (Sncorporated),<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
GHEORGHE MEREDITH.<br />
<br />
COUNCIL.<br />
<br />
Str Epwin Arnoxp, K.C.LE., C.S.I.<br />
ALFRED AUSTIN.<br />
<br />
J. M. BaRRIE.<br />
<br />
A. W. A Becxetr.<br />
<br />
RoBERT BATEMAN.<br />
<br />
Sir Henry Berene, K.C.M.G.<br />
WALTER BESANT.<br />
<br />
AUGUSTINE BIRRELL, M.P.<br />
<br />
R. D. BLacKMORE.<br />
<br />
Rev. Pror. Bonney, F.RB.S.<br />
Lord BRABOURNE.<br />
<br />
JameEs Bryce, M.P.<br />
<br />
Hatt CAINE.<br />
<br />
P. W. CLAYDEN.<br />
<br />
EDWARD CLODD.<br />
<br />
W. Morris Couues.<br />
<br />
Hon. JoHN COLLIER.<br />
<br />
W. Martin Conway.<br />
<br />
F. Marion CRAWFORD.<br />
<br />
Austin Dogson.<br />
A. W. DusBoure.<br />
<br />
EpmuND GossE.<br />
<br />
Tuomas Harpy.<br />
<br />
J. M. Lery.<br />
<br />
<br />
<br />
OswALD CRAWFURD, C.M.G.<br />
THE EARL oF DESART.<br />
<br />
J. Eric Ericusen, F.R.S.<br />
Pror. MicHart Foster, F.R.S.<br />
HERBERT GARDNER, M.P.<br />
RicHARD GARNETT, LL.D.<br />
<br />
H. Riper HaGe@arp.<br />
<br />
JEROME K. JEROME.<br />
RupDYARD Kipuina.<br />
Pror. E. Ray LANKESTER, F.RB.S.<br />
<br />
Rev. W. J. Lorriz,’F.S.A.<br />
<br />
Pror. J. M.D. MEIKLEJOHN.<br />
HerRMAN C. MERIVALE.<br />
<br />
Rev. C. H. MippLeTon-WAKE F.L.S.<br />
<br />
Lewis Morpzis.<br />
<br />
Pror. Max MULLER.<br />
<br />
J.C. PARKINSON.<br />
<br />
THE EaRu oF PEMBROKE AND Mont-<br />
GOMERY.<br />
<br />
Sir FREDERICK PoLLock, Bart., LL.D,<br />
<br />
WALTER HeRRIES POLLOCK.<br />
<br />
A. G. Ross.<br />
<br />
Gzorase Auaustus SALA.<br />
<br />
W. Baptiste Scoonss.<br />
<br />
G. R. Sims.<br />
<br />
S. Squire SPRIGGE.<br />
<br />
J. J. STEVENSON.<br />
<br />
Jas. SULLY.<br />
<br />
Witiiam Moy Tomas.<br />
<br />
H. D. Trarit, D.C.L.<br />
<br />
Baron HENRY DE Worms,<br />
F.R.S.<br />
<br />
EpMuND YATES.<br />
<br />
MP.<br />
<br />
<br />
<br />
Hon. Counsel—E. M. UNDERDOWN, Q.C.<br />
Solicitors—Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br />
Secretary—C. HerBert THRING, B.A.<br />
<br />
OFFICES.<br />
<br />
4, PortugaL Street, Lincoun’s Inn Freups, W.C.<br />
<br />
Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br />
<br />
AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br />
<br />
From the Earliest Periods to the Present Time.<br />
WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br />
<br />
CoMPILED FROM AUTHENTIC SOURCES BY<br />
<br />
GHORGE<br />
<br />
BEN RY JBINNiWN Ge.<br />
<br />
CONTENTS.<br />
<br />
Part I.—Riseand Progress of Parliamentary Institutions.<br />
<br />
Part II.—Personal Anecdotes: Sir Thomas More to John<br />
Morley.<br />
<br />
Parr III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br />
clusion of Strangers; Publication of Debates.<br />
83. Parliamentary Usages, &c. 4. Varieties.<br />
<br />
Apprnprx.—(A) Lists of the Parliaments of England and<br />
of the United Kingdom.<br />
(B) Speakers of the House of Commons.<br />
(C) Prime Ministers, Lord Chancellors, and<br />
Secretaries of State from 1715 to<br />
1892.<br />
<br />
<br />
<br />
Opinions of the Press of the Present Edition.<br />
<br />
‘“‘ The work, which has long been held in high repute as a repertory<br />
of good things, is more than ever rich in doth 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 />
‘‘Its advantage to those who are seeking seats in Parliament, or<br />
who may have occasion to assist as speakers during the electoral<br />
eampaign, is incomparable.”—Sala’s Journal.<br />
<br />
<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 />
‘“Here we have the whole company of Parliamentary celebrities,<br />
past and present, reduced to puppets, so to speak, and made to<br />
repeat their best and most approved rhetorical performances for our<br />
leisurely entertainment, which is not less enjoyable from being allied<br />
with edification.” —Liverpool Courier.<br />
<br />
<br />
<br />
“ Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br />
<br />
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The #utbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED<br />
<br />
BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Vor. IIL.—No. 8.]<br />
<br />
JANUARY 2, 1893.<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 />
responstble. :<br />
<br />
<br />
<br />
HE Secretary begs to give notice that all<br />
remittances are acknowledged by return of<br />
post, and requests that all members not<br />
<br />
receiving an answer to important communications<br />
within two days will write to him without delay.<br />
During the last six months a number of letters<br />
have not been delivered at the Society’s office, and,<br />
as one robbery at least has been proved to have<br />
been committed, it is reasonab’e to suppose that<br />
the letters have been stopped in the hope of<br />
stealing uncrossed cheques. All remittances<br />
should be crossed Union Bank of London,<br />
Chancery-lane, or be sent by registered letter<br />
only.<br />
<br />
<br />
<br />
ol<br />
<br />
WARNINGS.<br />
<br />
<br />
<br />
<br />
<br />
Sramp your AGREEMENTS.—Readers are most<br />
URGENTLY warned not to neglect stamping their<br />
agreements immediately after signature. If this<br />
precaution is neglected for two 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 />
The author may be assured that the other party<br />
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 />
all the agreements of members stamped for them<br />
at no expense to themselves except the cost of the<br />
stamp.<br />
<br />
————<br />
<br />
AsScERTAIN WHAT A PROPOSED AGREEMENT<br />
GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br />
Remember that an arrangement as to a joint<br />
<br />
VOL, Ill.<br />
<br />
venture in any other kind of business whatever<br />
would be instantly refused should either party<br />
refuse to show the books or to let it be known<br />
what share he reserved for himself.<br />
<br />
——<br />
<br />
Lirerary Acents.—Be very careful. You<br />
cannot be too careful as to the person whom you<br />
appoint as your agent. You place your property<br />
almost unreservedly in his hands. Your only<br />
safety is in consulting the Society, or some friend<br />
who has had personal experience of the agent.<br />
<br />
Sa<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’ work upon thedangers to which literary<br />
property is exposed :—<br />
<br />
(1.) Never sign any agreement of which the<br />
alleged cost of production forms an<br />
integral part, until you have proved the<br />
figures.<br />
<br />
(2.) Never enter into any correspondence with<br />
publishers, especially with those who<br />
advertise for MSS., who are not recom-<br />
mended by experienced friends or by this<br />
Society.<br />
<br />
(3.) Never, on any account whatever, bind<br />
yourself down for future work to any-<br />
one.<br />
<br />
(4.) Nuver 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, has been refused by<br />
respectable houses, pay others, whatever<br />
<br />
x 2<br />
<br />
<br />
268<br />
<br />
promises they may put forward, for the<br />
production of the work.<br />
<br />
(7.) Never sign away foreign, which include<br />
American, rights. Keep them by special<br />
clause. 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.) Never forget that publishing is a busi-<br />
ness, like any other business, totally un-<br />
connected with philanthropy, charity, or<br />
pure love of literature. You have to do<br />
with business men. Be yourself a<br />
business man.<br />
<br />
Society’s Offices :-—<br />
4, Portugat Street, Linconn’s Inn FIevps.<br />
<br />
ee<br />
HOW TO USE THE SOCIETY.<br />
<br />
1. Every member has a right to advice upon<br />
his agreements, his choice of a publisher, or any<br />
dispute arising in the conduct of his business or<br />
the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the<br />
Society’s solicitors. If the case is such that<br />
counsel’s opinion is desirable, the Committee will<br />
obtain for him counsel’s opinion. All this with-<br />
out any cost to the member.<br />
<br />
2. Remember that questions connected with<br />
copyright and publishers’ agreements are not<br />
generally within the experience of ordinary<br />
solicitors. Therefore, do not scruple to use the<br />
Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
<br />
3. 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 />
THE AUTHOR.<br />
<br />
4. 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 />
5. Before signing any agreement whatever,<br />
send the proposed form to the Society for<br />
examination.<br />
<br />
6. 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 />
7. Remember always that in belonging to the<br />
Society you are fighting the battles of other<br />
writers, even if you are reaping no benefit to<br />
yourself, and that you are advancing the best<br />
interests of literature in promoting the inde-<br />
pendence of the writer.<br />
<br />
8. Send to the Editor of the Author notes of<br />
everything important to literature that you may<br />
hear or meet with.<br />
<br />
ec<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
R. Colles desires to inform readers of the<br />
<br />
N Author—<br />
<br />
1. That the Authors’ Syndicate is now in a<br />
position to take charge in whole or in part<br />
of the business of members of the Society.<br />
With, when necessary, the assistance of<br />
the advisers of the Society, it will conclude<br />
agreements, collect royalties, examine and<br />
pass accounts, and, generally, relieve mem-<br />
bers of the trouble of managing business<br />
details. All accounts opened between<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 the<br />
charges are reduced to the lowest possible<br />
amount compatible with efficiency. Mean-<br />
while members will please accept this<br />
intimation that they are not entitled to<br />
the services of the Syndicate gratis, and<br />
when desirous of seeing Mr. Colles, they<br />
must write for an appointment.<br />
<br />
3. That he undertakes to work for none but<br />
members of the Society.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<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 />
There is an Honorary Advisory Committee,<br />
whose services will be called upon in any case of<br />
dispute or difficulty. It is perhaps necessary to<br />
state that the members of the Advisory<br />
Committee have no pecuniary interest whatever<br />
in the Syndicate.<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.<br />
<br />
NOTICES.<br />
<br />
———— ><br />
<br />
HE Editor of the Author begs to remind<br />
members 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.<br />
Perhaps this reminder may be of use. With<br />
850 members, besides the outside circulation of<br />
the paper, the Author ought to prove a source<br />
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 />
269<br />
<br />
Communications for the Author should reach<br />
the editor not later than the 21st of each month.<br />
<br />
Ss<br />
<br />
All persons engaged in literary work of any<br />
kind, whether members of the Society or not,<br />
are invited to communicate to the Editor any<br />
points connected with their work which it would<br />
be advisable in the general interest to publish.<br />
<br />
<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 />
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 />
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 5f<br />
sending out a reminder.<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 ?<br />
<br />
se<br />
<br />
Those who possess the “Cost of Production”<br />
are requested to note that the cost of binding“has<br />
advanced 15 per cent. This means, for those who<br />
do not like the trouble of ‘‘doimg sums,” the<br />
addition of three shillings in the pound on this<br />
head. In other words, if the cost of binding is<br />
set down in our book at eight pounds, to this must<br />
now be added twenty-four shillings more, so that<br />
it now stands at £9 4s. The figures in our book<br />
are as near the exact truth as can be procured:<br />
but a printer’s, or a binder’s, bill is so elastic a<br />
thing that nothing more exact can be arrived at.<br />
<br />
<br />
THE<br />
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270<br />
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Some remarks have been made upon the amount<br />
charged in the “Cost of Production’”’ for<br />
advertising. Ofcourse, we have not included any<br />
suins which may be charged for inserting adver-<br />
tisements in the publisher’s own magazines, or in<br />
other magazines by exchange. As agreements<br />
too often go, there is nothing to prevent the<br />
publisher from sweeping the whole profits of a<br />
book into his own pocket, by inserting any<br />
number of advertisements in his own magazines,<br />
and by exchanging with others. Some there are<br />
who call this a form of fraud: it is not known<br />
what those who practise this method of swelling<br />
their own profits call it.<br />
<br />
secs<br />
<br />
THE ANNUAL MEETING.<br />
<br />
HE annual meeting of the Society was held<br />
aL on Thursday, Dec. 15th, in the hall of the<br />
Medical Association, Hanover-square.<br />
The chair was taken by Sir Frederick Pollock.<br />
The business of the meeting was formal except<br />
that an address was read by the retiring chairman<br />
on the history and progress of the Society since<br />
its foundation in the autumn of 1883.<br />
This address will be placed in the hands of<br />
every member of the Society. In these columns<br />
we need only quote passages.<br />
<br />
LireRARY PROPERTY,<br />
<br />
“ Now let us interrupt our history for a moment<br />
to say a word about literary property and its<br />
bearing upon the higher interests of literature.<br />
You have all observed, during the last few years,<br />
when we have been active in this direction, the<br />
constant stream of abuse, detraction, and wilful<br />
misrepresentation of our work that has been<br />
poured upon us continually. Chiefly we have<br />
been reviled for daring to ask what our own pro-<br />
perty means. This abuse shows, first, the<br />
hostility of those who desire to conceal and hush<br />
up the truth as regards the buying and selling<br />
of books. That is a matter of course: such<br />
hostility was to be expected, and, with all the<br />
misrepresentations that can be devised and<br />
invented, must be taken as part of the day’s<br />
work. It has been, as you perha;s know, a good<br />
part of my day’s work, during the last five years,<br />
to silence this opposition. I am happy to think<br />
that every such misrepresentation published in a<br />
newspaper or in a magazine has only resulted in<br />
an accession of new members and in an increase<br />
in public confidence. But, in addition to the<br />
opposition of interested persons, we have had to<br />
encounter a very unexpected and remarkable<br />
<br />
AUTHOR.<br />
<br />
opposition from those who ought to be our friends<br />
—certain authors and certain journalists. Into<br />
the history and motives and reason of this<br />
opposition I should like with your permission to<br />
inquire.<br />
<br />
“There has existed for a hundred and fifty<br />
years at least, and there still lingers among us, a<br />
feeling that it is unworthy the dignity of letters<br />
to take any account at all of the commercial or<br />
pecuniary side. No one, you will please to<br />
remark, has ever thought of reproaching the<br />
barrister, the solicitor, the physician, the surgeon,<br />
the painter, the sculptor, the actor, the singer,<br />
the musician, the composer, the architect, the<br />
chemist, the physicist, the engineer, the pro-<br />
fessor, the teacher, the clergyman, or any other<br />
kind of brain worker that one can mention, with<br />
taking fees or salaries or money for his work;<br />
nor does anyone reproach these men with looking<br />
after their fees and getting rich if they can.<br />
Nor does anyone suggest that to consider the<br />
subject of payment very carefully—to take<br />
ordinary precautions against dishonesty—brings<br />
discredit on anyone who does so; nor does any-<br />
one call that barrister unworthy of the Bar who<br />
expects large fees in proportion to his name<br />
and his ability; nor does anyone call that<br />
painter a tradesman whose price advances with<br />
his reputation. I beg you to consider this<br />
poit very carefully. For the moment any<br />
author begins to make practical investigation<br />
into the value—the monetary value—of the work<br />
which he puts upon the market—a hundred<br />
voices arise, from those of his own craft as well<br />
as from those who live by administering his pro-<br />
perty—voices which cry out upon the sordidness,<br />
the meanness, the degradation of turning lite-<br />
rature into a trade. We hear, I say, this kind<br />
of talk from our own ranks—though, one must<br />
own, chiefly from those who never had an oppor-<br />
tunity of discovermg what literary property<br />
means. Does, I ask, this cry mean anything at<br />
all? Well: first of all, it manifestly means a<br />
confusion of ideas. There are two values of<br />
literary work—distinct, separate; not commen-<br />
surable—they cannot be measured—they cannot<br />
be considered together. The one is the literary<br />
value of a work—its artistic, poetic, dramatic<br />
value; its value of accuracy, of construction, of<br />
presentation, of novelty, of style, of magnetism.<br />
On that value is based the real position of every<br />
writer in his own generation, and the estimate of<br />
him, should he survive, for generations to follow.<br />
Ido not greatly blame those who cry out upon<br />
the connection of literature with trade: they are<br />
jealous, and rightly jealous, for the honour of<br />
letiers. We will acknowledge so much. But<br />
the confusion lies in not understanding that every<br />
<br />
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<br />
THE AUTHOR.<br />
<br />
man who takes money for whatever he makes or<br />
does may be regarded—not offensively—as a<br />
tradesman ; that the making of a thing need have<br />
nothing whatever to do with the price it will<br />
command; and that this price in the case of a<br />
book cannot be measured by the literary or artistic<br />
value.<br />
<br />
“Tn other words, while an artist is at work<br />
upon a poem, a drama, or a romance, this aspect<br />
of his work, and this alone, is in his mind, other-<br />
wise his work would be naught.<br />
<br />
“ But, once finished and ready for production,<br />
then comes in the other value—the commercial<br />
value, which is a distinct thing. Here the artist<br />
ceases and the man of business begins. Hither<br />
the man of business begins at this point or the<br />
next steps of that artist infallibly bring him to<br />
disaster, or at least the partial loss of that com-<br />
mercial value. Remember that any man who<br />
has to sell a thing must make himself acquainted<br />
with its value, or he will be—what? Call it<br />
what you please—over-reached, deluded, cheated.<br />
That is a recognised rule in every other kind of<br />
business. Let us do our best to make it recog-<br />
nised in our own.<br />
<br />
“ Apart from this confusion of ideas between<br />
literary and commercial value, there is another<br />
and a secondary reason for this feeling. For<br />
two hundred years, at least, contempt of every<br />
kind has been poured upon the literary hack, who<br />
is, poor wretch, the unsuccessful author. Why?<br />
We do not pour contempt upon the unsuccessful<br />
painter who has to make the pot boil with pic-<br />
tures at 15s. each. Clive Newcome came down<br />
to that, and a very pitiful, tearful scene it is—full<br />
of pity and of tears. If he had beena literary<br />
hack, where would have been the pity and the<br />
tears? In my experience at the Society, I have<br />
come across many most pitiful cases, where the<br />
man who has failed must lead a life which is one<br />
long tragedy cf grinding, miserable, nnderpaid<br />
work, with no hope and no relief possible. One<br />
long tragedy of endurance and hardship. I am<br />
not accusing anyone ; I call no names ; very likely<br />
such a man gets all he deserves; his are the poor<br />
wages of incompetence; his is the servitude of<br />
the lowest work ; his is the contumely of hopeless<br />
poverty; his is the derision of the critic. But<br />
we laugh at such a wretch, and call him a literary<br />
hack. Why, I ask, whenwe pity the unsuccessful<br />
in every other line, do we laugh at and despise<br />
the unsuccessful author ¥<br />
<br />
“ Once more, this contempt—treal or pretended<br />
—for money. What does it mean? Sir Walter<br />
Scott did not despise the income which he made<br />
by his books; nor did Byron; nor did Dickens,<br />
Thackeray, George Eliot, Charles Reade, Wilkie<br />
Collins, Macaulay—nor, in fact, any single man<br />
<br />
271<br />
<br />
or woman in the history of letters who has ever<br />
succeeded. This pretended contempt, then, does<br />
it belong to those who have not succeeded? It<br />
is sometimes assumed by them; more often one<br />
finds it in articles written for certain papers by<br />
sentimental ladies whoare not authors. Wherever<br />
it is found, it is always lingering somewhere—<br />
always we come upon this feelmg, ridiculous,<br />
senseless, and baseless—that it is beneath the<br />
dignity of an author to manage his business<br />
matters as a man of business should, with the<br />
same regard for equity in his agreement, the<br />
same resolution to know what is meant by both<br />
sides of an agreement, and the same jealousy as<br />
to assigning the administration of his property.<br />
“Again, how did the contempt arise? It<br />
came to us as a heritage of the last century. In<br />
the course of our investigations into the history<br />
of literary property—the result of which will,<br />
I hope, appear some day in volume form—I<br />
recently caused a research to be made into the<br />
business side of literature in the last century.<br />
Publishers were not then men of education and<br />
knowledge, as many of them are at the present<br />
moment; they were not advised by scholars, men<br />
of taste and intuition; the market, compared<br />
with that of the present day, was inconceivably<br />
small; there were great risks due to all these<br />
causes. The practice, therefore, was, in view of<br />
these risks, to pay the author so much for his<br />
