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448	https://historysoa.com/items/show/448	The Author, Vol. 03 Issue 10 (March 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+10+%28March+1893%29"><em>The Author</em>, Vol. 03 Issue 10 (March 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>	1893-03-01-The-Author-3-10					345–384																		<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=1893-03-01">1893-03-01</a>							10			18930301	The Hutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> MARCH 1, 1893.<br /> <br /> <br /> <br /> Vot. [l—No. 10.]<br /> <br /> PAGE.<br /> Warnings ae oe ee eee eee aie es Seu wee B47<br /> How to Use the Society... ae sa 6 ie 205 «-. 348<br /> The Authors’ Syndicate... pee ae me sae ao wo. 348<br /> Notices... &amp; ie tat oe re awe ae Bae wes B49<br /> <br /> Literary Property—<br /> 1.—The Rights of the Nameless<br /> 2.—Copyright and Magazines<br /> 3.—In Bankruptcy :<br /> 4.—American Copyright see ee ae<br /> 5.—The French Society of Dramatic Authors<br /> 6.—Publishers’ Accounts eS oe ee<br /> 7.—The Output, 1800 and 1892<br /> 8.—A Case of Collaboration ...<br /> 9.—Is this Fair?... as<br /> 10.—A Tale of a Journal<br /> 11.—Lost MSS. ... aS<br /> 12.—Artistic Copyright...<br /> 13.—Title and Copyright<br /> Hardships of Publishing ... sue ae ons on<br /> An Omnium Gatherum for March. By J. M. Lely ...<br /> <br /> <br /> <br /> <br /> <br /> [PRicE SIXPENCE.<br /> <br /> What they Read<br /> Defoe and the Publishers<br /> A New Translation of Rabelais ee<br /> Notes from Paris. By Robert H. Sherard<br /> The Conveyance of a Gift ... ae as<br /> Notes and News. By the Editor...<br /> The Professor&#039;s Pheenix ... ne iF<br /> Carlyle on the Position of Literary Men<br /> Correspondence—<br /> 1.—A Register of Books Wanted<br /> 2.—Misstatements in Review... ties<br /> 3.—The Example of Richard Savage<br /> 4.—Inaccuracy in Fiction aS<br /> 5.—Unknown Writers ...<br /> 6.—Times of Payment ...<br /> 7.—Prompt Payments ... ise<br /> 8.—The Record Press Company Fe<br /> “At the Sign of the Author’s Head”’ ... a0 ate ak wee O16<br /> New Books and New Editions... ts nee eae aoe «we 88<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> 1, The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> <br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors.<br /> <br /> od<br /> <br /> (The Leadenhall Press.) 1s.<br /> <br /> The Report of three Meetings on<br /> <br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> the Society. Is.<br /> <br /> o ov Be<br /> <br /> Literature and the Pension List. By W. Morris CoLzzs, Barrister-at-Law. (Henry Glaisher,<br /> <br /> The History of the Sociéte des Gens de Lettres. By S. Squrrm Spricar, late Secretary to<br /> <br /> The Cost of Production. In this work specimens are given of the most important forms of type,<br /> <br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication.<br /> <br /> By S. Squrre SpriecE.<br /> <br /> In this work, compiled from the<br /> <br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> <br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> <br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> I J g<br /> <br /> Henry Glaisher, 95, Strand, W.C. 35.<br /> <br /> 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> <br /> ment.<br /> <br /> With Extracts from the Report of the Commission of 1878, and an Appendix<br /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br /> <br /> and Spottiswoode. 1s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> 346 ADVERTISEMENTS.<br /> Che Society of Authors (Sncorporated),<br /> PRESIDENT.<br /> <br /> GHRORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> st<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Srr Epwin Arno.p, K.C.LE., C.S.1. OswaLpD CRAWFuRD, C.M.G. Lewis Morris.<br /> <br /> ALFRED AUSTIN. Tue Earu or Desart. Pror. Max Mi.urr.<br /> <br /> J. M. BARRIE. Austin Dosson. J. C. PARKINSON. ;<br /> <br /> A. W. A Becxert. A. W. Dusoure. THE Ear. OF PEMBROKE AND Mont- — =, ¢<br /> Rosert BaTeman. J. Eric Ericusen, F.R.S. GOMERY.<br /> <br /> Sir Henry Berane, K.C.M.G. Pror. MicHaru Foster, F.B.S. Siz FREDERICK PoLiock, Bart., LL.D. a<br /> WALTER BESANT. HERBERT GARDNER, M.P. Water Herrizs Poutock.<br /> <br /> AUGUSTINE BIRRELL, M.P. RicHAaRD GARNETT, LL.D. A. G. Ross.<br /> <br /> R. D. Buackmore. EpmunpD Gossz. GrorGe AuGausTUs SALA.<br /> <br /> Rev. Pror. Bonney, F.RB.S. H. Riper Hace@arp. W. BaprisTE Scoonss.