book right out, and to expect a successful book to<br />
balance, and more than balance, one that was<br />
unsuccessful. Therefore they bought the books<br />
they published at the lowest price they could<br />
persuade the author to accept. Therefore—the<br />
conclusion follows like the next line in Euclid—<br />
the author began to appear to the popular imagi-<br />
nation as a suppliant, standing hat in hand<br />
beseeching the generosity of the bookseller.<br />
Physician and barrister stood upright, taking the<br />
recognised fee. The author bent a humble back,<br />
holding his hat in one humble hand, while he held<br />
out the other humble hand for as many guineas as<br />
he could get. That, I say, was the popular view<br />
of the author. And it still lmgers among us.<br />
There are also, in other callings, if we think of it,<br />
other professional contempts. Everybody ac-<br />
knowledges that teaching is a noble work, but<br />
everybody formerly despised the schoolmaster<br />
because he was always flogging boys—no imagi-<br />
nation can regard with honour and envy the man<br />
who is all day long caning and flogging. The<br />
law is a noble study, but everybody formerly<br />
despised the attorney, with whom the barrister<br />
would neither shake hands nor sit at table.<br />
Medicine is a noble study, but the surgeon was<br />
formerly despised because in former days he was<br />
closely connected with the barber. Do not let us<br />
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THE<br />
<br />
272<br />
<br />
be surprised, therefore, if the author who had<br />
to take whatever was given him came to be<br />
regarded as a poor helpless suppliant.<br />
<br />
“The kind of language even now sometimes<br />
used illustrates a lingering of the old feeling.<br />
We constantly read here and there of the<br />
generosity of a publisher. My friends, let us<br />
henceforth resolve to insist that we do not want<br />
their generosity ; that we will not have it; that<br />
we are not beggars and suppliants, and that what<br />
we want is the administration of our own pro-<br />
perty—or its purchase—on fair, just, and honour-<br />
able terms. Let us remember that the so-called<br />
generosity must be either a dole—an alms—over<br />
and above his just claim, in which case it degrades<br />
the author to take it and robs the publisher who<br />
gives it; or it is a payment under the just value,<br />
when it degrades the publisher who gives, while<br />
it robs the author who takes it.”<br />
<br />
ImpRoVEMENT IN PusiisHinc Mernops.<br />
<br />
“T am now quite certain, and I advance the<br />
statement with great satisfaction, that very con-<br />
siderable improvement has taken place of late in<br />
respect to these methods: solely—mind—in con-<br />
sequence of the action of the Society. We have<br />
brought no criminal action against anyone. This<br />
fact is due less to our own wishes than to the<br />
extreme unwillingness of the victims to prosecute.<br />
Better, however, than any criminal prosecution<br />
has been the publication of the facts. These have<br />
awakened a certain amount of public opinion upon<br />
the subject: they have made authors suspicious—<br />
now suspicion is itself a power; and unscrupulous<br />
persons dread nothing so much as publicity of<br />
their methods. Moreover, the Society, it is<br />
known, has been large:y instrumental in keeping<br />
authors out of bad hands. The greatest encourage-<br />
ment to virtue is to make its culture and practice<br />
profitable. As regards one house guilty of many<br />
corrupt things, we were so “abundantly blessed”<br />
that in two or three years, as has been told me by<br />
our secretary, we were able to keep some thousands<br />
of pounds’ worth of work out of their hands. And<br />
as regards another house, which proposes to those<br />
who go there a form of agreement that is a<br />
mockery of the human understanding, our<br />
secretary only a few weeks ago kept away three<br />
victims in one week, This method of carrying<br />
on war these people do not like, and the wider<br />
the publicity we give tu their practices; the<br />
greater the suspicion we awaken ; the more they<br />
find their cdientéle diminish ; the more honest they<br />
become. Our weapons, indeed, are more certain<br />
than any court of law—that can punish ; we can<br />
prevent. There are other considerations that<br />
make strongly for us. For instance, when a man<br />
has reached a certain social level, he no longer<br />
<br />
AUTHOR.<br />
<br />
likes to do things which may be detected and<br />
exposed, though he might have gone on doing<br />
them so long as there was no danger of their<br />
being exposed. And, again, there are things—<br />
fraudulent things—which get introduced bit by<br />
bit, and become gradually reconciled to the<br />
conscience until they are assumed to be right<br />
and proper—the true interpretation of an agree.<br />
ment—the custom of the trade—and so forth—<br />
when these things are set forth in their true light,<br />
and exposed and held up to view for the public<br />
derision, and it is perceived that they can no<br />
longer be defended—then all those men who<br />
respect themselves and desire the public respect<br />
make haste to abandon these practices. In this<br />
way, and without going into court more than<br />
once or twice, though in a great many instances<br />
an action has been proposed as an alternative, we<br />
have succeeded, not only in procuring substantial<br />
justice in. many cases for our clients, but we have<br />
also done a great deal to put a stop to the former<br />
prevalent abuses.<br />
<br />
‘Another point in our favour has been the<br />
extreme moderation of our demands. We have<br />
claimed, in fact, so far, only three points: (1)<br />
that we must have the right of audit; (2) that<br />
in any agreement based on ro alties we must<br />
know what the agreement gives to either side;<br />
and (3) that there must be no secret profits, which<br />
are fraudulent. Imagine, if you can, two men in<br />
the City venturing on a joint enterprise, and one<br />
of the partners—the managing partner—refusing<br />
these conditions! You cannot imagine such a<br />
thing. It is impossible to imagine such a thing.<br />
Such a man would be stamped, at once, as one<br />
who intended to overreach and cheat his partner.”<br />
<br />
Extent oF Literary Property.<br />
<br />
“We have also made a careful and prolonged<br />
inquiry into the very difficult subject of the<br />
present nature and extent of literary property.<br />
By the passing of the American International<br />
Copyright Act a writer of importance now ad-<br />
dresses an audience drawn from a _ hundred<br />
million of English-speaking people. Remember<br />
that never before in the history ot the world has<br />
there been such an audience. Taere were doubt-<br />
less more than a hnndred millions under the<br />
Roman rule round the shores of the Mediter-<br />
ranean, but they spoke many different languages.<br />
We have now this enormous multitude, all, with<br />
very few exceptions, able to read, and all reading.<br />
Twenty years ago they read the weekly paper;<br />
there are many who still read nothing more. Now<br />
that no longer satisfies the majority. Every day<br />
makes it plainer and clearer that we have arrived<br />
at a time when the whole of this multitude, which<br />
in fifty years time will be two hundred millions,<br />
<br />
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THE<br />
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will be reading books. What kind of books? All<br />
kinds, good and bad, but mostly good ; they will<br />
prefer good books to bad. Even now the direct<br />
road to popularity is by dramatic strength, clear<br />
vision, clear dialogue—and this, whether a man<br />
write a play, a poem, a history, or a novel. We<br />
see such a magazine as the Strand suddenly<br />
achieving a circulation reckoned by hundreds of<br />
thousands while our old magazines creep along<br />
with a circulation of—what? Two thousand ?—<br />
Five thousand? Ten thousand? How is this<br />
popularity achieved? By pandering to the low,<br />
gross, coarse taste commonly attributed to the<br />
multitude? Not at all. But by giving them<br />
dramatic work—stories which hold and interest<br />
them—essays which speak clearly—work that<br />
somehow seems to have a message. If we want<br />
a formula or golden rule for arriving at popu-<br />
larity, I should propose this. ‘Let the work<br />
havea message. Let it havea thing to say, a story<br />
to tell, a Man or Woman to present, a lesson to<br />
deliver, clear, strong, unmistakable.’<br />
<br />
“The demand for reading, then, is enormous,<br />
and it increases every day. I see plainly—as<br />
plainly as eyes can see—a time—it is even now<br />
already upon us—when the popular writer—the<br />
novelist—the poet, the dramatist, the historian,<br />
the physicist, the essayist—will command such an<br />
audience—so vast an audience—as he has never<br />
yet even conceived as possible. Such a writer as<br />
Dickens, if he were living now, would command an<br />
audience—-all of whom would buy his works—of<br />
twenty millions at least. The world has never<br />
yet witnessed such a popularity—so wide spread<br />
<br />
—as awaits the successor of Dickens in the<br />
affections of the English-speaking races. This<br />
<br />
consideration must surely encourage us to perse-<br />
vere in our endeavours after the independence of<br />
our calling! And do not think that this enormous<br />
demand is for fiction alone. One of the things<br />
charged upon us is that we exist for novelists<br />
alone. That is because literary property is not yet<br />
understood atall. As a fact educational literature<br />
is a much larger branch than fiction. But for<br />
science, history—everything—except, perhaps<br />
poetry—the demand is leaping forward year after<br />
year In a most surprising manner. Now, im order<br />
to meet this enormous demand, which has actually<br />
begun and will increase more and more—a claim<br />
which we alone can meet and satisfy—I say that<br />
we must demand and that we must have a read-<br />
justment of the old machinery—a reconsideration<br />
of the old methods—a new appeal to principles of<br />
equity and fair play.’’<br />
<br />
<br />
<br />
WHAT HAS BEEN DONE.<br />
“To sum up, we have reduced our Copyright<br />
Law from chaos to order; we have investigated<br />
VOL. III,<br />
<br />
AUTHOR.<br />
<br />
273<br />
<br />
and made public the various Methods of Publish-<br />
ing, and have shown what each means; we have<br />
placed in the hands of every author the means of<br />
ascertaining for himself what his property may<br />
mean: we have examined and exposed the facts<br />
connected with the Civil Pension List; we have<br />
stopped an attempt to keep novelists out of that<br />
List ; we have established a central office where a<br />
Bureau for information and advice of all kinds is<br />
freely given; we bring for the first time authors<br />
together at our annual réunion ; we have estab-<br />
lished a journal for the carrying out of our own<br />
purposes, and the record of facts connected with<br />
these purposes; we have so far eained the con-<br />
fidence of men and women of letters that we<br />
have enlisted 900 members, among whom are<br />
nearly all the leading men and women in every<br />
single branch of letters. That is, I submit,<br />
something to have done. Besides these things,<br />
which are real achievements to which we may<br />
fairly point with pride, there are off-sets,<br />
independent branches of our work, not coutrolled<br />
by the Committee. There is the Authors’ Club,<br />
now fairly established, and in a most hopeful<br />
condition ; there is the Writers’ Club for ladies,<br />
also, { believe, in a flourishing condition; there<br />
is the Authors’ Syndicate, which undertakes to<br />
take all the trouble of your business affairs off<br />
your hands.”<br />
<br />
Tur FUTURE oF THE SOCIETY.<br />
<br />
“What do we intend to do in the future?<br />
Here I must speak for myself. I cannot speak<br />
for the council, but I should like to tell you what<br />
I personally hope will be the development of the<br />
society. First, I look for the enlargement of the<br />
society to four times, ten times its present<br />
numbers. Every one who writes—the journalists<br />
who lead the thought of the world—the teachers<br />
of all kinds—the scientific men, the medical<br />
men, the theologians, the creators in imaginative<br />
work—every one who writes a single book should<br />
consider it his duty to belong to us. With this<br />
extension of our numbers we shall create funds<br />
for special purposes, for fighting actions if neces-<br />
sary. There are certain disputed points which<br />
can only be settled in the courts. We shall give<br />
our journal wider aims; we shall give it, even<br />
while it continues to be the organ for the Defence<br />
of Literary property, a more literary character.<br />
We shall also, which I should very much like<br />
to see, establish an Institute akin to the Law<br />
Institute—it might be called the Authors’ House<br />
—which should be a place where members might<br />
find books of reference, and a place for quiet<br />
work, where they could consult the officers of the<br />
Society, and each other—the head-quarters, in<br />
short, of our members,<br />
<br />
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274 THE<br />
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The next thing that I want—even more than the<br />
Tn: titute—is a Pension Fund. That, I see plainly,<br />
is above all to be desired. I want a Pension Fund<br />
such as that which the Socicté de Gens de Lettres,<br />
in Paris, has established, where every one in his<br />
turn receives a pension, which is not a dole or a<br />
charity, but a right. The member is not obliged<br />
to take that pension: if he chooses he can refuse<br />
it—then it gves to swell the pensions of those who<br />
want the assistance. We have been too much<br />
occupied during these last years for this Fund to<br />
be so much as started. Perhaps, however, the<br />
committee may see their way at no distant period<br />
to attempt the thing. A Pension Fund is abso-<br />
lutely necessary for the completion of the<br />
Independence of Literature.<br />
<br />
“T am also very much of opinion—an opinion<br />
in which I confess that I am not joined by all my<br />
colleagues of the council—that an Academy of our<br />
own, not a slavish copy of the French Academy,<br />
might prove of great service to our literature.<br />
I will not now stop to explain why I think so. I wish<br />
only to place on record the fact that I do think so.<br />
<br />
“‘T have also, on several oc asions, stated an<br />
opinion that the national distinctions should be<br />
as much open to men and women of letters as<br />
they are to soldiers and lawyers and engineers.<br />
Here, again, I have not been able to carry with<br />
me all my colleagues. I will therefore only<br />
remind you that the people of every country are<br />
accustomed to consider those men and women<br />
worthy of honour whom the State honours, and<br />
those men and women unworthy of honour whom<br />
the State refuses to honour. I will also remind<br />
you that it is very good for the people to honour<br />
Literature. But in this country men and women<br />
of letters are not honoured by the State. The<br />
conclusion seems to me to be obvious. I ask your<br />
permission to place on record the opinion I have<br />
myself formed.<br />
<br />
“T desire, next, that the Society should be<br />
officially recognised as the head-quarters of the<br />
literary calling, as the Royal Academy of Arts,<br />
the College of Physicians, the College of Surgeons,<br />
the Institute of Civil Engineers, are recognised.<br />
Hitherto that has not been done. I think we<br />
ought to endeavour, in every way possible, to<br />
obtain this recognition. With it should come<br />
the registration of book, the registration of titles,<br />
and all the official acts connected with literature.<br />
Especially I think that the Society should be<br />
officially consulted in the administration of that<br />
part of the Civil Pension List which belongs to<br />
literature.”<br />
<br />
Some CHARACTERISTICS OF LitpRARY MEN.<br />
<br />
“During this intimate experience of our<br />
craft, which it has been my, singular privilege to<br />
<br />
AUTHOR.<br />
<br />
enjoy, it is reasonable that I should make certain<br />
observations onauthors as acompany or profession,<br />
I trust that I shall not give any offence by offering<br />
to you some of these observations. I have found,<br />
then, among literary men and women, a very<br />
curious timidity, even among the successful. It<br />
is that kind of timidity which, I think, belongs<br />
to a profession whose position is not recognised,<br />
its emoluments not defined, and its rewards<br />
capricious. Authors are, as a body, timid. They<br />
are also suspicious; it has been found, for<br />
instance, extremely difficult to persuade some of<br />
them that the Society has no secret and selfish<br />
objects at heart. It is, therefore, with great<br />
unwillingness that they disclose their agree-<br />
ments, and produce their accounts. Again, great<br />
jealousy of each other prevails, and seems tradi-<br />
tional. The jealousy of authors towards each<br />
oth. r is, as a fact, most unreasonable. It ought<br />
to be removed by the simple consideration that<br />
no man can write in a year what cannot be read<br />
in a week, which gives fifty-one weeks for<br />
other wr.ters. It has been charged upon men<br />
and women of letters that they are avid of<br />
praise. Iam sure that the charge is quite true;<br />
but that can equally be said of any other pro-<br />
fession. To desire honour is to desire excellence.<br />
Men of letzers, again, have been accused of being<br />
ready at all times to stick knives in each other’s<br />
backs. This charge may, have been true once,<br />
but it can hardly be alleged at the present day.<br />
Those authors of any position who still find<br />
delight in abusing and scarifying each other are<br />
very few. They are not extinct; but I think we<br />
may fairly say that they are very rare. What,<br />
in fact, does it matter to a writer of position<br />
whether a certain popular author is worthy of his<br />
popularity. Time—a very short time — will<br />
determine his position in the world of letters.<br />
Meanwhile, let us leave him to those who are<br />
critics by profession.<br />
<br />
“T think that we ought to imitate, in the<br />
matter of criticism, the professional etiquette of<br />
the Bar, which compels the outward forms of<br />
respect between lawyers. It should be held dis-<br />
graceful in an author to “slate,’”’ and revile, and<br />
depreciate another. There is one charge, how-<br />
ever, which is distinctly true. It is that of being<br />
bad at business. I am quite certain that there<br />
cannot be any body of men worse over their own<br />
affairs than literary men. Publishers tell strange<br />
stories on this point. I could tell you strange<br />
stories. Just as they are sometimes blind to<br />
their own interests, so they are sometimes blind<br />
to their own duties. Ihave heard, for instance,<br />
of authors who have engaged anagent to conduct<br />
their affairs, and then have gone behind that<br />
agent’s back, and left him in the lurch, not, I<br />
<br />
«<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
am sure, with intent to avoid their obligations to<br />
the man who had worked for them, but in pure<br />
ignorance of theirengagements. It is sometimes,<br />
we must sorrowfully admit, as if there were not<br />
only no capacity of looking after own affairs, but<br />
no perception of obligation towards those who<br />
work for one. I have even known cases in which<br />
an author could not be made to understand that<br />
those who work for him must be paid. Happily,<br />
these cases are very rare. The fraudulent a :thor,<br />
as was pointed out in our journal the other day,<br />
cannot, as a rule, exist. The facts of the case<br />
compel honesty, whether he would or would not.<br />
Timidity, jealousy, suspicion—these are the three<br />
most common vices of the literary craft. They<br />
combine —all three together—to make it the<br />
more difficult for us to unite for purposes of<br />
self-defence. However, only to recognise these<br />
difficulties —these qualities— may be the first<br />
step to overcoming them. And, indeed, we have,<br />
of late years, done so much towards union that<br />
we ought to be very hopeful as regards the<br />
future.”<br />
<br />
WHAT CAN EACH MEMBER DO?<br />
<br />
“Such and such we have done, such and such<br />
we are doing for you, our members—what will<br />
you do or yourselves ?<br />
<br />
“Youcan, if you will,dosomuch. You can openly<br />
show your active sympathies with our work. Do,<br />
especially, what we ask you to do every month.<br />
Send us your past and your present agreements, in<br />
order to increase the accumulated knowledge of<br />
the Society; refuse to sign an agreement until it<br />
has been examined at the office; refuse, which<br />
you can do very well if you are a successful<br />
author, to accept any agreement unless the clauses<br />
are fair and reasonable; find out at our office<br />
whether your proposed publisher is a right person<br />
to be entrusted with your property; enlist new<br />
members everywhere; attend to our warnings,<br />
and spread them abroad. Send information of<br />
all kinds toour Journal. In fat, if we were not<br />
helped by you in this way, we might dissolve ;<br />
but we have already kindled a flame that you<br />
will not suffer to be extinguished. Not only<br />
your own self-interest—which I do not calla sordid<br />
consideration at all—is concerned in the advance<br />
and prosperity of our Society, but your desire<br />
for righteousness—your hatred of servility—your<br />
love of independence—your sense of duty towards<br />
those who come after us and will reap the harvest<br />
of our labours,—all these things are working<br />
together for our cause. and for our prosperity.<br />
The time has now surely come when we ought<br />
to call upon you for a more active co-operation.<br />
Work for us—work with us—in the full confidence<br />
that you are working for yourselves.”<br />
<br />
VOL. Ill.<br />
<br />
AUTHOR.<br />
<br />
275<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
i.<br />
Re CanapIaN CopyRicHt.<br />
<br />
T present copyright in Canada, so far as<br />
concerns British authors, is governed by<br />
the Imperial Act (5 & 6 Vict. c. 45) as<br />
<br />
modified by the Modern Reprints Act (10 & 11<br />
Vict. ¢. 95) and the Canadian Copyright Act,<br />
1875 (38 & 39 Vict. ¢. 53).<br />
<br />
The effect of these Acts may shortly be stated<br />
as follows:—Under the Foreign Reprints Act<br />
and the Order in Council issued thereunder,<br />
pirated copies of copyright works are admitted<br />
into Canada upon paying an ad valorem duty ;<br />
but, as is well known, the duties are practically<br />
never collected, and the compensation suppused to<br />
be given to authors is wholly illusory. Under<br />
the Canadian Copyright Act, however, authors<br />
can, by republishing their works in Canada<br />
(whether simultaneously with or at any time<br />
after publication elsewhere), and registering the<br />
same, obtain Canadian copyright, and exclude the<br />
operation of the Foreign Reprints Act.<br />
<br />
The Act of 1875 is, I think, on the whole, as<br />
favourable a one as can be expected, having<br />
regard to the claims made on behalf of the<br />
Canadian public and publishers. It has not,<br />
however, I believe, as yet been taken advantage<br />
of to any great extent by English authors; but<br />
the difficulty has, I believe, been, so to speak, a<br />
geographical one, that is to say, it has been<br />
impossible owing to tne position of Canada,<br />
either to make the pirated American editions<br />
pay duty under the Foreign Reprints Act, or<br />
keep them out under the Act of 1875. It appears<br />
to me, however, that the recent United States<br />
Copyright Act should, to a great extent, remove<br />
this difficulty, and that English authors should<br />
now be able 10 obtain the benefit of the circula-<br />
tion of their books in Canada if the provisions<br />
of the Act of 1875 can be maintained. At all events<br />
it is not, I imagine, likely that they will be able<br />
to obtain any more favourable terms. It remains<br />
to be considered how far the position of British<br />
authors will be prejudiced by the proposed Cana-<br />
dian statute if it is allowed to come into force.<br />
<br />
The first question is whether the statute would<br />
operate as a repeal of the Imperial Act so far as<br />
regards Canada. In the absence of any pro-<br />
vision to that effect in the Act authorising its<br />
proclamation, I do not think it would have that<br />
effect, but if a British author did not comply<br />
with the provisions of the Canadian Act, his copy-<br />
right under 5 & 6 Vict. ¢. 45, would be subject to<br />
the licensing provisions of the Canadian Act. The<br />
<br />
y 2<br />
<br />
<br />
THE AUTHOR.<br />
<br />
point should, however, be definitely settled by<br />
some express provision.<br />
<br />
The next question is as to the terms upon<br />
which Canadian copyright is to be secured. These<br />
are (1) registration either before or simultaneously<br />
with first publication whether in Canada or else-<br />
where, and (2) reprinting and republishing in<br />
Canada within one month. Both of these con-<br />
ditions appear to be opposed to the principles<br />
adopted by the Berne Convention and approved<br />
by the English Government. As to the registra-<br />
tion it is to be observed that, under the Act of<br />
1886, registration in a colony is recognised as<br />
sufficient to secure copyright throughout the<br />
British Dominions, and it is hard to see why<br />
British authors should be required to register in<br />
Canada. At all events, the same period should<br />
be allowed for registration as for republication,<br />
especially if copies of the work are to be deposited.<br />
As to reprinting and republishing, it would<br />
probably be useless to attempt to do away with<br />
this condition altogether, but I think that an<br />
endeavour should be made to extend the period<br />
within which reprinting and republishing must<br />
take place, though no doubt the Canadians will<br />
justify themselves by reference to the provisions<br />
of the United States Copyright Act. With<br />
regard to the licensing provisions of sections 3<br />
and 4, it appears to me that if exclusive, instead<br />
of non-exclusive, licences were to be granted,<br />
many of the present objections to these pro-<br />
visions would be removed. The collection of the<br />
royalties would, I think, be much easier, whilst<br />
the publisher would be free from the danger of<br />
being undersold directly a work had been brought<br />
out at considerable expense began to sell, and he<br />
would therefore be more ready to bring out<br />
valuable and expensive works, which would be to<br />
the advantage of the public. In any case I think<br />
that the author should be able to take pro-<br />
ceedings against the licensees if he is dissatisfied<br />
with the Government returns of royalties, but I<br />
am unable to suggest any means by which the due<br />
collection of royalties can be easily secured under a<br />
non-exclusive licensing system. Of course it should<br />
be seen that a provision similar to sect. 4 of 38 &<br />
39 Vict. ¢. 53, prohibiting the importation of<br />
Canadian reprints into the United Kingdom is<br />
inserted in any Imperial Act authorising the pro-<br />
clamation of the Canadian statute. I can hardly<br />
imagine that the statute is intended to be retro-<br />
spective ; but, if it is not, [do not understand to<br />
what sub-sections 3 & 4 of sect. 5 of the Act of<br />
1875, as amended by the proposed statute are<br />
intended to apply, and I think it would be as<br />
well that it should be made clear that the statute<br />
is not in fact retrospective. Another point<br />
I think which should, if possible be made clear is<br />
<br />
that the author should be entitled, in the event of<br />
licences being issued under sect. 3, to take pro.<br />
ceedings against unlicensed reprints; I think he<br />
probably would be able to do so as the matter<br />
stands, but the pointis not free from doubt.<br />
<br />
The above are the principal points which occur<br />
to me in connection with the proposed statute,<br />
and if, as I understand is the case, the matter is<br />
still before Government, the Society might ]<br />
think properly make representations with regard<br />
to them. They may be summarised as follows :<br />
<br />
1. The proposed statute is entirely contrary to<br />
the provisions of the Berne Convention and the<br />
Imperial Act of 1886. Ifit is allowed to come<br />
into force it would seem that Canada must be<br />
excluded from the Convention. On principle,<br />
therefore, the statute should not be allowed; but,<br />
if for any reason it is considered that exceptional<br />
legislation is required for Canada, the following<br />
points arise in the interests of British authors.<br />
<br />
2. Copyright under 5 & 6 Vict. ¢. 45, should<br />
be expressly reserved subject only to the licensing<br />
provisions of the statute.<br />
<br />
3. Hither registration in the United Kingdom<br />
should be sufficient or the same period should be<br />
allowed for registering in Canada as for re-<br />
publication.<br />
<br />
4. That one month is not a sufficient period to<br />
allow for the republication of works first pub-<br />
lished in the United Kingdom. :<br />
<br />
5. That ifa licensing system is to be introduced<br />
the licences granted should be exclusive.<br />
<br />
6. Thatin any case authors should be entitled<br />
to take proceedings against licensees for royalties<br />
if dissatisfied with Government returns.<br />
<br />
7. That Canadian reprints should not be<br />
allowed to be imported into the United Kingdom.<br />
<br />
8. That it should be made clear that the<br />
statute ls not retrospective, and<br />
<br />
g. That authors should be expressly empowered<br />
to take proceedings in respect of unlicensed<br />
reprints.<br />
<br />
J. Rout, 3, New-square,<br />
Lincoln’s-inn, W.C.<br />
Novy. 22, 1892.<br />
<br />
IT,<br />
Conrrisutors’ REMUNERATION,<br />
<br />
{ should like to add to my brief note in<br />
the last number that when I spoke of a<br />
contract to pay at the usual rate being im-<br />
ferred in the absence of express agreement, I<br />
meant to assume that the usual rate was reason-<br />
able. As matter of law the agreement, if not<br />
defined by the parties, is to pay a reasonable<br />
recompense, @.e. what a jury (or judge if there<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
be no jury), may find to be reasonable in all the<br />
circumstances.<br />
<br />
In ordinary cases, and where business is con-<br />
ducted in good faith, what is usual is the best<br />
measure of what is reasonable. But aman may<br />
not offer an obviously inadequate recompense for<br />
work of any kind, literary or other (not having<br />
been expressly agreed to), on the pretext that so<br />
much and no more is what he usually gives.<br />
<br />
In exceptional, but only in exceptional cases,<br />
the work may be on the face of it of such peculiar<br />
value (by reason of the writer’s fame, special<br />
competence, &c.), that more than the usual rate<br />
may be required as reasonable even without<br />
express previous agreement. It is however far<br />
from easy to fix how much more, though evidence<br />
of practice in other like cases may be some guide.<br />
The only safe way for both parties is a clear<br />
understanding beforehand. BE<br />
<br />
EEL<br />
MaGaziInes AND CoPpYRIGHT.<br />
<br />
I submit that it is beyond question that the<br />
draughtsman of sect. 18 of 5 & 6 Vict. c 45,<br />
had not in his mind, when drawing it, the<br />
ordinary case of a contributor posting a story or<br />
article to a periodical, and, after seeing it in<br />
print, receiving a cheque, no other communica-<br />
tion passing between the writer and editor. I<br />
further submit that the question whether the<br />
language of the section covers such a transaction,<br />
though not primarily intended to do so, is a diffl-<br />
cult and an open one, and one which has never<br />
yet been even satisfactorily discussed. I have<br />
read your note in the Author for November and<br />
that of “J.” in the December number. No mention<br />
has hitherto been made of the only case (as far as<br />
T can discover) on the subject, that of Browne vy.<br />
Cooke (16 Law Jour., Chancery, p. 40): in<br />
that case the dispute was between the Medical<br />
Gazette and certain persons alleged to have<br />
pirated their articles, and the Medical Gazette<br />
failed, the affidavits not showing that the pro-<br />
prietors had paid for the articles in question.<br />
The case, therefore, seems to have been decided on<br />
what was almost a technical point, and the<br />
authors do not appear to have been either repre-<br />
sented or directly interested in establishing their<br />
rights.<br />
<br />
There is, however, an obiter dictum of the Vice-<br />
Chancellor at page 142, which supports your<br />
view, for, in answer to something which had been<br />
said by the court, Mr. Bethell (afterwards Lord<br />
Westbury) suggested “. then if I sent to<br />
the Quarterly an article written by me which is<br />
paid for, it would confer no copyright, because,<br />
<br />
AUTHOR.<br />
<br />
277<br />
<br />
according to the language of the Act, there has<br />
been no antecedent employment of me.” The<br />
Vice-Chancellor replied: “I am not observing<br />
upon that, because I conceive that the payment<br />
is evidence of a thing at least tantamount to the<br />
employment ; I am not putting it in that way.”<br />
<br />
This was said in 1846, and the Vice-Chancellor<br />
took no notice of the words of the section, which<br />
speak not only of employment but of ‘“ employ-<br />
ment on the terms that the copyright therem<br />
shall belong to such proprietor,” &c.<br />
<br />
I, myself, lean to “J.’s” interpretation of the law ;<br />
from my own experience I know that publishers<br />
and editors take varying views, usually adopting<br />
yours, and I fancy that if a case were fought on<br />
the subject, evidence of trade customs might<br />
become material. Such a case, however, would, I<br />
believe, raise a question of interest to many<br />
authors; a question hitherto obscure, and one<br />
which would hardly be answered conclusively<br />
until it had come under the consideration of their<br />
Lordships of the upper House.<br />
<br />
I beg very strongly to urge upon those respon-<br />
sible for the copyright bill now before Parliament<br />
the possibility of dealing with the matter in a<br />
short clause, declaring the copyright in such cases<br />
to remain in the author, the right of the publisher<br />
being merely a licence to publish.<br />
<br />
E. A. ARMSTRONG.<br />
IV.<br />
WALTER Uv. STEINKOPFF.<br />
<br />
From the “Notes” of the Law Quarterly<br />
Review, Jan. 1893 :—<br />
<br />
It is perhaps arash thing to say of any judgment covering<br />
nearly eight pages of print that it is a faultless exposition<br />
of the law. But the judgment of North, J.in Walter v.<br />
Steinkopff, ’92 (3 Ch. 489), seems as near perfection both in<br />
law and in literary common sense as any deliverance of a<br />
human and therefore fallible judge can be. There is no<br />
copyright in published information as such. “ But there is<br />
or may be copyright in the particular forms of language or<br />
modes of expression by which information is conveyed, and<br />
not the less so because the information may be with respect<br />
to the current events of the day.” If the retailer of other<br />
people’s news cannot convey the substance of the news<br />
without “ conveying” (as the “ wise it call”) the form also,<br />
so much the worse for him. People are apt to forget that<br />
there is no positive, much less paramount, right to do all<br />
things in themselves lawful or not forbidden. The right,<br />
or rather liberty, is to do them without infringement of<br />
our fellow-subject’s right.<br />
<br />
It might be a curious speculative question whether, if the<br />
doctrine of copyright at common law had prevailed, a<br />
strong argument might not have been framed for an analo-<br />
gous right of quasi-property in news or other novel infor-<br />
mation. But, as such a natural right would have, appa-<br />
rently, no limit in time, it is hard to see how it could be<br />
made compatible with recent history being written or<br />
publicly discussed at all. Special correspondents, on the<br />
other hand, would be rich beyond the dreams of avarice.<br />
<br />
<br />
<br />
<br />
278<br />
<br />
Y.<br />
Stamp your AGREEMENTS.<br />
<br />
Here is a case which may interest some of<br />
your readers. Some time ago I sent a short<br />
story to one of the weeklies, and, in reply toa<br />
letier from the editor, stated my terms; the story<br />
was printed. That was the only answer. A<br />
month later I wrote for a cheque, and received<br />
one for a guinea, just a quarter the amount for<br />
which I had stipulated As remonstrance proved<br />
useless, I carried the matter into court. The<br />
defence took me by surprise, the editor pleaded<br />
that he had paid me at his usual rate, and that<br />
as I had no stamped agreement, I could not<br />
claim more ; and now comes the curious part or<br />
the affair. If he had written accepting my terms,<br />
and if I had neglected to get the letter stamped,<br />
I should have lost my case ; but he had not written,<br />
therefore, the publication of the story completed<br />
the contract, and no stamp was required. So the<br />
defence fell to the ground.<br />
<br />
And here I wou'd ask, does not the necessity of<br />
having every little agreement stamped press very<br />
unfairly upon all who write? If every letter from<br />
an editor, agreeing to take a short story on cer-<br />
tain terms must be stamped, an author has to<br />
pay a heavy tax upoa every day’s work he does.<br />
It is not merely the money, bu* also the time and<br />
trouble of going to Somerset House. I know<br />
that the secretary of the Society of Authors<br />
kindly underiakes to do this, but, if every member<br />
took advantage of the offer, he would have<br />
nothing else tv do. D.<br />
<br />
[Our correspondent supposes a literary activity<br />
quite impossible. If every member sent all his<br />
agreements to the secretary the work would take<br />
a very small part of the day.—Eb. |<br />
<br />
VI.<br />
INTERNATIONAL COPYRIGHT.<br />
<br />
A nearly exact copy of‘ King Solomon’s<br />
Mines,” without the author’s :eave, is at present<br />
being published in French in a weekly paper<br />
called Les Annales Politiques et Littéraires at<br />
15, Rue Saint Georges, Paris.<br />
<br />
An editorial note from that paper which<br />
appeared on Oct. 2 runs :—<br />
<br />
“* Ta Reine de Saba,’ par Alfred de Sauveniére.<br />
<br />
“Ce récit est imit¢é d’un roman anglais de M.<br />
Rider Haggard, qui s’est vendu en Angleterre et<br />
en Amérique a plus de trois cent mille exem-<br />
plaires, et qui a valu 4 son auteur une universelle<br />
renommée.<br />
<br />
“M. Alf ed de Sauveniere s’est inspiré de<br />
Vouvrage original, mais il l’a accomodé au tem-<br />
<br />
THE AUTHOR.<br />
<br />
prament et au goit francais, et l’a allégé de<br />
quelques digressions et développements inutiles,<br />
<br />
‘“‘L’action de la ‘Reine de Saba’ se déroule<br />
dans les contrées mysterieuses de l’intérieur de<br />
PAirique; elle transporte le lecteur au milieu<br />
dun pays barbare, demeuré stationnaire depuis<br />
des siécles, soustrait au contact des civilisations<br />
européennes, et rempli @’incalculables richesses.<br />
<br />
“Au moment ow sous les regards se tournent<br />
vers ce continent, et suivent les efforts accomplis<br />
par nos soldats, nous avons pensé qu’un tel<br />
roman, mouvementé, rapide et dramatique exci-<br />
terait une vive curiosité et serait accueilli avec<br />
faveur.”<br />
<br />
SS<br />
<br />
VII.<br />
INJURING THE SALE.<br />
<br />
As bearing upon the discussion of libellous<br />
reviews now proceeding in the Author, the follow-<br />
ing extract from the letters of Darwin seem very<br />
pertinent.<br />
<br />
“ The botanists praise my orchid-book to the<br />
skies. The treats me with very<br />
lind pity and contempt; but the reviewer knows<br />
nothing of his subject. . . Whe will<br />
hinder the sale greatly.” (June, 1862.)<br />
<br />
“‘T have no idea who wrote the review in the<br />
(on the ‘Descent of Man’). He has no know-<br />
lege of science, and seems to me a wind-bag full of<br />
metaphysics and classics, so that I do not much<br />
regard his adverse judgment, though I suppose it<br />
will injure the sale.” (April, 1871.)<br />
<br />
Now, it appears to me that in cases such as<br />
these an action claiming damages for libel should<br />
at once be brought. We have the statements of '<br />
Darwin (1) that the reviewer is ignorant of his<br />
subject, while, nevertheless, be pronounces a<br />
scathing judgment upon an author’s work; and<br />
(2) that such criticism will injure the sale. Both<br />
these statements might be established ina few<br />
minutes in a court of law, and 1t would seem clear<br />
that the aggrieved author would receive damages.<br />
A few such actions would do invaluable service to<br />
literature (both to authors and to readers) by<br />
rendering reviewers and critics careful to make<br />
their remarks appropriately fair and honest, and<br />
by frightening them from presuming to lay down<br />
the law concerning subjects of which they are<br />
utterly ignorant.<br />
<br />
VIII.<br />
AMERICAN CopyricHt In New EDITIONS.<br />
<br />
In response to your correspondent’s inquiry<br />
respecting the power of copyrighting a new and<br />
amended edition of an English book which, in<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE ._ AUTHOR.<br />
<br />
its original form, has been pirated in America<br />
previous to the passing of the Act of 1891, I<br />
venture to express the belief that the provisions<br />
of the statute sufficiently cover such a case.<br />
<br />
The words of the Act (clause 5) are these:<br />
“The proprietor of every copyright book, or<br />
other article, shall deliver at the office of the<br />
librarian of Congress a copy of every<br />
subsequent edition where any substantial<br />
changes shall be made: Provided, h wever, that<br />
the alterations, revisions, and additions made to<br />
books by foreign authors, heretofore published, of<br />
which new editions shall appear subsequently to<br />
the taking effect of this Act. shall be held and<br />
deemed capable of being copyrighted as above pro-<br />
vided for in this Act, unless they form a part of<br />
the series in course of publication at the time<br />
this Act shall take effect.” Apam W. Brack.<br />
<br />
<br />
<br />
2ecs<br />
<br />
VICTORY.<br />
<br />
<br />
<br />
With all his soul he loves her still,<br />
His soul is master of his will;<br />
<br />
He loves too well to work her ill!<br />
Just for a glance from those rare eyes<br />
Wherein such subtle magic lies<br />
<br />
Fain would he forfeit Paradise !<br />
<br />
Just for a coil of that bright hair<br />
That sweeps her brow—a golden snare—<br />
The darkest peril he would dare.<br />
<br />
Just for one pressure of those lips,<br />
Whence bees might take their sweetest sips,<br />
Fain would he suffer Life’s eclipse.<br />
<br />
And yet this yearning—this desire<br />
To hold her—this consuming fire<br />
Is kept in thrall by something higher!<br />
<br />
That which he has of the Divine<br />
Within him, doth his soul incline<br />
<br />
To say: “I may not make her mine!”<br />
She loves him next to God—she deems<br />
Her Love the Hero that he seems;<br />
<br />
At night he comes to her in dreams.<br />
Her virgin breast is all aglow<br />
<br />
With purity he cannot know,<br />
<br />
So he will nobly let her go!<br />
<br />
One stormy eve he steals away,<br />
<br />
Victorious in the bloodless fray ;<br />
He passes with the passing day.<br />
<br />
His agony he may not tell,<br />
Even to her—his Christabel—<br />
He leaves a tenderest farewell.<br />
She, like a bird with broken wing,<br />
Will creep apart—a stricken thing—<br />
For Life has nothing more to bring!<br />
She in a convent’s holy calm<br />
For her deep wound will find a balm ;<br />
Above he’ll wear the Victor’s Palm !<br />