<br /> <br /> Lord BRABOURNE. THomas Harpy. G. R. Sms.<br /> <br /> James Bryce, M.P. JEROME K. Jerome. S. Squrre SPRIGGE.<br /> <br /> Hatt Carne. Rupyarp Kipuine. J. J. STEVENSON.<br /> <br /> P. W. CLaYDEN. Pror. E. Ray LAnxester, F.R.S. Jas. SULLY.<br /> <br /> Epwarp Cropp. J. M. Leny. : WItiiAm Moy Tuomas. i<br /> W. Morris Couusgs. Rev. W. J. Lorrin, F.S.A. H. D. Traru, D.C.L. i<br /> Hon. JoHNn Couturier. Pror. J. M. D. MErKLEJoHN. Baron HENRY DE Worms, MP.,<br /> <br /> W. Martin Conway. Herman C. MERIVALE. F.RB.S.<br /> <br /> F. Marion CRAWFORD. Rev. C. H. Mippueron-Waxe F.L.S.| Epmunp Yates.<br /> <br /> <br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNpERDowy, Q.C.<br /> Solicitors—Messrs Fiznp, Roscoxz, and Co., Lincoln’s Inn Fields.<br /> Secretary—C. HERBERT THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, Portugat Street, Lincoun’s Inn Freups, W.C.<br /> <br /> aan<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, 4<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 /> GHORGH HENRY JENNINGS.<br /> CONTENTS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Part I.—Rise and Progress of Parliamentary Institutions. | APPENDIx.—(A) Lists of the Parliaments of England and —<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John of the United Kingdom.<br /> Morley. (B) Speakers of the House of Commons. :<br /> Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex- (C) Prime Ministers, Lord Chancellors, and<br /> clusion of Strangers; Publication of Debates. Secretaries of State from 1715 to<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties. 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 | ‘It is a work that possesses both a practical and an historical<br /> of good things, is more than ever rich in doth instruction and amuse- value, and is altogether unique in character.&quot;—Kentish Observer.<br /> <br /> ment. ”—Scotsman. ‘* We can heartily recommend this work to the politician, whatever<br /> “Iti . . may be his party leanings.”—WNorthern Echo. 5<br /> <br /> seat tee get oa page aga Zc and in its | ‘‘Here we have the whole company of Parliamentary celebrities,<br /> <br /> : A i | past and present, reduced to puppets, so to speak, and made to<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or | repeat their best and most approved rhetorical performances for our<br /> <br /> }<br /> <br /> wio may have occasion to assist as speakers during the electoral leisurely entertainment, which is not less enjoyable from being allied<br /> vempaign, is incumparable.”—Sala’s Journal, | with edification.” —Ziverpool Courier.<br /> <br /> <br /> <br /> <br /> a Orders may now be sent to HORACE COX “Law Times” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> Che HMuthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. III.—No. 10.]<br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible.<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 /> Oe<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> Serian Ricuts.—In selling Serial Rights<br /> stipulate that you are selling simultaneous serial<br /> right only, otherwise you may find your work<br /> serialized for years, to the detriment of your<br /> volume form.<br /> <br /> <br /> <br /> Stamp your AcreEMENTS.—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 /> <br /> VOL. III.<br /> <br /> MARCH 1, 1893.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> fT<br /> <br /> ASCERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.-<br /> Remember that an arrangement as to a joint<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 /> Literary AceEnts.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as youragent. Remember that you place<br /> your property almost unreservedly in his hands.<br /> Your only safety is in consulting the Society, or<br /> some friend who has had personal experience of<br /> the agent.<br /> <br /> <br /> <br /> Reavers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> eight years’ workupon the dangers to which literary<br /> property is exposed :—<br /> <br /> (1.) Nevzr 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.) NEveRr 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 /> <br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) NevER accept any proposal of royalty<br /> until you have ascertained what the<br /> DD Z<br /> <br /> <br />  <br /> <br /> 348<br /> <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 /> 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, unless for a substantial<br /> consideration. If the publisher insists,<br /> take away the MS. and offer it 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 /> (io.) 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, Porrueat Street, Lincoun’s Inn Frewps.<br /> <br /> _—_—_— oS Oe<br /> <br /> HOW TO USE THE SOCIETY,<br /> <br /> <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 /> THE AUTHOR.<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 hag<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 /> 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 /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> SPECIAL report of the Authors’ Syndi-<br /> cate has been prepared, and will be issued<br /> to those members of the Society for whom<br /> <br /> the Syndicate has transacted business. The<br /> accounts of the Syndicate for 1891-92 have been<br /> audited by Messrs. Oscar Berry, and Carr. A<br /> transcript of every client’s account as audited<br /> and vouched, has been sent to that client.<br /> <br /> Members are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With,<br /> when necessary, the assistance of the legal advisers<br /> of the Society, it concludes agreements, collects<br /> royalties, examines and passes accounts, and<br /> generally relieves members of the trouble of<br /> managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndi-<br /> cate are defrayed entirely out of the commission<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> charged on rights placed through its intervention.<br /> This charge is reduced to the lowest possible<br /> amount compatible with efficiency. Meanwhile<br /> members will please accept this intimation that<br /> they are not entitled to the services of the Syndi-<br /> cate gratis, a misapprehension which appears to<br /> widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none<br /> but those members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That the business of the Syndicate is not to<br /> advise members of the Society, but to manage<br /> their affairs for them.<br /> <br /> 5. That the Syndicate can only undertake<br /> arrangements of any character on the distinct<br /> understanding that those arrangements are placed<br /> exclusively in its hands, and that all negotiations<br /> relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by<br /> appointment, and that, when possible, at least<br /> four days’ notice should be given. The work of<br /> the Syndicate is now so heavy, that only a limited<br /> number of interviews can be arranged.<br /> <br /> 7. That every attempt is made to deal with the<br /> correspondence promptly, but that owing to the<br /> enormous number of letters received, some delay<br /> is inevitable. That stamps should, in all cases,<br /> be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite<br /> MSS. without previous correspondence, and does<br /> not hold itself responsible for MSS. forwarded<br /> without notice.<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 /> ee<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 /> 349<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 /> Communications for the Author should reach<br /> the editor not later than the 21st of each month.<br /> <br /> <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 /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> —<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> <br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble o9f<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 P<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> <br /> <br /> 359<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 “doing 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 /> <br /> 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 /> sums 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 /> ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> <br /> Tuer Ricuts or tHE NAMELESS.<br /> I.<br /> <br /> HE following letter appeared in the<br /> I Athenzxum of Feb. 11 :—<br /> <br /> A Warnine To AUTHORS.<br /> <br /> Please let me recount my experience of Messrs. Warne<br /> and Co., publishers.<br /> <br /> Sixteen years ago I wrote a semi-religious story for girls.