F. B. DovEToN.<br />
<br />
279<br />
<br />
“VERY INACCURATE AND VERY<br />
UNRELIABLE.”<br />
<br />
TR. HEINEMANN, in the Atheneum of<br />
IN Dec. 3, 1892, labels the handbooks of<br />
the Society of Authors as “ very inac-<br />
<br />
curate and very unreliable.’”’” May I point out<br />
that the epithets have been unduly bestowed ?<br />
<br />
<br />
<br />
Literature and the Pension List-——The author<br />
said in his preface: ‘‘I have reprinted verbatim<br />
the official lists of pensions from the commence-<br />
ment, with the reasons assigned for each ap-<br />
pointment and the amount.”’ Does Mr. Heine-<br />
mann mean that he disbelieves this? Or does he<br />
mean that the official lists were, in his opinion,<br />
“very inaccurate and very unreliable.”<br />
<br />
La Société des Gens de Lettres—The facts<br />
concerning the French institution were derived<br />
from their own papers, courteously supplied to<br />
our delegates by their officials. Mr. Edmund<br />
Gosse who had previously written on our sister<br />
association in the Nineteenth Century, kindly<br />
allowed the Author to quote from his article, and<br />
read the proofs. Is it the translation that Mr.<br />
Heinemann mistrusts? Or some few anecdotes<br />
concerning certain eminent French authors? Or<br />
does he mean that the original prospectuses<br />
were, in his opinion, “ very inaccurate and very<br />
unreliable.’’<br />
<br />
The Methods of Publishing.--The author im-<br />
plied in the preface to the first edition, that all<br />
the documents used in illustration of the methods<br />
discussed were genume—real letters between<br />
authors and publishers, and real agreements<br />
under which publication took place, or, at any<br />
rate, was proposed. At the end of this book<br />
this is said. Does Mr. Heinemann mean that he<br />
disbelieves it? 1 can think of no other way in<br />
which the book could be “very inaccurate and<br />
very unreliable,” and hasten to assure the Society,<br />
for whom and at whose expense the work was<br />
done, that what I said was true.<br />
<br />
The Cost of Production.The preliminary<br />
statement of the compilers ran—‘‘the estimates<br />
here contained have been carefully prepared for<br />
the society and examined by three first-class firms<br />
of printers.”” Does Mr. Heinemann mean that<br />
he disbelieves this? Or does he mean that all<br />
first-class printers are ‘‘ very inaccurate and very<br />
unreliable.” Surely neither! Surely he means<br />
that he finds that, in detail, some of our figures<br />
do not agree with some of his. That is not a<br />
sufficient reason for miscalling our pamphlet. Our<br />
own printers did not agree in their separate esti-<br />
mates in any singledetail; while the wages of<br />
<br />
<br />
<br />
<br />
SIE SIA<br />
<br />
<br />
<br />
5<br />
re:<br />
i<br />
<br />
a<br />
<br />
eo<br />
<br />
<br />
<br />
THE<br />
<br />
<br />
<br />
<br />
280<br />
<br />
those engaged in the different branches of trade<br />
are subject to constant fluctuation, entailing a<br />
constant alteration in prices. The work gives the<br />
average cost of works of ordinary shape and<br />
style. It pretends to do no more, and the fact<br />
that here and there 15 per cent. above or below its<br />
figures may be paid does not affect its utility.<br />
These estimates do not include the publishers’ work-<br />
ing expenses. This omission Mr. Heinemann finds<br />
“ deliciousinits airiness.” No. Those expenses are<br />
not included. Nor is the cost of the author’s pens,<br />
nor his stationer’s bill, nor his type-writer’s bill, nor<br />
any bill that is his. Mr. Heinemann has not had<br />
leisure to read the introductory chapter to the<br />
handbook that he finds “ very inaccurate and very<br />
unreliable, or he would understand that both sets<br />
of omission are legitimate.<br />
<br />
While I feel hound to object to the adjectives<br />
thit Mr. Heinemann has employed towards one<br />
section of our work, I should be churlish indeed<br />
if I did not recognise the friendship of his<br />
other remarks about the Society of Authors.<br />
<br />
S. S. Spriece.<br />
<br />
THE “AUTHOR” AND THE “BOOKSELLER.”<br />
<br />
————— ><br />
<br />
HE following is from the New Vork Tribune<br />
(Nov. 24, 1892):<br />
<br />
Other points occur, but let us come at once to the main<br />
point, which is this. I give it in the form of a quotation<br />
from the Bookseller :<br />
<br />
“The driving of hard bargains with authors, or debiting<br />
their accounts with excessive charges, are, no doubt,<br />
matters of which there are occasional reasons to complain;<br />
but such practices are a long way short of fraudulent,<br />
although we fully admit they are not what is expected from<br />
members of an honourable calling.”<br />
<br />
Mr. Besant’s reply is that these and other frauds were<br />
common, very common, deplorably common, until the Society<br />
of Authors put a stop to them in so many cases. They<br />
would again flourish, he thinks, if the Society were to relax<br />
its efforts. Then, with reference to the contention of the<br />
publisher’s organ, that “‘debiting accounts with excessive<br />
charges,” is a practice “a long way short of fraudulent,”<br />
Mr. Besant says with energy :<br />
<br />
“Does the writer know the meaning of words? Why.<br />
what does a common pickpocket or shoplifter do, when he<br />
steals anything he can lay his hands on, worse than a pub-<br />
lisher who pays £60 for printing a book, and sends in an<br />
account stating that he has paid £80? Nota fraud? Then<br />
is stealing not a fraud; and lying is truth; and vice is<br />
virtue.”<br />
<br />
This is language well calculated to add to the irritation<br />
of the publisher who has been guilty of the fraud which Mr.<br />
Besant denounces. But the question is, not whether Mr.<br />
Besant is irritating, but whether his description is a true<br />
description. That is a question which can be answered<br />
without much _ technical knowledge. An elementary<br />
<br />
AUTHOR.<br />
<br />
acquaintance with Exodus XX., 15, is all that is wanted for<br />
the outside, non-publishing, world.<br />
<br />
But the publishing view is a thing apart. We have all<br />
heard of that magic phrase, “custom of the trade,” and<br />
know how much it has been made to cover. There is, id<br />
apprehend, no doubt that the publisher’s practice of paying<br />
one sum, and telling the author he had paid another and<br />
larger sum, and putting into his own pocket the difference<br />
expressed by the lie, was at one time a custom of the trade,<br />
or of some part of the trade. It was decently covered up<br />
under the phrase “ discounts,” and upon the plea that what<br />
passed between the publisher and his printer, or paper<br />
maker, or advertising agent, did not concern the author.<br />
<br />
Let us admit, for civility’s sake, that this particular<br />
custom of the trade is a thing of the past. What one<br />
would like to know is whether it is still upheld and<br />
defended, even if no longer practised, by any of those who<br />
formerly profited by it. I turned to the current number of<br />
the Bookseller. The answer is not there; only a short<br />
paragraph explaining that the Awthor—published on<br />
Nov. 1—came out too late to be answered in the Bookseller—<br />
published on the 8th. But there is an answer, exclaims the<br />
publisher’s editor, and it will be forthcoming. We shall<br />
have to wait for it, but it must be well worth waiting for,<br />
if it be something better than the hoary and threadbare and<br />
impudent excuse, so often heard before, which I have<br />
summarised above.<br />
<br />
A REJECTED AUTHOR.<br />
<br />
<br />
<br />
their marriage.<br />
<br />
He was a young gentleman with some<br />
brains (which she admired), and no profession,<br />
and she was a young lady with some beauty<br />
(which he admired), and no dowry. So they<br />
married, and ran the household on the brains<br />
and the beauty (and the mutual admiration),<br />
together with a slender stock of ready-money, and<br />
agreed that the world was very blind when it<br />
estimated such unions as imprudent, having<br />
regard to the acute happiness that was attending<br />
their venture.<br />
<br />
And in the first year they spent the ready-<br />
money. The second year, though not without<br />
its thorns, still yielded them many gallant ¢ r-<br />
lands of roses. For one thing, Mr. Bayard, the<br />
eminent publisher, accepted what our author<br />
irreverently termed a shocker, for his ‘Detective<br />
Series,” and promised to find the round sum of<br />
fifty pounds for it upon publication. Again, though<br />
they were poor, they found that their plight was<br />
not without its pleasant side. For there was<br />
romantic novelty in the actual want of money,<br />
and keen delight in obtaining it—perhaps unex-<br />
pectedly—when need was urgent. Moreover,<br />
the necessity of procuring credit made demands<br />
upon their ingenuity, and much merriment<br />
would follow, as they rallied each other<br />
over the success or failure of their little<br />
<br />
i was the beginning of the third year of<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
plots. And this bright fortitude under privation<br />
was itself a source of pleasure to them; for he<br />
was led by it to picture himself leading the real<br />
vie de Bohéme in a manner that would have done<br />
credit to Murger’s rollicking heroes (he was<br />
given to French romance); while she felt that<br />
she was facing a harsh world unrepiningly, side<br />
by side with her choice for better or for worse<br />
(and she was addicted to the penny serial).<br />
<br />
And hope yielded them some joys. For during<br />
their year of prosperity, he had written his great<br />
book—-and when we mention it by name, all<br />
necessity for alluding to its author by more<br />
distinct appellative than a pronoun is gone. For<br />
has not the world welcomed “The Hill of<br />
Tilusion 2” I[t contains jou morbid psychology,<br />
social theories, religious discussions, two new<br />
crimes, and some elegant versicles. Its main<br />
interest centres in an unmentionable problem of<br />
heredity. And what more can we moderns want ?<br />
But alas for the sanguine expectations of the<br />
young pair! ‘“ The Hill of Illusion,” at the time<br />
<br />
that it was written, failed to find a pub-<br />
lisher on its own obvious and now admitted<br />
merits. With one firm it remained three months,<br />
<br />
and with another six hours. Some read it, and<br />
some did not. Some returned it unopened, and<br />
one lost it fora time. But the result was always<br />
the same—rejection. During the second year<br />
of its anthor’s married lite, to his humiliation<br />
and to the damage of its fairly-written pages,<br />
this masterpiece was ever on a circular tour.<br />
<br />
Thus it will be seen that we find them in a<br />
sufficiently gloomy plight. For, indeed, the luck-<br />
less couple were more than ordinarily bankrupt.<br />
Brains, beauty, and a little money had been<br />
their sto:k at starting. The money had at least<br />
been indubitable, and it was gone. But what of<br />
their other capital? What of the causes of<br />
mutualadmiration? Could she still believe in his<br />
brains, when he could find no practical believer<br />
else? He feared not. And could he still be<br />
enthralled by her be auty—could life, however<br />
mean and worrying, if spent with her, still and<br />
always be glorious to him? When she noted his<br />
weary, woody face, she feared not.<br />
<br />
“¢ (est ’amour, l’amour, l’amour,<br />
Qui du monde fait la ronde.’<br />
<br />
Do you know that, my dear? ”’ said he, draw-<br />
ing her towards him, and throwing his arm<br />
round her.<br />
<br />
“JT don’t,” said she, “ because I don’t under-<br />
stand what it means.”<br />
<br />
‘« Well,” said he, “ it means just this” (examin-<br />
ing a scrawl of figures that he held between his<br />
<br />
VOL. Ill.<br />
<br />
AUTHOR.<br />
<br />
281<br />
<br />
fingers), ‘‘ that to-day we are penniless, that to-<br />
morrow we receive fifty pounds from that noble<br />
fellow Bayard, that to-morrow we must pay away<br />
at least fifty-four pounds, and that, until we get<br />
some more money from somewhere, we shall have<br />
to subsist off love ae<br />
<br />
“Tt means a good deal,” said she.<br />
<br />
“To gubsist off love, the love that makes the<br />
world go round,” he continued. “S rely such<br />
a power can keep our wheels going round, till<br />
another cheque winds us up again. That’s what<br />
it means.”<br />
<br />
“But you don’t want to spend the whole of<br />
that money at once in paying people? ”’ said<br />
she.<br />
<br />
“Dearest! Why ask me that question? 7 Ae<br />
replied. ‘‘ Of course not. I don’t want to pay<br />
anyone anything at anytime. But it happens<br />
that if I do not pay that much immediately<br />
sordid creditors will remove our possessions,” and<br />
he swept a lean hand comprehensively round the<br />
sparsely furnished little room. ‘‘ We must pay,<br />
we must pay, and worry along as before, till we<br />
cet some more.” He felt her tremble. “ Why,<br />
it will all come right in time,” said he. “ Trust<br />
me, trust me, if you can.” But before he could<br />
support her she was down on the floor, with her<br />
head in his lap, and between her sobs he caught<br />
her words, being helped to their comprehension<br />
by his intuition.<br />
<br />
“ Must they for ever go on like this ? Would<br />
they never be out of debt? Would they never<br />
have enough to eat, and perhaps a few shillngs<br />
over to spend on anything they wished, especially<br />
on what was unnecessary? How long must they<br />
live in this terrible shabby little Inn, where all<br />
were fighting for their bread ; where no one could<br />
afford to be respectable, and but few could afford<br />
to be honest? Perhaps she was a burden to<br />
him? Had she not better go back home?<br />
Could he go on loving her? Did he feel quite<br />
certain—quite, guite certain— that she would<br />
always love him, even if he continued to fail?”<br />
<br />
“That's a very shrewd question,” said he,<br />
when the storm had passed. ‘‘A very shrewd<br />
question ! failure.<br />
<br />
<br />
<br />
Yet, believe me, ’m not a<br />
I receive fifty pounds to-morrow from a creat<br />
publisher.”<br />
<br />
“Qh!” said she, “I didn’t mean allI said, and,<br />
of course, dear, you will succeed. And « h!” she<br />
repeated, “it’s weary work waiting, and fifty<br />
pounds isn’t much for a year’s work.”<br />
<br />
“Tt isn’t,” he asserted cordially. “ But let us<br />
be just. The thing only took two months to<br />
scribble, and isn’t really worth a penny more than<br />
I am going to receive. Now,” and he touched<br />
with a caressing hand a dirty heap of paper on<br />
his desk, “here is a year’s work and two years’<br />
Z<br />
<br />
<br />
<br />
<br />
282<br />
<br />
<br />
<br />
thought, and the outcome of ten years’ observa-<br />
tion, yet no one will look at it. But I’m nota<br />
failure.” And he patted the luckless manuscript.<br />
“Tm not a failure while I can show this.”<br />
<br />
“ Of course xot, dearest,” she assented.<br />
<br />
“You're good, that’s what you are—good,”<br />
he continued, running his eye over a page<br />
here and there, ‘Yet, because you are uncon-<br />
ventional, because you are not improving, no one<br />
will have anything to say to you. Why, if you<br />
were the work of a man who had made his name,<br />
you might be worth a thousand pounds. And I,<br />
your owner, stand here ready to commit all crime<br />
fora poor fifty.”<br />
<br />
“But,” said she, “ Your novel that is coming<br />
out to-morrow may make your name; and then<br />
you can sell this for a lot of money.”<br />
<br />
“ That rot will do me no good,” hereplied. “It<br />
may sell, but no one will want to hear more from<br />
itsauthor. And, quite right, too!”<br />
<br />
“T think it’s such-a jolly story,” said she, with<br />
a consoling air.<br />
<br />
“Tt seems absurd,” he continued, disregarding<br />
her amiable criticism, ‘ that Ido not know how<br />
to get fifty pounds. I must be a very futile<br />
person. JI am crammed with knowledge. Iam a<br />
student of human nature. I have ingenuity and<br />
invention, I am versatile and venturesome. And<br />
1 can’t get fifty prounds. The world is full of<br />
dull dogs who make their tens of thousands, and<br />
I cannot make my daily bread! Oh ! it’s absurd.<br />
Iam hungry. My wife is hungry. I can’t get<br />
fifty pounds, and yet I am as immoral as Mrs.<br />
Grundy would have a literary person.”<br />
<br />
“ Don’t talk like that,” said she.<br />
<br />
‘ IT think,” he answered, “that it is only my<br />
playful way. And yet—and yet—No! No! NO!<br />
It isn’t play! It’s earnest! I have an idea, and<br />
by - Here! give me some paper! Some<br />
string! Quick !’’ And he sprang from his seat<br />
holding the manuscript in his hands.<br />
<br />
But she thought lightly of any idea, however<br />
energetically introduced, that purposed to deal<br />
with that luckless work. “ Where are you taking<br />
it?’ she asked languidly.<br />
<br />
“To Bayard.”<br />
<br />
“ But it has been there.”<br />
<br />
“Been there ! Why, of course it has been there.<br />
There isn’t a publisher in London who hasn’t<br />
had his chance of achieving repute as a sagacious<br />
critic, and money as an astute tradesman, by<br />
issuing this book. I have made no invidious<br />
distinctions, as you know. They’ve all had it, and<br />
they’ve all rejected it uncompromisingly—save<br />
some people who wanted a hundred and fifty<br />
pounds down for publishing it. They alone<br />
thought it a work of genius, and their reader<br />
wrote to me to that effect, and, if I remember<br />
<br />
<br />
<br />
<br />
<br />
THK AUTHOR.<br />
<br />
right, hespelt Genius with a J. But it’s going<br />
to Bayard again, and, what is more, it will stick<br />
there, and, what is still more, it will be paid for<br />
at once. The paper and the string !”<br />
<br />
On his return he wrote to half-a-dozeu friends,<br />
and made no further allusion to his design, save<br />
that over his evening tea he gave his wife<br />
the sinister toast of ‘“‘ Here’s to crime!”<br />
<br />
* * * * * * *<br />
<br />
The followmg morning the detective story<br />
duly appeared, in proof of which Mr. Bayard’s<br />
cheque arrived. And hard on this there came<br />
six gentlemen of the author’s acquaintance in<br />
response to his letters.<br />
<br />
‘““Comrades,” said the author, “you are very<br />
welcome. May I take it for granted that not<br />
one of you has anything to do that is likely<br />
to bring him in ten shillings? Encouraged<br />
by your silence I venture, then, to hire three<br />
of you, at that price, to aid me in crime. The<br />
other three of you, being notoriously wealthy,<br />
will assist for nothing. Here is a map of London,<br />
The districts that I have chalked are rich in<br />
booksellers. | This morning the literary world<br />
was convulsed at the appearance of a new novel—<br />
by me. I want the agony kept up a bit. I want<br />
you fellows to choose a district each, and go and<br />
worry for that book. I want you to get on<br />
*buses and fall to talking ab ut the excellencies of<br />
the work. I want you to have accidental inter-<br />
views with each other in book-shops, and urge<br />
each other to buy the book without delay. I<br />
want you to make as much silly racket as you<br />
know how. Lastly, each of you will order fifty<br />
copies—at different shops, of course, It will not<br />
be in stock anywhere, so you will say you will call<br />
to-morrow for them. But you need not—unless<br />
you like.”<br />
<br />
“Tt’s a new fake,” said a very dingy-looking<br />
man, without removing his pipe, “ But it won't<br />
wash.”’<br />
<br />
“Ah! but you'll help us all the same,” said<br />
the novelist’s wife, with suavity. “For, after all,<br />
lots of nice things don’t wash.”<br />
<br />
”<br />
<br />
* * * * * * *<br />
<br />
Two days later the author stood in Mr.<br />
Bayard’s office, and waited his turn to see the<br />
great man. His only weapon was a letter from a<br />
well-known firm, declining the privilege of reading<br />
his novel. He looked about him, believing that<br />
he should detect something in his reception that<br />
might help him to a guess at the success that<br />
was to be his, but apparently no ripple from the<br />
little storm that had been raised in book-land had<br />
reached this haven of rest and procrastination.<br />
He waited. He waited longer even than usual,<br />
for Mr. Bayard believed that the author, having<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
heard that his novel had caused some excitement,<br />
had come to ask for more money on the strength<br />
of his success, and Mr. Bayard was a man of<br />
proper spirit, and disliked begging. At last he<br />
was admitted, and dispelled the frowns from the<br />
forehead of his publisher by saying that he had<br />
eome about another book.<br />
<br />
“T don’t think,” said Mr. Bayard, who was not<br />
the man to spoil his own market by any useless<br />
congratulation, ‘that we shall see our way to<br />
bringing out anything more from your pen<br />
just at present. We must wait and see how the<br />
other goes.”<br />
<br />
“Quite so,” said the author with cheerfulness,<br />
“Quite so. In fact that suits me altogether, and<br />
T’ve come to ask if you'll let me have my manu-<br />
script back.”<br />
<br />
« What manuscript?”<br />
<br />
“The one you have. One I sent ina few days<br />
ago.”<br />
<br />
“Oh! have we one ?” said Mr. Bayard, loftily.<br />
“Tn that case, better leave it Better leave it,<br />
and we'll report on it in due course, and” (with<br />
an air of handsome concession) “very likely<br />
publish it.” :<br />
<br />
“You're very good,” said the author, but I<br />
think I'll take it away, that is if you don’t mind.”<br />
And the mendacious one contrived to look the<br />
picture of mental distress.<br />
<br />
“ We don’t mind,” said Mr. Bayard, “ but you<br />
are ili-advised? What are you going to do with<br />
Lr”<br />
<br />
“You see,’ said the author shamelessly, ‘‘ I’ve<br />
had a letter from Gordon Washington and Co.,<br />
asking me to send them a novel if I had one ready.<br />
And the one I sent here two days ago happens to<br />
be the only one I have ready. I know you don’t<br />
mind giving it back to me, as you only took<br />
the detective story as a favour to me; I<br />
remember you told me that, and I thought it<br />
so awfully good of you. Gordon’s people say they<br />
will bring my book out in America simultaneously<br />
if they like it.”<br />
<br />
“Come, now, won’t you sit down,’ said Mr.<br />
Bayard. ‘Just sit down and hear a word of<br />
advice from an old hand. Don’t you be in a<br />
hurry. Nothing looks so bad in a young author<br />
as constantly changing his publisher. It looks so<br />
fanciful! So cantankerous! It looks as if he was<br />
one of those vain fidgetty fellows that can’t wait<br />
for his reward. And, another thing, it does look<br />
so cursedly ungrateful. I wonder you are not<br />
ashamed to come to me in this way.”<br />
<br />
“Why, so I am,” said the author, “ more<br />
ashamed than you can guess. But you see<br />
Gordon and Washington will bring out the book<br />
ome they like it, and, if they like it,<br />
will__—<br />
<br />
AUTHOR. 283<br />
<br />
“ @o on,” said Mr. Bayard, ‘be frank, always<br />
be frank. Goon! You've seen them, and they'll<br />
pay you more than I have paid you. Go on.”<br />
<br />
“ Weil,” said the disingenuous one, drawing<br />
from his pocket the envelope marked with the<br />
conspicuous chiffre of the great Anglo-American<br />
firm, ‘‘ you see their letter is marked private, but<br />
I think there is no doubt that they will do so.<br />
In fact, if you saw this letter, you would be sur-<br />
prised.”<br />
<br />
“ Now see the ingratitude of that !’’ exclaimed<br />
Mr. Bayard. “How did they hear of you?<br />
Because we have published your book, and as<br />
that has been a bit of a success, you want to run<br />
off to someone else to get a higher price.”<br />
<br />
“But how was 1 to know that it had been a<br />
success. Has it?”<br />
<br />
«“ Ah! well,” said Mr. Bayard, “it’s a little<br />
early to say that yet.”<br />
<br />
“Tt is,’ agreed the author.<br />
<br />
“But I thought, when I read it, that it had<br />
merit,” said Mr. Bayard.<br />
<br />
« And so you published it—as a favour to me.”<br />
<br />
“That's it. I’ve always felt kindly towards<br />
you since you first came to my office. And now<br />
you want to go to somebody else. Better come to<br />
us, and see if we can’t manage it for you. Now,<br />
let’s see, what is it you want? How long’s the<br />
book?” And Mr. Bayard grinned.<br />
<br />
So the author’s fraud was successful, and ina<br />
few minutes Mr. Bayard opened his cheque book<br />
and wound up the conference.<br />
<br />
“Fifty pounds now,” said he, “‘and another fifty<br />
if I sell ‘more than one edition in the three-volume<br />
form, and a penny in the shilling on all cheaper<br />
issues. No need for an agreement. I’m a man<br />
of my word. And there isn’t another man in<br />
London would have done it for you.”<br />
<br />
“ Don’t cross the cheque,” said the author,<br />
<br />
‘Not another man,” continued Mr. Bayard,<br />
“not another man, before seeing the manuscript.<br />
But I like you, and I like your stories. I can feel<br />
safe about you. I’m sure there’s no beastly<br />
character-analysis, and sociology, and rubbishy<br />
poetry in your book, Stick to good healthy<br />
stories, my lad, with lots of plot, and a happy<br />
ending. They’re business. Here you are, and<br />
uncrossed. Want to cash it at once and spend it<br />
this afternoon, eh? Lightly made, lightly spent,<br />
eh? Ah, improvident! improvident!” Here<br />
Mr. Bayard wagged his head. “ And come to us<br />
first another time when you've anything to sell.<br />
Eh? won't you?”<br />
<br />
”<br />
<br />
“Tm a novelist,” said the fraudulent person to<br />
his wife when he reached home with the cash,<br />
“and [ wish to conform to my knowledge of life.<br />
<br />
<br />
<br />
<br />
284<br />
<br />
<br />
<br />
When people frisk the till, I note that they<br />
always go to B:ighton to spend their ill-gotten<br />
gains. Let us go to Brighton. Are you ashamed<br />
of me?”<br />
<br />
“Not a bit!” said she, stoutly.<br />
<br />
“JT don’t know that I am much ashamed. of<br />
myself,” said he. ‘I’ve sold a book for fifty<br />
pounds that I honestly believe to be worth five<br />
times the money, and I believe that the agree-<br />
ment was dispensed with that I might be robbed<br />
with impunity, if necessary. When those books<br />
come back to my friend Bayard from the book-<br />
sellers, of course he’ll howl, and feel cheated. And<br />
when he finds out what sort of thing he has<br />
bought, he will howl louder. But he’ll shove it<br />
along all the same, and all the merrier, to get his<br />
money back. He won’tlose. If I was not quite<br />
certain that he will know how to avoid that, I<br />
might be more inclined to blush. And, if I know<br />
good work at all, and am not an egotistical ass, I<br />
shall have no bother in placing my next book.<br />
No, I’m not a bit ashamed. I ought to be, but<br />
I’m not. Kiss me, dearest.” O. J.<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
WRITER in the Daily Chronicle of the<br />
A 19th Dec. 1892, asks two questions.<br />
<br />
(1) What voice the 800 and odd mem-<br />
bers have in the election of the chairman of com-<br />
mittee ?<br />
<br />
(2) What the Society is going to do for the<br />
writers who live from hand to mouth, and are<br />
the prey of every sweater ?<br />
<br />
<br />
<br />
The answer to the first question is—‘‘ None.”<br />
The members have no voice at all in the election of<br />
a chairman of committee. In all committees the<br />
chairman is chosen by the committee, unless there<br />
is an official chairman of the company. We have<br />
a president, elected by the council; a council<br />
which elects its own members; a committee<br />
elected by the council; a chairman of committee<br />
elected by the members of the committee. The<br />
government of the Society is distinctly and<br />
frankly oligarchic. Whe her it should continue<br />
so in the future is a question for discussion.<br />
Meantime, in the pursuit of the policy of throwing<br />
light—and more light—always more light—upon<br />
all matters connected with literary property—<br />
which has chiefly occupied the Society up to the<br />
present—the present form of government is, I am<br />
convinced, the best possible. Considering the<br />
<br />
natural ignorance of most members on the whole<br />
subject, the intervention of the vote of those who<br />
<br />
THE AUTHOR.<br />
<br />
had not studied it at all might have been fatal at<br />
the outset. :<br />
2. What will the Society do for those who live<br />
<br />
from hand to mouth, and are, therefore, continu- -<br />
<br />
ally sweated ?<br />
<br />
The writer says that he would like to see a<br />
separate Society formed for their benefit. But<br />
that would only be to shift the burden from one<br />
set of shoulders to another.<br />
<br />
It is, in fact, a dreadful burden. It is the<br />
burden of the needle-woman ; it is the burden of<br />
the tram and ’bus servants; it is the burden of all<br />
labour which is not organised.<br />
<br />
Can we organise, or devise, anything for the<br />
improvement of the position of these writers?<br />
Suppose we had such an organisation. Suppose<br />
we were to inform the committee of the Society<br />
for Promoting Christian Knowledge for instance,<br />
referring them once more to the Author of July<br />
1890, that we will not let our members accept<br />
£12 for a book of which they will sell 6000<br />
copies; can we be sure that some one else, outside<br />
the Society, will not step in and take the money?<br />
<br />
There are two ways of helping the sweated<br />
worker in any branch of labour:<br />
<br />
(1.) The first is to publish everywhere and<br />
continually—to keep harping upon it, so that<br />
people cannot forget it—the treatment to which<br />
he is subjected. In this way public feeling is<br />
awakened and kept alive.<br />
<br />
(2.) The second is to form a union, and to<br />
make everybody in that branch of work feel that<br />
they must join it. But this union must be known<br />
to exist for the sole purpose of ensuring justice and<br />
enforcing honesty.<br />
<br />
Can the Society become the centre of such an<br />
organisation? It could, but as yet, I fear, the<br />
professional spirit is too weak; there is too much<br />
jealousy.<br />
<br />
Perhaps the writer of the letter will put himself<br />
in communication with the editor of this Journal.<br />
<br />
<br />
<br />
——<br />
<br />
There is hope for the great army of the rejected.<br />
There is going to be published from a London<br />
office, a weekly journal—price to be one penny<br />
—which will mainly consist of MSS. that has<br />
been refused by the editors of other journals,<br />
which may yet be worthy of publication.<br />
The rate of pay will be 5s. per column.<br />
It is not much, but for the rejected it will be<br />
some solatium. It is probable that the immense<br />
popularity of the journal will cause all other<br />
editors— or rejectors—to cast themselves from a<br />
high place into the sea,<br />
<br />
<br />
<br />
a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
A correspondent writes: ‘ Why have you not<br />
recorded the fact that Mr. Wilbam Black is at<br />
his best in ‘ Wolfenberg ’—his very best?’ Why<br />
indeed, except that old friends are sometimes<br />
taken for granted. One says, “ Dear me! Here’s<br />
a new man! and he is actually good !” and when<br />
the old friend comes along, one welcomes him<br />
kindly, but makes no remarks. The old friend ? of<br />
course he is good.<br />
<br />
<br />
<br />
Mr. R. B. Marston (Samps -n Low and Co.),<br />
writes to the Times (Dec. 19, 1892) about<br />
American spelling. His firm has brought outa<br />
book in which the language is beautified by<br />
Americanism in spelling. The book is, of course,<br />
printed from plates. Mr. Marston asks why<br />
sixty millions of people should not choose their<br />
own spelling? Why not, indeed ? The question<br />
is, why should not we be suffered to choose our<br />
own spelling? Time was when we all declared<br />
unanimously that we would not tolerate the<br />
American spelling in this country. We shall see<br />
whether that good resolution will hold. Mean-<br />
time, I wonder how many people would unite<br />
in resolving never to buy any book with the<br />
American spelling ?<br />
<br />
Se RNS<br />
<br />
Great is the detective, especially in fiction! So<br />
great is he that a company is now forming for the<br />
express purpose of publishing the detective stories<br />
of a well-known writer in this branch of literature.<br />
The company will also start a sixpenny monthly<br />
to be called Dick Donovan's Journal, in<br />
which the chief feature will be detective stories<br />
told by the editor “ Dick Donovan.” There is to<br />
be a capital of £15,000, in shares of 41 each.<br />
<br />
<br />
<br />
It has been stated in the Pall Mall Gazette<br />
that a powerful association of French novelists<br />
has been formed for the protection of their<br />
interests. One had always supposed that the<br />
Société des Gens des Lettres was protecting the<br />
interests of all French authors. Can it be that<br />
we shall see the formation of separate branches<br />
of literature into separate unions? If so, one<br />
hopes that a central union will be always main-<br />
tained. The grievances of French novelists are<br />
stated to be, (1) that their books are sold at any<br />
price the publishers can get for them; and (2)<br />
that the latter print and sell more volumes than<br />
they account for.<br />
<br />
<br />
<br />
The Authors’ Club, of New York, is going to<br />
raise £5000 or 25,000 dols. for its purposes by a<br />
method which I fear would be impossible<br />
here. They are going to produce a volume<br />
<br />
AUTHOR.<br />
<br />
printed,<br />
style possible.<br />
251 copies.<br />
<br />
illustrated in the<br />
The edition is to be limited to<br />
Tts contents are to consist of contri-<br />
<br />
bound, and<br />
<br />
285<br />
<br />
best<br />
<br />
butions by about a hundred members of the club :<br />
these papers will never be reproduced elsewhere :<br />
<br />
each article in every co<br />
<br />
author.<br />
<br />
yy will be signed by the<br />
Each copy is to be priced at a hundred<br />
<br />
dollars, but the committee reserve the right of<br />
raising the price after the first hundred copies<br />
<br />
have been subscribed.<br />
<br />
Lastly, the MSS. are to<br />
<br />
be bound up in two or more volumes and sold to<br />
<br />
the highest bidder.<br />
following :<br />
<br />
Henry Abbey<br />
Felix Adler<br />
Henry M. Alden<br />
O. Cyrus Auringer<br />
Marian Benjamin<br />
Poultney Bigelow<br />
James Thompson Bixby<br />
Hjalmar Hjorth Boyesen<br />
Alexander Black<br />
John H. Boner<br />
Arthur Elmore Borthwick<br />
R. R. Bowker<br />
<br />
J. H. Bridge<br />
<br />
E. 8S. Brooks<br />
Noah Brooks<br />
<br />
W. M. Butler<br />
William Carey<br />
William Carleton<br />
Andrew Carnegie<br />
W. H. Carpenter<br />
Edward Cary<br />
<br />
J. D. Champlin<br />
L. V. Cheney<br />
<br />
W. C. Church<br />
<br />
“ Mark Twain”<br />
T. M. Cann<br />
<br />
A. J. Conant<br />
<br />
M. D. Antony<br />
<br />
T. L, De Vihne<br />
M. F. Egan<br />
<br />
i. Eggleston.<br />
<br />
G, C. Eggleston<br />
H. R. Elliot<br />
<br />
G. W. Elwanger<br />
W. D. Foulke<br />
<br />
H. Frederick<br />
<br />
W. H. Gibson<br />
<br />
R. W. Gilder<br />
<br />
D. C. Gilman<br />
Parke Godwin<br />
<br />
A. 8. Hardy<br />
<br />
H. Harland<br />
<br />
John Hay<br />
<br />
W. T. Henderson<br />
R. Hitchcock<br />
<br />
W. D. Howells<br />
Brinson Howard<br />
Lawrence Hulton<br />
Rossiter Johnson<br />
C. A. Kay<br />
<br />
W. L. Keese<br />
J.B. Kenyon<br />
<br />
Among the authors are the<br />
<br />
Leonard Kip<br />
<br />
J. Kirkland<br />
<br />
T. W. Knox<br />
H. E. Krehbill<br />
Seth Low<br />
<br />
W. Marned<br />
<br />
C. Lewis<br />
<br />
G. P. Lathrop<br />
Percival Lowell<br />
J. M. Ludlow<br />
H. W. Mabie<br />
A. Mathews<br />
Brander Matthews<br />
W.S. Mayo<br />
Theodore H. Mead<br />
E. W. Moore<br />
J. H. Morie<br />
<br />
C. L. Norton<br />
E. W. Nye<br />
<br />
B. F. O’Connor<br />
D. Osborne<br />
<br />
C. H. Phelps<br />
G. E. Pond<br />
<br />
H. Porter<br />
<br />
O. L. Proudfit<br />
G. L. Raymond<br />
T. Roosevelt<br />
Jonah Royce<br />
C. Scollard<br />
<br />
H. Q. Scudder<br />
R. H. Stoddard<br />
H. Seely<br />
<br />
J. L. Spalding<br />
M. Smith<br />
<br />
BH. C. Stedman<br />
W. J. Stillwall<br />
F.R. Stockton<br />
F. H. Stoddard<br />
O. 8. Straus<br />
<br />
S. H. Thayer<br />
D. G. Thompson<br />
H. Vandyke<br />
<br />
J. C. Vandyke<br />
E. 8. Van Zill<br />
W.S. Walsh<br />
W. H. Ward<br />
G. H. Waring<br />
C. D, Warner<br />
C. H. Webb<br />
<br />
C. G. Whiting<br />
F. H. Williams<br />
<br />
What would happen if, by such a method, our<br />
<br />
<br />
286<br />
<br />
Authors’ Club were to try to raise £5000? Unless<br />
one is greatly mistaken, even with the help of the<br />
best hundred men of thisrealm of Great Britain<br />
and Ireland, the answer of the public would be<br />
that, for the MSS. they cared nothing, and<br />
for the things themselves they were content to<br />
wait until the papers appeared in the sixpenny<br />
magazines.<br />
<br />
<<<br />
<br />
A copy of the New York Times (Nov. 27, 1892)<br />
has been sent to me because it contains a curiously<br />
ignorant attack on this Society. It speaks of the<br />
Society’s “eager determination to secure better<br />
payment for all writing, good, bad, and indiffe-<br />
ent alike.” Now, the Society has never for one<br />
moment purposed or endeavoured to secure<br />
“better payment” for anybody, good or bad.<br />
The slightest acquaintance with the objects and<br />
work of the Society is enough to show that the<br />
question of “better payment” does not concern<br />
us at all. Our object is to ensure fair and<br />
equitable agreements—fair to both sides. The<br />
writer goes on to point out the dreadful results<br />
caused by our abominable work. Foremost among<br />
these results is a calculated estimate of 70,000 (!)<br />
MSS. of novels submitted every year to publishers.<br />
<br />
The figures appear to be reached by multiplying<br />
2400, the number stated by a certain publisher<br />
to be annually submitted to him, by three and<br />
subtracting 2000—one knows not why. But is it<br />
the case that 2400 MS. novels are annually sub-<br />
<br />
mitted to any firm of publishers? From my<br />
own experience, and the evidence of publishers, I<br />
should say 300 was a figure nearer the mark.<br />
Now we print the paper again: “Surely it<br />
has only leaped to these terrible proportions<br />
since the trades-union notion was engrafted upon<br />
literature, and the idea was sown broadcast that<br />
everyone who was at the pains to write was some-<br />
how entitled to be paid something by somebody,<br />
and need only join an association to enforce that<br />
right.” Yes! But who has sown broadcast that<br />
idea? And what words ever uttered in any organ<br />
of our Society encouraged anybody to believe<br />
that he need only to write in order to get paid ?<br />
In these days of rapid journalism, when a volume<br />
has got to be filled somehow, the temptation is<br />
always pressing to set down things on report.<br />
But surely this writer might have perceived, with<br />
a moment’s reflection, that it was simply silly to<br />
credit the Society of Authors with anything so<br />
<br />
preposterous. Will he only be so very kind as to<br />
read our papers ?<br />
<br />
A correspondent calls attention to a curious<br />
point in minor morals. It is this: Mr. Thomas<br />
Hardy has long since applied for purposes of<br />
<br />
THE AUTHOR.<br />
<br />
fiction, and used in all his novels, the name of<br />
Wessex for certain districts which once formed<br />
part of the ancient kingdom of Wessex. Thus<br />
Dorsetshire in his books is South Wessex; Berk-<br />
shire is North Wessex ; Hants is Upper Wessex;<br />
and Dorsetshire is Lower Wessex. Again, his<br />
novels are always Tales of Wessex. Has any<br />
other person, then, the right to appropriate these<br />
names? ‘The correspon ent asks these questions<br />
apropos of a novel called ‘ Dark,’’ which was<br />
mentioned in the last number of the Author.<br />
Dark lived in a “typical North Wessex cottage,”<br />
Afterwards mention is made of a Berkshire farm,<br />
so that Mr. Hardy’s nomenclature is clearly<br />
intended and adopted. Is this quite fair?<br />
<br />
A correspondent calls attention to a paper<br />
published in the Western Daily Mercury, of<br />
which he gives a résumé. It is the old story,<br />
only rather more amusing. Those ladies who<br />
answer firms advertising for MSS. may take<br />
note.<br />
<br />
There are nine letters.<br />
<br />
Letters 1 and 2.— ‘Reader has reported<br />
favourably.” This reader always does. ‘ Pub-<br />
lishers are willing to undertake publication on<br />
‘favourable terms.’’’ These publishers always<br />
are. Said ‘favourable terms,” that the lady is<br />
to pay £100 down and £60 on seeing the last<br />
proofs ; that they are to produce an edition of<br />
500 copies of the novel in three vols. at 315. 6d.,<br />
and that the author is to have three-fourths of<br />
proceeds.<br />
<br />
Let us see. The novel would cost to produce<br />
about £120, without advertisement. Clear profit<br />
to the publisher of £40, without the sale of a single<br />
copy. The question of advertisements is left<br />
open. Obviously the author is intended to pay<br />
for them. Say she is charged £25 at a moderate<br />
estimate, and £5 for corrections. She pays,<br />
therefore, £190.<br />
<br />
If, say, 400 copies are sold at 13s. 6d. each,<br />
the sum realised would be £270; the author<br />
would receive £200; gain £10. The publisher<br />
would net about £130. Very good business, this.<br />
<br />
Letter 3.—In this they nobly reduced the pay- —<br />
ment to £120, Refused.<br />
<br />
Letter 4,—A new and brilliant idea. Author<br />
is to send up £5 15s., in return for which she is -<br />
to have 1000 circulars. She is to distribute them, —<br />
and as soon as she has got 75 subscribers at<br />
31s. 6d. they will go on.<br />
<br />
As no one could possibly get 75 subscribers at —<br />
that absurd price, the idea seems to be limited<br />
to getting a profit on printing the circular.<br />
<br />
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THE AUTHOR.<br />
<br />
Letters 5 and 6.—A reduction to £3 15s. for<br />
the circular.<br />
<br />
7,—Further argument.<br />
<br />
8,—Harking back to the advance of £80, and<br />
payment of £40 on seeing proofs.<br />
<br />
g and 10.—Repetition.<br />
<br />
The MS. has at last been returned to the lady.<br />
<br />
<br />
<br />
The calamity which has befallen William<br />
Watson is one that all of us must deeply deplore.<br />
We can only express, in the name of every one of<br />
us, our most earnest hope that he will be restored<br />
to the world, his faculties revived and his<br />
genius undimmed, very shortly.<br />
<br />
$e<br />
<br />
A new fashion is beginning—a fashion which<br />
promises to last long and to bring about many<br />
useful things, especially a demand for clear<br />
thought and dramatic presentation. JI mean the<br />
duologues or proverbes, or little dramas of two<br />
columns or so that some of the papers are now<br />
producing. For instance, in the Court Circular<br />
of Dec. 3—a paper which I seldom see, because<br />
neither my ways nor my friends are courtly—I<br />
found a most beautiful little duologue called<br />
“ Merely Players.”’ It is signed by “ Clara Savile<br />
Clarke.’ Nothing could be better or more telling.<br />
How much better is a short crisp little dramatic<br />
sketch, with a long and strong story imagined,<br />
than long columns of description with a short and<br />
weak story presented. Let us prophesy. The<br />
fashion for dramatic sketches will be followed by<br />
the power to produce them. That power will be<br />
followed by the power to produce plays. There<br />
are immense possibilities in the dramatic sketch.<br />
<br />
<< —<br />
<br />
The Critie contains a most tragic story of the<br />
late P. S. Gilmore, who died in Boston last<br />
month. He was, among other things, a com-<br />
poser of music, and he ardently longed to com-<br />
pose a national anthem which would take the<br />
place of “Hail Columbia” and the other well-<br />
known American National Anthem. He did<br />
compose that anthem—he called it ‘* Columbia ”’—<br />
and this is what he wrote about it :<br />
<br />
To be simply honest with you, I believe the Almighty has<br />
made me the humble messenger of the grandest national<br />
anthem, music and words, ever bestowed upon a people.<br />
You know the warmth of my enthusiasm when I am on fire ;<br />
but, great as the mountains were to climb in our jubilee<br />
days, it was a tremendous mental and physical strain to<br />
bring what would seem air castles to terra firma. The con-<br />
centrated essence, the germ, the diamond of a life’s Hercu-<br />
lean labour in the vineyard of music, has now taken the<br />
shape of an anthem for the nation. When you read the<br />
words you will see how the history of the nation is packed<br />
<br />
into forty lines, with a prayer added. It was born without<br />
a struggle, for it was the body coming forth to clothe the<br />
moral soul—the music, which came first into the world un-<br />
sought for, without an effort. In the early stages of the<br />
war I wrote a song for the nation, but the music was not<br />
heaven-born and consequently it pinedaway. Whatever may<br />
be said, of one thing I am satisfied, that a national song<br />
should be deduced from its history, and when you hear its<br />
music it will take instantaneous lodgment in your heart.<br />
May God bless you allis the heartfelt wish and prayer of<br />
yours truly and sincerely, P. 8. Gilmore.<br />
<br />
And yet, alas! the hymn was a failure.<br />
<br />
<br />
<br />
In the announcements of new books given in a<br />
certain number of the New York Critic it is<br />
interesting to notice that by Americ+n authors<br />
there are fourteen, by English authors there are<br />
thirteen, one French, one German, and one<br />
Dutch. In the list of ‘ Publications Received ”<br />
there are twenty-five English writers and twenty-<br />
three American. ‘These numbers, compared with<br />
those published in the Author a year ago, show<br />
a great increase in the proportion of American to<br />
British authors. This increase is bound to con-<br />
tinue if only on account of the International<br />
Copyright Act, whose first result must be the<br />
development of native American literature.<br />
<br />
A correspondent objects to the sweeping de-<br />
nunciation of the publications of the S.P.C.K.,<br />
quoted in the last number of the Author. But it<br />
was quoted as an opinion from a friendly quarter,<br />
not as our own opinion. Speaking for myself, I<br />
have constantly, in my most friendly remarks on<br />
that venerable and truly religious body, called<br />
attention to the dainty and delicate work given to<br />
the world by some of the ladies who have the<br />
great good fortune to write for it, and who love<br />
and venerate the large souled »nd honourable<br />
committee, and pray for them daily. It is the<br />
true spirit of living Religion that I have pointed<br />
out for admirition in the committee of the<br />
S.P.C.K —not the nature of the work that they<br />
produce.<br />
<br />
We have frequently advocated in these pages<br />
the employment of a literary agent by those<br />
authors who have already created some kind of<br />
public. We have to adda caution, of the greatest<br />
importance, against going to any agent not recom-<br />
mended by tbis Society, or by some personal<br />
friends who have had experience of his capability.<br />
Tt will easily be understood that a so-called agent<br />
may, if he be dishonest, serve only as another<br />
<br />
trap and danger for the wrecking of the author,<br />
5 Dp<br />
<br />
<br />
<br />
<br />
288 THE<br />
<br />
If the following is true, why do we not all turn<br />
publishers? For that matter a great many of us<br />
are crowding into the profession.<br />
<br />
ARTNERSHIP.— £2000 will secure share in high-class<br />
publishing business, active or sleeping. Above amount<br />
will return 30 per cent. per annum without risk. The<br />
business will stand the most searching inquiry, and only the<br />
highest references will be accepted and given.— Principals<br />
or their solicitors may address, in the first instance.<br />
London.<br />
An income of £600 a year, without risk, on the<br />
investment of £2000, and “active or sleeping” !<br />
<br />
<br />
<br />
There have been certain literary forgeries of just<br />
the old-fashioned kind in Edinburgh. The<br />
following is an account which recently appeared<br />
iu the Times :—<br />
<br />
In May, 1891, an Edinburgh collector had a public sale<br />
of his treasures, the most remarkable feature of which was<br />
the very low prices which they brought. In August last<br />
this same collector was rash enough to send to an Ayrshire<br />
paper copies of two autograph poems of Robert Burns, the<br />
originals of which he declared to have been in his possession<br />
for twenty-five years, and which had never been printed.<br />
One of these poems was entitled the ‘Poor Man’s Prayer,”<br />
and in the course of it Chatham was appealed to. The<br />
collector expressed the opinion that no one could read the<br />
verses without being convinced that they were the pro-<br />
duction of the national bard. I quote three of the verses in<br />
order that the ordinary reader, to say nothing of the<br />
literary critic, may be able to judge of the kind of stuff<br />
that is described as worthy of Robert Burns :<br />
<br />
Tur Poor Man’s PRAYER.<br />
Amidst the more important toils of state,<br />
The counsels labouring in thy patriot soil ;<br />
Though Europe from thy voice expect her fate,<br />
And thy keen glance extend from pole to pole,<br />
<br />
O Chatham, nursed in ancient virtue’s lore,<br />
<br />
To these sad strains incline a favouring ear,<br />
Think on the God whom thou and I adore,<br />
<br />
Nor turn unpitying from the poor man’s prayer.<br />
While I, contented with my homely cheer,<br />
<br />
Saw round my knees our prattling children play.<br />
And oft with pleased attention sat to hear,<br />
<br />
The little history of their idle day.<br />
<br />
But this is not merely a question of judgment; it is a<br />
question of fact. For Mr. George Stronach, one of the<br />
librarians of the Advocates’ Library, Edinburgh, has found,<br />
not only these verses, but a great many more of the same<br />
stamp, printed in the London Magazine for 1766. The<br />
verses are there described as “Hxtracts from‘ The Poor<br />
Man’s Prayer,’ addressed to the Earl of Chatham ; by Simon<br />
Hedge, labourer.” It might, of course, be argued that<br />
“ Simon Hedge” was a nom de plume of Robert Burns; but,<br />
unfortunately for this supposition, Burns was in 1766 a boy<br />
of seven years, and the notion of his “prattling children”<br />
playing round his knees at that ageis too absurd to need<br />
refutation. This discovery has giventhe coup de grace to the<br />
whole scheme of forgeries. With this failure all the other<br />
impostures of the same set necessarily assumes the same<br />
character.<br />
<br />
Water Busan.<br />
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AUTHOR.<br />
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<br />
ETHICS OF CRITICISM,<br />
<br />
SS<br />
<br />
HE following notes arefrom a paper by Dr.<br />
A. Conan Doyle, published in the Morning<br />
Leader of Dec. 21:<br />
<br />
To review a book without having read it. as in the case of<br />
the reviewer who described Barrie’s “ Auld Lichts” asa<br />
volume of “very tolerable poetry,” is not criticism. It is<br />
obtaining money under false pretences.<br />
<br />
To review a book without cutting the leaves, by dipping<br />
into it here and there is not criticism. It is laziness.<br />
<br />
To review a book by writing a paragraph which repro-<br />
duces the plot of the book is not criticism. It is petty<br />
larceny.<br />
<br />
To hold a brief against a book, and to review it by pick-<br />
ing out every weak passage, and holding it up to ridicule<br />
without a word upon the other side, is not criticism. It is<br />
an aggravated assault.<br />
<br />
To review a book anonymously in several papers, so that<br />
it appears that all these papers have independently come<br />
to a conclusion, when really it is only one man who has<br />
done so, is not criticism. It is impersonation.<br />
<br />
But, in spite of all drawbacks, our critical Press is, I<br />
think, better than any other critical Press ; and if a man is<br />
blamed where he does not deserve it now and then, it is<br />
morally certain that he will also be praised where he does<br />
not deserve it occasionally; and so the balance is re-<br />
adjusted.<br />
<br />
A. Conan Doyur.<br />
<br />
coi aa<br />
<br />
<br />
<br />
AUTHORS, PUBLISHERS, AND REVIEWERS.<br />
<br />
———— ><br />
<br />
NHE results of some years’ experience in<br />
authorship and reviewing have led me to<br />
the following conclusions:<br />
<br />
It is not in any case advisable for a young<br />
author to leave the fate of a book entirely m the<br />
hands of a publisher. In the case of a book<br />
published on commission, such blind belief in the<br />
omniscient goodness of a publisher is fatal. In<br />
1885 I paid for the production of 775 copies of a<br />
costly genealogical work. I have since ascer-—<br />
tained that several copies charged to me by the<br />
printer as copies sent for review were lost, and _<br />
five copies described as “library copies,” sent im _<br />
accordance with the Copyright Act, were lost<br />
also. In order to procure a belated notice in—<br />
two important magazines, I was obliged to send —<br />
second copies.<br />
<br />
Curious discoveries are frequently made by an<br />
author under process of review. ‘‘ The familia:<br />
friend whom he trusted” may appear in a new<br />
light, and the cloud which he dreaded may<br />
‘burst in blessing.” The first and hardest hr<br />
I ever had from a reviewer came from one who<br />
had received a favour from me, and the kindlies<br />
ereetings were sent from sources altogethe<br />
unknown to me. One reviewer, who had not<br />
<br />
<br />
<br />
<br />
<br />
<br />
ty<br />
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<br />
<br />
<br />
<br />
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<br />
THe AUTHOR.<br />
<br />
received a copy, and could not obtain one on loan,<br />
was good enough to purchase the book for the<br />
purpose of annihilating it entirely in two columns<br />
of a sectarian newspaper. Unconsciously he did<br />
me a good turn. So did the Russian Scrutator.<br />
<br />
One book cost me £170 and three years’ hard<br />
labour, besides the labour of an assistant.<br />
Another book cost me £40, and no labour at all.<br />
The British public selected the last as the most<br />
valuable.<br />
<br />
It requires experience to be able to send out<br />
copies for review, and to compose and distribute<br />
advertisements judiciously, and when such experi-<br />
ence has been gained, the work is best done by<br />
the author—at least, that is my experience. As<br />
a reviewer IL know that I take more interest in a<br />
book sent directly to me with a little note from<br />
the author (which note is often an interesting<br />
reyelation of character) than I am apt to do if<br />
the same book arrives among a pile of others<br />
from the publisher.<br />
<br />
In the case of my third book, out of fifty<br />
copies sent for review, I obtained twenty-three<br />
reviews, and in addition to these, [ received seven<br />
notices from papers to which no review copies<br />
had been sent. Probably other notices appeared<br />
which I did not see, as my experience proves that<br />
even the eagle eye of a Press Cutting Agency<br />
has only a limited vision.<br />
<br />
I once obtained a most remarkable opportunity<br />
of blowing my own trumpet. The editor of a<br />
provincial weekly wrote to say that, as my book<br />
possessed a strong local interest, and he could<br />
not possibly find time to read it, would I kindly<br />
review it myself—any space up to a column and<br />
a half was at my disposal, and would I advertise<br />
in his paper? I passed the letter toa friendly<br />
reviewer, whose trumpet gave no uncertain<br />
sound. He produced the column and a half,<br />
and I advertised in the journal of that particular<br />
<br />
editor. He was a good fellow, a sound Tory,<br />
and an excellent judge of champagne and<br />
cigars,<br />
<br />
Publishers keep a list of papers 10 which they<br />
send copies of books for review. This list is not<br />
elastic. Like the laws of the Medes and Persians,<br />
it altereth not.<br />
<br />
A prominent publisher recently published a<br />
book in which 1 felt some interest. A few days<br />
after the usual allowance of review copies had<br />
been distributed, I wrote to the publisher stating<br />
that the author was a personal friend of mine,<br />
that I was reviewing for the principal provincial<br />
daily in a district where the author was well<br />
known, and that if a copy of the book were sent<br />
to me, I would give some space to it. No notice<br />
whatever was taken of my offer. As my object<br />
in reviewing is to give my readers a brief account<br />
<br />
289<br />
<br />
of all works of merit as they appear, I usually<br />
contrive to read them, whether the publishers<br />
send them to me or not. I, therefore, read and<br />
reviewed this particular book in spite of the<br />
publisher’s discourtesy. Naturally copies of the<br />
work were vouchsafed to certain editors, who<br />
acknowledged the receipt by the barest possible<br />
mention of the book, and such copies might as<br />
well have been thrown into the sea. :<br />
<br />
The fact is, most publishers provide for reviews<br />
by a hard and fast line, from which they will not<br />
swerve an inch, Therefore it behoves young<br />
authors to stand guard over their own reputation,<br />
and if they get the chance of a good review let<br />
tbem see that the chance is not sacrificed by the<br />
density of the middle man.<br />
<br />
The notion that an editor has no right to<br />
criticise a book which has not been sent directly<br />
to him for the purpose of review is preposterous.<br />
Every intelligent editor owes it to his readers to<br />
keep them properly posted up in current litera-<br />
ture, and to discrimimate for them between the<br />
good and the bad in the world of books.<br />
Hundreds of books are reviewed in this way<br />
every week, and will continue to be so reviewed, to<br />
the very great advantage of authors, publishers,<br />
and the public generally.<br />
<br />
A published book is public property, and any<br />
attempt to boycott the liberty of the press in<br />
reviewing, whether made by author or publisher,<br />
is certainly made too late in the day.<br />
<br />
With respect to advertising, I may say that a<br />
single illustrated quarter-page advertisement in a<br />
good magazine sold fifty copies of one of my<br />
books, whilst I spent £25 in small advertise-<br />
ments hidden away among the holes and corners<br />
of newspapers having the “ largest circulation in<br />
the world,’ such advertisements having no<br />
appreciable effect whatever on the sale of the<br />
book. In fact, I might just as well have given<br />
my £25 to the blind.<br />
<br />
T consider that the farming of advertisements<br />
by publishers is a mistake. They debit your<br />
account with £25 or £50 for advertisements<br />
without stating when or where these advertise-<br />
ments appeared. They contract for so much<br />
space, and your advertisement will have to be<br />
packed, with perhaps a score of others, into this<br />
space. The review quotations will be hanged,<br />
drawn, and quartered. Sometimes you will have<br />
half-a-dozen quotations, sometimes you will have<br />
<br />
none. ‘There will be continual changings and<br />
choppings. You may complain, and the gentle-<br />
<br />
man who farms the advertisements will “ much<br />
regret, but really the pressure on our space, &c.”<br />
Two of my books—a volume of sermons and a<br />
volume of humorous reminiscences—were adver-<br />
tised together. The review quotations executed<br />
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290<br />
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a flying leap from one book to the other, and a<br />
grave and reverend reviewer was made to declare<br />
that the sermons were ‘“ vastly amusing.”<br />
<br />
Well, accidents will happen. One thing, how-<br />
ever, is certain. You will have to pay the piper,<br />
pipe he never so sadly. You will have to settle<br />
the bill, whether the work has been done well or<br />
ill. Mistakes are certain to be made, but it is<br />
not equally certain that they will be made in your<br />
favour. What is worth doing at all is worth<br />
doing well, and my experience teaches me that if<br />
you want a thing done well it is often advisable<br />
<br />
<br />
<br />
to do it yourself. Ho JS<br />
oc<br />
CORRESPONDENCE.<br />
I.<br />
A Lirrte Omnium GatHERuM FoR THE NEw<br />
YEAR.<br />
<br />
ILL you allow me to suggest, a little<br />
roughly, some few points for the con-<br />
sideration of your readers ?<br />
<br />
Books Wanted.—A short but comprehensive<br />
index to such letters as MA, F.RS., P.C.,<br />
LL.D., D.C.}., and so on—An unbiassed com-<br />
parison of Bimetallism with Monometallism—A<br />
short history of the Free Trade Controversy—An<br />
annotated and comparative edition of the Con-<br />
fessions of St. Augustine, the Thoughts of<br />
Marcus Aurelius, and the Confessions of Ros-<br />
seau—A. Life of Jay Gould, with an estimate of<br />
his moral character—Lives of the Laureates,<br />
from Chaucer to Tennyson, with a poem of each—<br />
The history and morality of gambling, with special<br />
reference to the views of the late Archbishop of<br />
York upon the subjects.<br />
<br />
Biographies—Let there be always an index ;<br />
let the biography in no case exceed one volume, and<br />
let the letters be very carefully weeded and placed<br />
in an appendix by themselve-, the text consisting<br />
of asummary of the life, including the letters.<br />
If here and there a letter is so important as to<br />
justify its beg printed in the text, let it be<br />
printed in small type.<br />
<br />
Suggestions to Editors.—In no case should the<br />
notes be allowed to choke the text. Full tables<br />
of contents should be placed at the beginning of<br />
each chapter, and the table of contents at the<br />
beginning of the book should Le a very short one<br />
—perhaps not more than a page, to give a bird’s<br />
eye view of the whole.<br />
<br />
Shakespeare’s ‘‘ Neece.”—How is it that Eliza-<br />
beth Hall, Shakespeare’s grand-daughter, is<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
described in Shakespeare’s will as his neece?<br />
Neither Dyce nor Hazlitt (both of whom print<br />
the will) notice this curious point. Has Lady<br />
Barnard’s will been sufficiently examined? This<br />
might make a good subject for a short article,<br />
<br />
Tennysoniana.—How is it that “ Timbuctoo ”<br />
is not obtainable ?<br />
<br />
Contents Tables; Machine-cut Pages; Prices<br />
and Dates of Books.—Surely every newspaper<br />
should have a paged table of contents on its first<br />
page or outside cover, as the Spectator, Saturday<br />
Review, and some others (the Author included)<br />
have. Surely, too, the pages of newspapers should<br />
be machine-cut in every case, and books and<br />
magazines ought to be issued with machine-cut<br />
pages also. Last, though not least, every book<br />
should have its price printed on its cover, and its<br />
date (as is usual) on the title page.<br />
<br />
Obscurity of Language.—So many great men<br />
have clothed their thoughts in obscure language,<br />
that we are running some risk of obscurity of<br />
language being considered of itself a mark of<br />
greatness, whereas, in my humble opinion, it is<br />
quite the reverse.<br />
<br />
Expressions of which we have had enough.—<br />
“Passing Away” or “ Joiniug the Majority ” as<br />
a substitute for “ Dying.” “Singer” as another<br />
name for a poet. ‘‘ Galore,” except occasionally.<br />
<br />
Reviewing.—An author should never solicit a<br />
review. A reviewer should always quote from<br />
the preface, and state the price of the book<br />
reviewed. It is worth considering whether the<br />
return of an unreviewed book should not be<br />
claimed. The author should not know by whom<br />
he is reviewed.<br />
<br />
Presentation Copies.—If sent to strangers, an<br />
acknowledgment should not be considered as a<br />
due. The copies should be sparingly sent—even<br />
to friends. ‘The risk of coming across them uncut<br />
is a great risk to run. J. M. Lexy.<br />
<br />
——————<br />
<br />
I.<br />
‘* ReLIgious” Firs.<br />
<br />
I must write to thank you for drawing —<br />
attention to firms and societies of “religious”<br />
publishers grinding the faces of authoresses of<br />
books, which go some way towards making the<br />
fortunes of such firms, who make a great favour<br />
of pay ng £20 or £30 for “ copyrights and all<br />
rights” of a work calculated to realise £400 or<br />
£500. I have sold several MSS. under these<br />
very conditions. The last I agreed to write on<br />
given subjects, which took me months to prepare,<br />
for £25. ‘he book is now published at 3s. 6d.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
The publisher said he had never given so much<br />
for its compauion volumes published previously,<br />
and when I say that even this small sum stretches<br />
over eighteen months’ credit, you may imagine<br />
what good it has done me.<br />
<br />
I know the fault les in agreeing to such terms,<br />
but with hungry faces around, dry bread is better<br />
than nothing. I most earnestly wish we could<br />
manage these things better, as one tastes little<br />
of the “sweet bliss of providing ” under distressing<br />
circumstances. Itis no consolation to me, writing<br />
amid the wrecks of a once comfortable, if not<br />
luxurious, home, to know that my books sell in<br />
America and Australia, that they are beautifully<br />
got up, &c., while I and those dear to me are<br />
actually starving. (You know the tramp said it<br />
was no sort 0’ satisfaction to be chawed up by a<br />
fust-class dog.) I should think it a paradise to<br />
get a house to take care of, as suggested last<br />
week by you; or to live in a lodge or country<br />
cottage, where, as my little girl says, “ she could<br />
pick real daisies and see blue sky.’’ It is the<br />
height of my ambition to get the three acres and<br />
a cow, or a poultry farm to supplement my<br />
meagre earnings, or to enable me to stand out for<br />
better prices for my MSS.<br />
<br />
I cannot sew cleverly, and to teach is impossible<br />
in these days of free education ; neither could I<br />
earn auy more at grinding pen points than Frank<br />
Stockton’s unpopular journalist, if I tried that<br />
experiment. A Scripstine Moruer.<br />
<br />
Despair-street, Nov. 26, 1892.<br />
<br />
TEL,<br />
Scante Pay.<br />
<br />
When you headed Mr. Charles King’s letter<br />
“A suggestion and something more,’ I hope you<br />
designed to hint that the idea of publishing ‘in<br />
the Author the rate of pay of every journal in<br />
the kingdom,” struck you as well worth considera-<br />
tion. If you would like to have the opinions of<br />
those interested, allow me to express the warmest<br />
approval. I write very little in periodicals with<br />
which Iam unacquainted ; but in three instances<br />
Ihave received payments so small—by comparison<br />
with the importance and repute of the paper—<br />
that they dwell in my memory with unholy 1an-<br />
cour. I cannot suppose that the sum paid to me<br />
was less than is usual. But, if authorities and<br />
personages are content to write for such pay, the<br />
fact should be made known in order that profes-<br />
sional littérateurs may not be tempted to waste<br />
their time under a misapprehension caused by those<br />
names, or by the standing of the periodical. The<br />
owner, if honest—as is not to be questioned—<br />
<br />
291<br />
<br />
could not object. It is no disgrace to a man if<br />
he cannot afford to pay as much as people expect<br />
of him. But for all that, I consider myself<br />
badiy “done” in two of those three in-tances.<br />
In the third case I complained, and by return of<br />
post came an additional 50 per cent., or nearly,<br />
with a letter of warm appreciatiun. But I am<br />
to suppose that the first cheque represented the<br />
normal scale of payment. Let those scales be<br />
published therefore, and the pages of the Author<br />
are the fitting place. iB.<br />
<br />
LV.<br />
Tue HeorisricAaL AMATEUR.<br />
<br />
I read with feelings of considerable satisfaction<br />
“M. L. P.’s” indictment of the “ egotistical<br />
amateur.” He isan individual from whom I too<br />
have suffered, and whom I have longed desired to<br />
see pilloried in the Author. But the egotistical<br />
amateur is not the only adverse force with which<br />
bond fide knights of the pen have to contend.<br />
There is the “ lady of title,” whose aid it would<br />
appear is absolutely necessary to insure the suc-<br />
cessful floating of a new magazine. It may be<br />
said she is included inthe “ H. A.’s,” who bestow<br />
their wares gratuitously upon the needy editors ;<br />
but this is erroneous, judging from the following<br />
anecdote, given to me on the best possible autho-<br />
rity. A lady of title and means, well known in<br />
the religious and philanthropic world, entered a<br />
small publishing office not a hundred miles trom<br />
St. Paul’s, and, requesting an interview with the<br />
proprietor, offered to compile a certain small book<br />
for the sum of £20. Her offer was declined,<br />
there not being £5 worth of honest work in the<br />
whole affair, and the publisher, unlike others of<br />
his kind, apparently not considering her title<br />
worth the remainder. Now, Ido not wish to say<br />
a word against titled and wealthy ladies writing<br />
upon special subjects with which they are specially<br />
acquainted, and being paid for it—if they choose ;<br />
but why should they trade upon their name and<br />
title, as in the case cited, to do work which scores<br />
of women who write for a living would do equally<br />
well, if not better, for half the money they<br />
demand? That the sums “earned” by these<br />
ladies are expended in charity, as 1 have heard<br />
asserted in their defence, is no justification. It<br />
is but “robbing Peter to pay Paul,” and ‘ Paul,”<br />
some of us think, has had a pretty good run, and<br />
itis time the claims of ‘ Peter” received con-<br />
sideration. EK. H.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
NE<br />
<br />
PusiisHers’ AGREEMENTS.<br />
<br />
1. Anold and respectable firm agreed to publish<br />
a book for me, I paying costs, and they giving<br />
me 40 per cent. of the gross returns. Their<br />
estimate was higher than that furnished to me by<br />
the Secretary; still he thought their offer not<br />
bad, and the said estimate would be binding as an<br />
agreement, if [had it stamped. It was a very<br />
informal little document, and, as it expressly<br />
called itself, merely “approximate.” I did not<br />
see how it could be binding. It was not signed<br />
by either party. I did not have it stamped, and<br />
when the accounts came in, I found that the<br />
publishers certainly had not considered it binding,<br />
as they had allowed me 50 per cent. instead of<br />
the 40 per cent. agreed upon. I called their<br />
attention to the fact, thinking it might be an<br />
oversight, but they said they found themselves<br />
able with such books to allow 50 per cent.<br />
<br />
2. I was remodelling an MS. by the advice of<br />
a publisher, who was interesting himself much in<br />
the matter, and going in largely for illustrations ;<br />
but nothing had been said about terms. I did<br />
not intend to take any share in the expense, but,<br />
that there might be no doubt upon the subject,<br />
I wrote and said so. In reply, the manager said<br />
that his firm were prepared to publish at their<br />
own cost, giving me half profits. I expected to<br />
have a formal agreement sent me for signature,<br />
as I had had before, from the same firm, but<br />
none came. By the time I found that none<br />
was coming, it was too late to have the letter<br />
stamped.<br />
<br />
I do not mistrust these publishers, but in<br />
neither case do they seem to me as businesslike<br />
as is desirable. In the case of the first firm,<br />
there have been sundry mistakes in their<br />
accounts, now in my favour, now in their own;<br />
pure mistakes, I quite believe, but not the more<br />
satisfactory for that.<br />
<br />
[ think it would be desirable, if it could be, to<br />
have a recognised form of agreement adopted by<br />
all; one, too, in which it should be distinctly<br />
stated whether copyright is assigned or not. At<br />
present an author seems to lose his copyright<br />
whenever the publisher undertakes the cost of<br />
production, even though the word be not<br />
mentioned in the agreement.<br />
<br />
To whom does the copyright of my second<br />
book belong ?<br />
<br />
I have not signed anything, so I do not know<br />
how I can have assigned it, unless silence gives<br />
consent. :<br />
<br />
Is it just that copyrights should form part of<br />
the assets of a bankrupt publisher ?<br />
<br />
Some of the books of a late popular writer<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
were published by a firm which became bankrupt.<br />
They were books in steady demand, bringing in a<br />
regular income, as they probably do still ; but<br />
when the firm failed the copyrights were sold<br />
with the rest of their property, and the author<br />
received, and apparently could claim, nothing<br />
more.<br />
<br />
This is what I was told, and I know his family<br />
were left very poorly off, though his books must<br />
still be producing an income for somebody.<br />
<br />
Surely, if copyright is sold in this way, the<br />
author’s rights should be safeguarded in some<br />
way, as he certainly did not assign it uncondition-<br />
ally, but on an agreement that he should receive<br />
a certain proportion of the proceeds.<br />
<br />
8. G.<br />
<br />
[This lette is published as the writer sent it.<br />
There is some little confusion, apparently, e.g,<br />
(1) The author paid the costs, and the publisher<br />
was to give her 40 per cent. on the gross pro-<br />
ceeds. Let us work this out with a 6s. novel, ‘|<br />
(‘Cost of Production,” p. 31). We will suppose a:<br />
1000 copies to be printed and sold, binding has =<br />
advanced 15 per cent. so the figures must be<br />
slightly altered :<br />
<br />
& 8a<br />
Gr ss proceeds of 1000 copies = 166 0 Oo<br />
Publisher's share (by agree-<br />
ment). 4: .. 2 2) 90 te<br />
Author’s share (by agree-<br />
ment) «3 == 60 8 =<br />
Author pays cost, viz... ... 122G ae<br />
Author’sloss ... ... ... 62 0 6<br />
Publisher’s gain... ... .., 99 0 O<br />
<br />
Very good business. But they gave her, instead<br />
of 40 per cent., 50 per cent. of the gross proceeds :<br />
Publisher’s gain 83.0.0<br />
Author’s loss ... 39 0 O<br />
<br />
Is there anything wrong here ?—Ep. ]<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
VI.<br />
Tue Pusiic Criticism oF Books.<br />
<br />
According to counsel’s opinion in the current<br />
number of the Author, an adverse criticism is<br />
only libellous ‘“‘if prompted by malice, or charac-<br />
terised by such reckless disregard of fairness as<br />
indicates malice towards the author.”<br />
<br />
This, though doubtless good law, is scarcely<br />
consolatory, inasmuch as the generality of unfair<br />
criticism contrives to keep clear of the definition<br />
here laid down. Take, for instance, the example<br />
cited by Dr. Bell in the November number<br />
(“‘ Correspondence” IV.). The review there<br />
quoted is manifestly unfair, and calculated to<br />
injure the author’s reputation, yet he would, I<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
suspect. have great difficulty in bringing it within<br />
the definition above laid down.<br />
<br />
It was this difficulty of establishing malice, or<br />
unfairness indicative of malice, that I had in my<br />
mind when I submitted in last month’s number<br />
that “for an author to obtain legal reparation<br />
would be well nigh impossible.” I never intended<br />
to convey, as “F. P.,” in the current number,<br />
represents me to have done, “that it would be<br />
well-nigh impossible to prove that any criticism<br />
is unfair;’’ that of course would be nonsense,<br />
but I still venture to maintain that, in the gene-<br />
rality of cases of unfair reviewing, it would be<br />
extremely difficult to satisfy the legal standard of<br />
“libellous criticism.” Rank AND FILE.<br />
<br />
<br />
<br />
VII.<br />
A Lirerary SCHOLARSHIP.<br />
<br />
There was an idea at one time that if a man<br />
did not die of starvation, and give some one<br />
else a chance to get something out of his works,<br />
he was no genius, and, it may be added, no man.<br />
Even Byron seemed to doubt whether a man<br />
ought to ask for his money, for he wrote :<br />
<br />
‘“* When the sons of song descend to trade,<br />
Their lays are rare, their laurels fade.”<br />
<br />
The only way to prevent them descending to<br />
trade is for the nation to give them a little help.<br />
And this the nation at last seems disposed to do.<br />
I refer to the case of William Watson. Sons of<br />
song,and men of talent generally, have bestowed<br />
many gifts upon the nation. What the nation<br />
has given them in return is a matter for reflection<br />
over their own firesides. The democratic wave<br />
is rolling, and it rests with writers to say<br />
whether it shall flow over them or they shall<br />
ride on the top. If the nation is disposed to be<br />
kind, here is a scheme that may well occupy its<br />
attention. Ido not advocate it for men of genius.<br />
Men of genius have a way of getting out of<br />
holes that is denied to mere talent. I advocate<br />
it for young and struggling talent, for those of<br />
comparatively no opportunities, for those who, if<br />
no hand is outstretched towards them, sink, un-<br />
honoured and unsung. If it is anyone’s business<br />
to stretch this hand, it is surely the nation’s;<br />
for the glory of budding talent is the glory of<br />
the land that reared it. My scheme is this:<br />
that the nation shall make an annual grant of<br />
say £600—it is not a large draw on the exchequer<br />
—to be competed for by the most promising in<br />
poetry, fiction, and the drama, divided, in fact,<br />
into three scholarships. The judging, the means<br />
of selection could all be left to the Society of<br />
Authors, who would manage it, Iam sure, with<br />
pleasure and satisfaction. There is one ridiculous<br />
<br />
#25<br />
<br />
functionary in the British Parliament whose race<br />
is nearly run, I mean the Usher of the Black<br />
Rod. Let his salary be the basis of my scholar-<br />
ship. To an anticipated complaint that the<br />
output now is large, is enough; I have this to<br />
say: Weed it out. Take from it the works of<br />
those who publish at their own expense. Those<br />
of the driveller, who, after a sail in his yacht,<br />
startles the world with a log-book voyage; the<br />
people who pass through a foreign country, and<br />
come home with an account of its manners and<br />
customs, the butter-paper poets and the rest,<br />
and it will not seem so large after all. It is not<br />
the above class who make a nation famous; they<br />
make it a laughing stock. Talent is usually<br />
bereft of yachts, but if those who have yachts<br />
can wrest the scholarship from it, all the better.<br />
A Seasip—E MEemper.<br />
<br />
<br />
<br />
VEE<br />
<br />
A RECOMMENDATION FROM THE SOCIETY.<br />
<br />
Perhaps you may think the following woith<br />
publishing :<br />
<br />
While realismg, and valuing to the full, the<br />
immense benefits that the Society renders to<br />
authors in keeping them away from, or helping<br />
them out of difficulties with, fraudulently inclined<br />
publishers, I would like to point out how it might<br />
render another service to many writers, which<br />
would be of as great value as its present services<br />
are,<br />
<br />
So far the Society has turned its attention<br />
chiefly to safeguarding the interests of authors<br />
against publishers, but its scope is not bounded<br />
by this work, for in its circular issued in 1890 it<br />
is stated that ‘“ other and larger schemes remain<br />
for future development.’”’ The services now ren-<br />
dered are for those authors who have succeeded<br />
in finding a publisher, and, having provided for<br />
the relations between them being put on an<br />
understandable and equitable basis, it might now<br />
he made to render as great a service to those<br />
writers who want to find a publisher.<br />
<br />
What they are most in want of is—if their<br />
work be good—some such recommendation of it<br />
as will ensure its being published. Were the<br />
Society to enter into arrangements with various<br />
publishers to bring out any work it might recom-<br />
mend to them, and were it to have a committee<br />
to read works submitted to it, to which anyone<br />
should be entitled to send on payment of a fee,<br />
then, those writings that it approved being<br />
assured publication, the way of the beginner<br />
would be made much easier.<br />
<br />
The great stumbling block to beginners would<br />
thus be removed, as it would no longer be neces-<br />
<br />
<br />
<br />
<br />
<br />
<br />
294<br />
<br />
<br />
<br />
sary to send a work to publisher after publisher<br />
(which does sometimes happen with good works),<br />
and lose in this process months of valuable time,<br />
for it would be known that a work of real merit,<br />
whatever its subject, would always be sure of<br />
speedy publication. The mere announcement to<br />
the public that it was published on the recom-<br />
mendation of the Society of Authors would surely<br />
ensure any book a large sale.<br />
<br />
The work already done by the Society was<br />
what was wanted by the author who can get<br />
published, and it would seem to require as a<br />
complement that which is wanted by the author<br />
who wants to get published. It surely, then,<br />
might become one of the other schemes referred<br />
to to organise a means of clearing the road and<br />
making a short and direct way for the beginner<br />
to reach the publisher by. This is, perhaps, the<br />
service that beginners in authorship most want,<br />
and I doubt not it has caused disappointment to<br />
some to find that the Society could not help them<br />
in this, the most needed direction, and that the<br />
only service it could render them was of a negative<br />
character.<br />
<br />
The carrying out of this plan would not involve<br />
a new departure on the part of the Society, it<br />
would need simply a development and combina-<br />
tion of work now performed by it and by the<br />
Authors’ Syndicate.<br />
<br />
Were it to become a practice for books to be<br />
published on the recommendation of the Society,<br />
meritorious works would -always see the light<br />
without unreasonable delay ; more writers would<br />
be induced to join the Society, and gradually it<br />
would have it in its power to set up a standard of<br />
literature ; it would in time become a centre or<br />
exchange for publishers to apply to for approved<br />
works, and be the great mart for literary wares.<br />
<br />
This manner of a new author reaching a pub-<br />
lisher would be more in accordance with advanced<br />
civilisation, which would surely exclude such an<br />
awful loss of time as is so often involved by the<br />
present comparatively haphazard method.<br />
<br />
Houserr Hass.<br />
<br />
<br />
<br />
IX.<br />
Wuyr?<br />
<br />
Is it not strange that, although my Poems and<br />
Prose Sketches were highly praised by your<br />
reader, as well as other critics, the publishers<br />
whom the Society named to me should have<br />
rejected them, one after another? I mean so far<br />
as taking any share of the risk is concerned,<br />
<br />
One publisher declines this, although he ad-<br />
mitted frankly that they were favourably reported<br />
on by his reader, as containing much good work.<br />
<br />
THE AUTHOR.<br />
<br />
One or two publishers absolutely declined having<br />
anything to do with them—even on commission<br />
terms, presumably—and another, who shall be<br />
nameless, withheld his opinion of them, even<br />
after having promised it to me.<br />
<br />
I ask, Sir, whether this is not discouraging to<br />
one, whose poems have been eulogised not only<br />
by the leading poetical critics of the day<br />
(probably), but also by such poets as Lewis<br />
Morris, J E. Whittier, Robert Browning,<br />
Matthew Arnold, and others. Is it not strange<br />
that no publisher should be found willing to<br />
risk a few paltry pounds for the chance of giving<br />
the poetical world considerable pleasure? Iam<br />
not speaking of my own case only, but of parallel<br />
ones as well. They may say, why not then<br />
publish at your own cost? The answer is simple<br />
—I can’t afford the risk, and they can!<br />
<br />
From a purely commercial standpoint they<br />
may be right, of course, but how tamely they<br />
show here; how utterly lacking in a spirit of<br />
enterprise! It is, after all, merely one throw of<br />
the dice, and, remember, had not my poems been<br />
endorsed so highly, I would never have submitted<br />
them. ‘ Nothing venture, &ec.”’<br />
<br />
F. B. Doveron.<br />
<br />
[The above is another proof of the fact so often<br />
advanced in these columns, and so constantly<br />
denied—that there are very few publishers who<br />
ever take any risk at all.—Ep.]<br />
<br />
<br />
<br />
X.<br />
A Lirrie Sum.<br />
<br />
A printer’s mistake in the “Little Sum” is,<br />
from the printer’s point of view, a very small one<br />
—being only the substitution of a 2 fora (ce,<br />
line 7 should read, “10 per cent. on the net<br />
receipts of such sales’’).<br />
<br />
Yet it is very unfortunate in its effect on the<br />
sum, since, if 20 per cent. were given, it would<br />
alter the figures below the line as follows:<br />
<br />
50) ee dO<br />
4990 22. 30°92 oes<br />
AS 80 9<br />
<br />
In fact, the drop of ro per cent. in selling 5<br />
price (between 55 and 45), would thus mean a<br />
<br />
drop of 20 per cent. in publisher’s share, and<br />
only of 10 per cent. in the author’s. As things<br />
<br />
are, under the real clause, the 1o per cent. drop<br />
in selling price makes only a 10 per cent. drop in<br />
publisher’s share, and a 55 per cent. drop in the<br />
author’s.<br />
<br />
But the fault of the clause does not, I suppose,<br />
reside in this fact, since the publisher has to get<br />
back his cost of production.<br />
<br />
The wrong thing<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
is that he should have an inducement to sell un-<br />
necessarily low. It seems to me this might best<br />
be remedied by making the clause run :—‘“ Shall<br />
pay to the author on all copies sold a royalty of<br />
10 per cent, provided that in no case shall the<br />
publisher receive less than 40 per cent. of the<br />
published price. No sales below 40 per cent. to<br />
take place without consent of the author.”<br />
We should then get :<br />
<br />
Selling price. Publisher’s share. Author’s share.<br />
3<br />
<br />
<br />
<br />
<br />
<br />
50°! 40°! IO<br />
<br />
50 40° 0 IO<br />
<br />
49°9 We re 9°9<br />
<br />
48 HO 8<br />
<br />
ee ee VS i ee 7<br />
<br />
ee eee 40 &e.<br />
Del.<br />
<br />
THe Maaazines.<br />
<br />
Might I suggest that a small space in the<br />
pages of the Author should be devoted each<br />
month to giving a list of magazines and papers,<br />
with the style and length of article, poem, or<br />
story contained in each.<br />
<br />
I venture to think this would be a great saving<br />
of time and trouble both to editors and to authors<br />
desirous of sending contributions to them,<br />
especially if the authors live in the country, and<br />
are unable to procure the various magazines, &c.,<br />
in order to look over their contents, and see what<br />
articles or poems are suitable to each one.<br />
<br />
CAROLINE CREYKE.<br />
<br />
<br />
<br />
XI.<br />
PLAGIARISM.<br />
A tale I lately commenced to write opens as<br />
follows: “A long time ago there<br />
dwelt an old man of science<br />
<br />
the few people who ever caught a glimpse of him<br />
were wont to cross themselves as he passed by, for<br />
they looked on him as a magician; and perhaps<br />
they were right, for is not everybody who knows<br />
more than we do ourselves a being verging on<br />
the supernatural ? ”’<br />
<br />
Before I had proceeded far with the MS. it<br />
occurred to me to refer to Sir Walter Scott’s<br />
“Quentin Durward,” in order to refresh my<br />
memory regarding medieval modes of expression.<br />
To the best of my recollection I had never read the<br />
book, but nevertheless I thought it was probable<br />
I should find what I wanted in it. There was<br />
some difficulty in procuring a copy, and at length<br />
I purchased one, when, turning over the pages at<br />
random, the following was the first paragraph<br />
<br />
AUTHOR.<br />
<br />
e<br />
<br />
295<br />
<br />
that attracted my attention: ‘“‘To read and<br />
wite!’ exclaimed Le Balafré, who was one of<br />
those sort of people who think all knowledge is<br />
miraculous which chances to exceed their own.”<br />
<br />
I have now perused Sir Walter’s admirable<br />
romance, and am quite convinced that I never<br />
did so before. The circumstances attending this<br />
unconscious plagiarism appear to me so extraor-<br />
dinary that I am induced to lay them b fore the<br />
readers of the Author. H. R Greene.<br />
<br />
“AT THE SIGN OF THE AUTHOR'S HEAD.”<br />
<br />
RS. SPENDER’S Christmas<br />
d Year books are “ Awaking,’”’ a new and<br />
<br />
cheaper edition (illustrated, 3s. 6d.),<br />
and a family story book for girls, called ‘No<br />
Humdrum Life for Me” (illustrated, 5s.). Both<br />
are published by Hutchinson.<br />
<br />
Mr. Reynolds Ball, editor of “ Mediterranean<br />
Winter Resorts,” is writing a series of papers on<br />
“Coming Winter Resorts’’ in the Queen news-<br />
paper. He contributes also an article on “ Sicilian<br />
Puppet Shows” to the January number of the<br />
Theatre, under his nom de guerre ‘“ Evelyn<br />
Ballantyne.”<br />
<br />
“In the Gun Room” is the title of a series of<br />
sketches in prose and verse by Mr. H. Knight<br />
Horsfield (Eden, Remington, and Co.). It is a<br />
book for sportsmen—for those who love the rod<br />
and gun.<br />
<br />
‘‘The March of Shem” and other poems, by<br />
Alfred Hayes, author of “The Last Crusade,”<br />
&c. (Macmillan and Co.). has advanced to a<br />
second edition. Let us note the fact as another<br />
indication of the increased interest felt in poetry.<br />
<br />
<br />
<br />
and New<br />
<br />
<br />
<br />
Russian Lirerature.—An analysis has been<br />
prepared by the Russian bibliographer Pavlenkoff<br />
of the works published in Russia during the year<br />
1891. It seems that—excluding Finland—there<br />
appeared in Russia 9053 books ani pamphlets,<br />
with an aggregate sale of 29,000,000 copies. Of<br />
these 6588, with a total of 23,000,000 copies,<br />
were in the Russian language, 840 in the Polish,<br />
393 in German, 380 in Hebrew, and 219 in<br />
Lettisch. One of the most popular forms of<br />
literature in Russia seems to be calendars, of<br />
which 229 were published, many of them having<br />
editions of upwards of 500,000. The most<br />
notable event in the Russian book world during<br />
this period was the expiration of the copyright of<br />
Lermontoff’s works, in consequence of which<br />
g2 editions of them appeared, having a total<br />
sale of upwards of 1,000,000 copies. The largest<br />
<br />
<br />
<br />
<br />
i<br />
i<br />
<br />
<br />
<br />
<br />
296 THK AUTHOR.<br />
<br />
lass of publications was that of educational<br />
works, to the number of 574, exceeding bedles-<br />
lettres by 65. The third largest section was that<br />
of medical works. More thana third of the whole<br />
amount of Russian literature appeared in<br />
St. Petersburg alone.<br />
<br />
The Rev. F. Baring-Gould, M.A. (author of<br />
“Mehalah”’) has written a new story for the<br />
Queen newspaper. Its chief character is a female<br />
Cheap Jack—‘“ Cheap Jack Zita” is her name<br />
—and under this title the work will be published.<br />
<br />
Lady Violet Greville’s new novel is called<br />
“That hated Saxon,” and is to be published by<br />
Messrs. Ward and Downey.<br />
<br />
Canon Ainger will give three lectures on Tenny-<br />
son at the Royal Institution on Jan. 19, Jan 26,<br />
and Feb. 2.<br />
<br />
Mr. Alfred Austin’s new poem, “ Fortunatus,<br />
the Pessimist,” is going into a new edition.<br />
<br />
Mr. George Allen (of London and Orpington)<br />
is preparing for publication an interesting volume<br />
which will throw new light on that side of Mr.<br />
Ruskin’s character least known to his readers.<br />
This work, which will include many anecdotes,<br />
both pathetic and humorous, never before pub-<br />
lished, is being compiled by Mr. Arthur Severn,<br />
R.I., whose recollections and reminiscences of Mr.<br />
Ruskin dates from his (Mr. Severn’s) boyhood ;<br />
the illustrations will comprise various charac-<br />
teristic sketches made by Mr. Severn when accom-<br />
panying Mr. Ruskin on his driving tours.<br />
<br />
Mr. Allen has also in hand a “ Life of the late<br />
Lady Waterford,” Mr. Augustus J. OC. Hare, of<br />
which fuller particulars will be given shortly.<br />
<br />
“The World of Music” is the generic title<br />
which Anna Comtesse de Brémont has given to<br />
the three volumes she has written, and Mr.<br />
W. W. Gibbings has published “The great Com-<br />
posers,’ “The great Singers,” and “The great<br />
Virtuosi.” The volumes have been carefully and<br />
feelingly compiled, and the author has succeeded<br />
ina somewhat difficult task. In a future series<br />
the authoress contemplates dealing with com-<br />
posers, virtuosi, and singers of the day,<br />
<br />
“ The Successful Life” by “ An Elder Brother,”<br />
which has been published by Cassell and Co.,<br />
contains many weighty words of counsel, comfort<br />
and warning to young men commencing business.<br />
It is written in a shrewd, practical, and distinctly<br />
wholesome vein, and may be placed with confi-<br />
dence in any young man’s hands. “ An Hider<br />
Brother,” is obviously sincere in every word he<br />
has written, and his book is intended for those<br />
who are peculiarly susceptible to the influence of<br />
Sincerity.<br />
<br />
Mrs. L. T. Meade’s “A Medicine Lady,”<br />
which has just been published in three volume<br />
form by Casselland Co , will rank amongst her best<br />
stories. A difficult motif has been delicately<br />
handled. Mrs. Meade has kept well abreast of<br />
medical science, and has woven round what<br />
it has accomplished shapes to accomplish a<br />
story which is distinctly human and profoundly<br />
pathetic.<br />
<br />
A new edition of the “ Records of a Naturalist<br />
on the Amazons,” by the late Henry Walter<br />
Bates, is about to be issued (John Murray). The<br />
edition is to be unabridged, and will be accom-<br />
panied by a memoir of the author by Edward<br />
Clodd.<br />
<br />
“One Land—One Law.” This is the title<br />
of Mrs. Crafton-Smith’s new novel, to be com-<br />
menced in Sala’s Journal early in February.<br />
Mrs. Crafton-Smith is known under the name of<br />
“Nomad*” as the author of “The Milroys,”<br />
“A Railway Foundling,” “Holly,” &e.<br />
<br />
NEW BOOKS AND NEW EDITIONS.<br />
<br />
<br />
<br />
History and Bioeraphy.<br />
AUTOBIOGRAPHICAL AND FULL HisTORICAL ACCOUNT OF<br />
THE PERSECUTION OF HamiEetT NicHoLson in his<br />
opposition to Ritualism at the Rochdale Parish Church.<br />
Barber and Farnworth, Manchester.<br />
<br />
Barnett-Smiru, G. History of the English Parliament,<br />
with an account of the Parliaments of Scotland and<br />
Ireland. 2vols. Ward, Lock. 24s.<br />
<br />
Buacx, Heten C. Notable Women Anthors of the Day.<br />
Biographical sketches, with portraits. David Bryce,<br />
Glasgow. 10s. 6d. é<br />
<br />
Bootu-Tucker, F. p—E L. The Life of Catherine Booth,<br />
the Mother of the Salvation Army. 2 vols. Inter-<br />
national Headquarters, Queen Victoria-street, E.C., or<br />
Simpkin, Marshall. 153.<br />
<br />
Bovurrinot, J. G. Historical and Descriptive Account of<br />
the Island of Cape Breton, and of its memorials of the<br />
French régime, with bibliographical, historical, and<br />
critical notes. Foster, Brown, and Co., Montreal.<br />
<br />
CassELL’s New BroGRAPHicaAL DicTIOoNARY, containing<br />
memoirs of the most eminent men and women of all<br />
ages and countries. Cassell. 7s. 6d.<br />
<br />
CLASSICAL PicTURE GALLERY, a Series of 144 reproduc-<br />
tions of the choicest paintings of the old masters, taken<br />
from the originals in the galleries and private collec-<br />
tions of Europe. Edited, with biographical notices, by<br />
Professor F. von Reber and Dr. A. Bayersdorfer,<br />
directors of the Munich Pinakothek. H. Grevel and<br />
Co., King-street, Covent-garden. 21s.<br />
<br />
Cooxn, Rev. G. A. The History and Song of Deborah.<br />
Judges IV, and V. Henry: Frowde. Paper covers.<br />
Is. 6d.<br />
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THE AUTHOR.<br />
<br />
Courtney, W.L. The Life and Work of Hubert Herkomer,<br />
R. A. The Art Annual, with illustrations. Also the<br />
Art Journal for 1892. Art Journal Office, Ivy-lane,<br />
Paternoster-row.<br />
<br />
CunNINGHAM, PrerTerR, F.S.A. The Story of Nell Gwyn,<br />
and the sayings of Charles II., related and collected by.<br />
Edited, with introduction and life of the author, bv<br />
Henry B. Wheatley, F.S.A. W. W. Gibbings, Bury-<br />
street, W.C.<br />
<br />
Dasent, Jonn Rocue. Acts of the Privy Council of<br />
England. New series. Vol. V., A.D. 1554-1550. Edited<br />
by. Eyre and Spottiswoode.<br />
<br />
FisHGuARD Invasion by the French in 1797. Some<br />
passages taken from the diary of the late Reverend<br />
Daniel Rowlands, sometime vicar of Llanfiangelpeny-<br />
bont. Fisher Unwin. 55.<br />
<br />
FirzmauricE-Keuuiy, J. The Life of Miguel de Cervantes<br />
Saavedra. A Biographical, Literary, and Historical<br />
Study, with a tentative Bibliography from 1585 to<br />
1892, and an annotated appendix on the Canto de<br />
Caliope. Chapman and Hall. 16s.<br />
<br />
Forses, 8S. Russett. The Holy City: Jerusalem: its<br />
topography, walls, and temples; a new light on an<br />
ancient subject. Durrant and Company, Chelmsford.<br />
<br />
Grant Durr, Sir M. E. Sir Henry Mayne; a brief<br />
memoir of his life by. With some of his Indian speeches<br />
and minutes selected and edited by Whitley Stokes,<br />
D.C.L. With portrait. Murray.<br />
<br />
HakrckEL, Ernst. The History of Creation; or, the<br />
development of the earth and its inhabitants by the<br />
action of natural causes. A popular exposition of the<br />
doctrine of evolution in general and of that of Darwin,<br />
Goethe, and Lamarck in particular. From the eighth<br />
German edition. The translation revised by EH. Ray<br />
Laneastor, M.A., LL.D., F.R.S. Fourth edition, in two<br />
vols. 32s.<br />
<br />
Hopexin, Tuomas, D.C.L. Italy and her Invaders.<br />
Dublin. Vol. I. (in two parts), the Visigothic Invasion ;<br />
vol. II. the Hunnish Invasion; the Vandal Invasion,<br />
and the Herulian meeting. Second edition, revised<br />
and enlarged, with maps and illustrations. At the<br />
Clarendon Press, London. Henry Frowae, £2 2s.<br />
<br />
Invine,, WASHINGTON. The Life and Voyages of<br />
Christopher Columbus. Author’s revised edition.<br />
Nelson and Sons. 4s.<br />
<br />
JENKINSON ARTHUR. Alfred, Lord Tennyson, Poet<br />
Laureate: a brief study of his life and poetry. James<br />
<br />
Nisbet.<br />
<br />
Lecky, W.E.H. A History of Ireland in the Highteenth<br />
Century. New edition. Vol. V. Longmans. 6s.<br />
<br />
Lzz, Freprerick Groren, D.D. The Church under Queen<br />
<br />
Elizabeth: an historical sketch. New and revised<br />
edition. W.H. Allen and Co.<br />
Macaunay, Lorp. The Earl of Chatham. Cassell’s<br />
<br />
National Library. Cloth, 6d.<br />
<br />
Mackarness, Rev. C. C. Memorials of the Episcopate<br />
of John Fielder Mackarness, D.D., Bishop of Oxford<br />
from 1870 to 1888. Second edition, with portrait.<br />
James Parkes and Co., Southampton-street, W.C.<br />
<br />
Maisty, GENERAL F. C. Sanchi and its Remains: a full<br />
description of the ancient buildings, sculptures, and<br />
inscriptions at Sanchi, near Bhilsa, in Central India.<br />
With 40 plates. An introductory note by Major-<br />
General Sir Alex. Cunningham. Kegan Paul. 50s.<br />
<br />
297<br />
<br />
Fifty Years in the Making of<br />
vols., with portraits. Long-<br />
<br />
PARKES, Sirk HENRY.<br />
Australian History. 2<br />
mans. 32s.<br />
<br />
Perry, THomas 8. The Princess of Cleves, by Madame<br />
de la Fayette, translated by. With illustrations drawn<br />
by Jules Garnier. 2vols. 21s.<br />
<br />
PrinGur, Nichout J. Victor Hugo: a sketch of his life<br />
and works. Swan Sonnenschein.<br />
<br />
History of the United States from the<br />
<br />
2vols. Macmillan. 24s.<br />
<br />
Ripon Minuenary: A record of the festival. Also a<br />
history of the city, arranged under its Wakemen and<br />
Mayors from the year 1400. W. Harrison, Ripon.<br />
<br />
Ruopzs, J. Forp.<br />
compromise of 1850.<br />
<br />
<br />
<br />
Rogers, ALEXANDER. The Land Revenue of Bombay: a<br />
history of its administration, rise, and progress. In<br />
<br />
W. H. Allen and Co.<br />
<br />
Three Generations of English Women—<br />
<br />
of Susannah Taylor,<br />
<br />
With portraits.<br />
<br />
2 vols.<br />
Ross, JANET.<br />
memoirs and correspondence<br />
Sarah Austin, and Lady Daff Gordon.<br />
A new, revised, and enlarged edition.<br />
The Private Life of the Great Com-<br />
Isbister and Co. 7s. 6d.<br />
<br />
ROWBOTHAM, J. F.<br />
posers. With portraits.<br />
The Duchess of Berry and<br />
Translated by Elizabeth<br />
Hutchinson. §s.<br />
<br />
SAINT-AMAND, IMBERT DE.<br />
the Court of Louis XVIII.<br />
Gilbert Martin. With portrait.<br />
<br />
Sevecr Liprary or NICENE AND Post-NICENE FATHERS<br />
OF THE CHRISTIAN CHurcH. Vol. III. Theodoret,<br />
Jerome, Gennadius, Rufinus, historical writings, &e.<br />
James Parker and Co., Oxford.<br />
<br />
SHarp, Mary. The History of Upton Court, of the<br />
parish of Upton, in Berkshire, and of the Perkins<br />
Family. Compiled from ancient records. Elliot Stock.<br />
To subscribers, 16s., to others, 25s.<br />
<br />
The Church of Scotland, from the<br />
<br />
Alex-<br />
<br />
STEWART, R. Morris.<br />
time of Queen Margaret to the Reformation.<br />
ander Gardner.<br />
<br />
Old Italian Masters.<br />
<br />
With historical notes.<br />
<br />
Fisher Unwin. 42s.<br />
<br />
Storms, Ricuarp 8S. Bernard of Clairvaux: the Times,<br />
the Man, and his Work. Hodder and Stoughton. gs.<br />
<br />
Surrner, Berroa von. Lay Down your Arms. The<br />
autobiography of Martha von Tilling. Authorised<br />
translation by T. Holmes. Revised by the authoress.<br />
Longmans. 7s. 6d.<br />
<br />
TowNSHEND, RicHARD AND Dororuea, An Officer of<br />
the Long Parliament and his Descendants. Being<br />
some account of the life and times of Colonel Richard<br />
Townesend, of Castletown (Castletownshend), and a<br />
chronicle of his family, with illustrations. Edited by.<br />
Henry Frowde. tos. 6d.<br />
<br />
Wixs, Samveu, anp Berrany, G. T. A Biographical<br />
History of Guy’s Hospital. Ward, Lock, and Bowden.<br />
<br />
Engraved by<br />
Brief comments<br />
<br />
STILLMAN, W. J.<br />
Timothy Cole.<br />
by the engraver.<br />
<br />
General Literature.<br />
The Cry of the Children, an essay in<br />
Williams and Norgate. Paper<br />
<br />
A Freep LANcE.<br />
tyranny and ignorance.<br />
covers.<br />
<br />
AGRICULTURAL ANNUAL AND MArK-LANE EXPRESS<br />
ALMANAC, 18093, THE. Office of the Mark-Lane<br />
Express, Strand. Paper covers, 6d.<br />
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ANDERSON, Linpsay. Story of Allan Gordon; or, From<br />
Cabin-boy to Quarterdeck. With illustrations. Chap-<br />
manand Hall. 5s.<br />
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ANDREWS, WuituIAm. Bygone Yorkshire. Edited by.<br />
Simpkin, Marshal (A. Brown and Sons, Hull and York).<br />
<br />
Bau, E. A. Reynotps. Mediterranean Winter Resorts :<br />
a practical handbook to the principal health and plea-<br />
sure resorts on the shores of the Mediterranean, with<br />
special articles on the principal invalid stations by<br />
resident English physicians. With illustrations and a<br />
map. Second edition, revised and partly rewritten.<br />
Stanford.<br />
<br />
BAMPFIELD, Rev. G. Spots in the Sun; some faults in<br />
Hamlet and the ‘‘ Paradise Lost.’ St. Andrew’s Press,<br />
Barnet. Paper covers.<br />
<br />
Boppy, A. A. With Russian Pilgrims: an account of a<br />
sojourn in the White Sea Monastery and a journey by<br />
the old trade route from the Arctic Sea to Moscow,<br />
with map and illustrations. Wells Gardner, and Co.<br />
78. 6d.<br />
<br />
Boppy, J. H. Profitable Fruit and Flower Culture, under<br />
glass and in the open air, or the tale of an acre and a<br />
half of land. With an introduction by Sampson<br />
Morgan. Boot, Old Bailey. Paper covers, 3d.<br />
<br />
BROWNLEE, W.M. Whist Ledger, with leads, maxims, and<br />
whist etiquette, Arrowsmith. Paper covers, 6d.<br />
<br />
“ BUILDER ALBUM” oF RoyaL ACADEMY ARCHITECTURE,<br />
1892, THE. Office of the Builder, Catherine-street,<br />
W.C.<br />
<br />
Buxton, E. Norru. Short Stalks: or Hunting Camps,<br />
North, South, East, and West. With illustrations.<br />
Stanford.<br />
<br />
CAREER IN Inp1A, A, as affected by the continued deprecia-<br />
tion of the rupee and the non-fulfilment of the promises<br />
made by the Government. E. W. Allen, Ave Maria-<br />
lane, E.C. Paper covers. 3d.<br />
<br />
Coatss, LizuT.-CoLONEL. Capital and Labour; or, How<br />
to Avert Strikes—a few suggestions and words of<br />
advice to masters and the working classes. Arrow-<br />
smith. Paper covers, 3d.<br />
<br />
CouRSING AND Fatconry. Coursing by Harding Cox;<br />
Falconry by the Hon Gerald Lascelles. With illustra-<br />
tions by John Charlton, R. H. Moore, Lancelot Speed,<br />
and G. EH. Lodge, and from photographs. Longmans.<br />
10s. 6d.<br />
<br />
Day, Joun. The Homing Pigeon. The Stockkeeper Pub-<br />
lishing Company, Fleet-street. Paper covers, Is.<br />
<br />
Deakin, Hon. AtFrepD. Irrigated India: An Australian<br />
View of India and Ceylon, their Irrigation and<br />
Agriculture.<br />
<br />
Dewar, J.C. Voyage of the Nyanza, R.N.Y.C., with map<br />
and illustrations; The Handbook of British Honduras<br />
for 1892-93, by Lindsay W. Bristowe. Blackwood.<br />
<br />
DicTionaRy OF TERMS USED IN THE PRACTICE OF<br />
MrcHANICAL ENGINEERING, edited by a Foreman<br />
Pattern Maker. Second edition, revised, with additions.<br />
Crosby Lockwood.<br />
<br />
Doveuty, H. M. Our Wherry in Wendish Lands, from<br />
<br />
Friesland through the Mecklenburg Lakes to Bohemia.<br />
Illustrated by his daughter. Jarrold and Sons.<br />
<br />
DRumMonD, Proressor. The City without a Church. An<br />
Address. Hodder and Stoughton, Paper covers. 1s.<br />
<br />
THE AUTHOR.<br />
<br />
F. A. A. How to Establish a Fixed Ratio between Gold<br />
and Silver. Effingham Wilson. Paper covers, 6d.<br />
<br />
FRrEencH-SHELDON, M. Sultan to Sultan: Adventures<br />
among the Masai and other tribes of Hast Africa,<br />
“ Bébé Bwana.” Saxon and Co., Bouverie-street, E.0,<br />
<br />
GILBERT, J. H. and Lawzs, Sir J. B. Allotments and<br />
Small Holdings. Reprinted from the Journal of the<br />
Royal Agricultural Society. Spottiswoode and Oo,<br />
Paper covers.<br />
<br />
Gorpon, W. J. Our Country’s Birds, and How to Know<br />
Them. A guide to all the birds of Great Britain.<br />
With illustrationsanddiagrams. Simpkin Marshall. 6s.<br />
<br />
GREAT STREETS OF THE WoRLD, Tue. By Richard<br />
Harding Davis, W. W. Story, Andrew Lang, Henry<br />
James, Francisque Sarcey, Paul Lindau, and Isabel F.<br />
Hapgood. Illustrated. J. R. Osgood, M‘Ilvaine, and<br />
Co. 18s.<br />
<br />
GREAT Wak OF 189—, THE: a Forecast. By Rear-Admi-<br />
ral P. Colomb, Colonel J. F. Maurice, R.A., Captain<br />
F. N. Maude, Archibald Forbes, Charles Lowe, D.<br />
Christie Murray,and F. Scudamore. With illustrations<br />
from sketches made for Black and White, by F.<br />
Villiers. Heinemann. 12s. 6d.<br />
<br />
Hamerton, P.G. Man in Art, studies in religious and<br />
historical art, portrait and genre. Withplates in line<br />
engraving, mezzotint, photogravure, hyalography,<br />
etching, and wood engraving. Macmillan. £3 138. 6d.<br />
<br />
HAMILTON, GENERAL Dovuauas. Records of Sport in<br />
Southern India and Elsewhere. With portrait and<br />
illustrations from his original sketches. Edited by<br />
his brother. R.H. Porter, Princes-street, Cavendish-<br />
square. 30s. net.<br />
<br />
HANDBOOK FOR TRAVELLERS ON THE RiviERA from Mar-<br />
seilles to Pisa. With new maps and plans. John<br />
Murray.<br />
<br />
Hayes, Atice. The Horsewoman. A practical gnide to<br />
side-saddle riding. Edited by M. Horace Hayes.,<br />
F.R.C.V.S., late Captain “the Buffs.” With illustra-<br />
tions. W. Thacker and Company, Newgate-street.<br />
Tos. 6d.<br />
<br />
Hazuitr, W. Carew. The Essays of Michel de Mon-<br />
taigne. Translated by Charles Cotton. Edited, with<br />
<br />
some account of the life of the author and note, by. —<br />
<br />
Second edition, revised. 3 vols. George Bell.<br />
<br />
Hers, Sir Artuur. Essays and Aphorisms, with an<br />
introduction by E. A. Helps. Walter Scott. 18. 6d.<br />
<br />
Howarp, Lapy Constance. Tasty Tit-bits and Dishes ~<br />
<br />
Dainty. The Record Press. 1s. 6d.<br />
<br />
Huisu, Marcus B. Japan and its Art. Second edition, —<br />
<br />
revised, and enlarged. Simpkin Marshall. 12s.<br />
<br />
Hunt, Viouer. The Great Poets’ Birthday Album, with —<br />
<br />
Portraits and with preface. Hyre and Spottiswoode.<br />
3s. Od.<br />
<br />
Hutcurnson, Rev. H. N. Extinct Monsters; a popular —<br />
<br />
account of some of the larger forms of ancient animal life.<br />
With iliustrations. Chapman and Hall, 12s.<br />
<br />
Laxr, Nancy. Daily Dinners: a collection of 366 dis-<br />
tinct menus in English and French. 2s. 6d.<br />
<br />
Lancaster, CHARLES. The Art of Shooting: an illus-<br />
trated treatise, with extracts from the best authorities.<br />
4th edition. 151, New Bond-street.<br />
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THE AUTHOR.<br />
<br />
A Nonsense Birthday Book; compiled<br />
<br />
Lear, EDWARD.<br />
from “ The Book of Nonsence ” and ‘“‘ More Nonsense.”<br />
<br />
F. Warne.<br />
<br />
Lez, EDMUND.<br />
street. 58.<br />
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