<br /> It appeared in the Quiver in 1877, and was called “ Their<br /> Summer Day.” In 1883 I offered the copyright of it to<br /> Messrs. Warne. They bought it for £20 or £25. I stipn-<br /> lated that my name should not appear, orI should not, even<br /> then, have sold a story for sosmallasum. Mr. Warne, I<br /> think, did not send me proofs; he certainly altered the<br /> name to “Marie May; or, Changed Aims,” without con-<br /> sulting me. It was published by him in 1884 in a series of<br /> juvenile books by different authors. No name was printed<br /> on the title-page, only the titles of a few other early stories<br /> that had also been written for the Quiver.<br /> <br /> Yesterday, to my surprise, I came across this book for<br /> girls—published sixteen years ago in a religious magazine,<br /> and nine years ago in the manner I haye described, by<br /> Messrs. Warne themselves—got upin the guise of a new<br /> novel, with my name upon and in it, as well as those of<br /> <br /> AUTHOR.<br /> <br /> the works I have quite recently published. Moreover there<br /> is no date on the title page, so that unsuspecting editors<br /> may review, and innocent readers buy, as a new book this<br /> very old one.<br /> <br /> Iam aware that Messrs. Warne had a right to republish<br /> the story, but I feel that they have taken advantage of my<br /> foolishness in not having the clause about the book being<br /> anonymous put into the agreement; that I made the con-<br /> dition the title-page of the early edition shows. In regard<br /> to the story itself, I hope I may not be judged by it. Itis<br /> uninteresting and rather foolish, so that Messrs. Cassell (who<br /> were always very kind to me) gave me back the copyright,<br /> not caring themselves to reprint it. offered it to Messrs.<br /> Macmillan, who had just published my children’s book<br /> (m 1883); but though they are my intimate friends,<br /> they could not bring themselves to think this story good<br /> enough forthem. I therefore took it to Messrs. Warne ;<br /> but I should not have allowed them to publish it, except on<br /> the understanding I have stated. I think it was quite up to<br /> the average of the semi-juvenile series in which they first<br /> published it ; but I contend that it is most unjust to put<br /> it forth, with a dateless title-page, in a manner that shall<br /> make it pass as my recent work. :<br /> <br /> Lucy Cuirrorp (Mrs. W. K. Currrorp).<br /> <br /> II.<br /> The following appeared in reply, Feb. 18<br /> 1893 :—<br /> <br /> ?<br /> <br /> Chandos House, Bedford-street, Strand,<br /> Feb. 14, 1893.<br /> <br /> An ex parte statement having appeared in your columns<br /> from the pen of Mrs. W. K. Clifford, re her work “ Marie<br /> May,” you will please allow us to place your readers in pos-<br /> session of the facts by publishing this letter.<br /> <br /> Mrs. Clifford makes three statements :—<br /> <br /> 1. That we changed the title of the book without con-<br /> sulting her.<br /> <br /> 2. That the present edition is got up in the guise of a<br /> new novel.<br /> <br /> 3. That an understanding was given—not mentioned in<br /> the agreement—that the book should be issued anony-<br /> mously.<br /> <br /> Lastly, she complains of there being no date on the<br /> title-page.<br /> <br /> The first of these statements is untrue, as a proof of<br /> which we hold Mrs. Clifford’s duly completed receipt for<br /> £25, transferring the entire copyright to us under the title<br /> of “‘ Marie May,” distinctly.<br /> <br /> The second is wilfully misleading. The book is not got<br /> up in the guise of a new novel, but is issued in a series of<br /> cheap reprints, published in the usual form, at 2s. picture<br /> boards and 2s. 6d. cloth.<br /> <br /> Re the third. No condition whatever was made as to<br /> anonymous publication, and we are morally certain that the<br /> matter was never broached at all, The fact that the first<br /> edition was issued anonymously in no way proves the<br /> contrary,as the book was first placed in a series where a<br /> large proportion of volumes were issued in the same way.<br /> Further, the insertion of her name at that date would have<br /> been of no assistance to the sale of the book.<br /> <br /> Fourthly. Re the dateless title-page. Surely Mrs.<br /> Clifford puts herself altogether in the wrong on this point.<br /> <br /> If the title had borne the date 1893, both she and the public —<br /> <br /> might have had cause for complaint. The fact that it was<br /> not dated, and that the book was not sent for review (as she<br /> too eagerly concludes it was), proves our bona fides in the<br /> matter.<br /> <br /> In view of these facts, while expressing no opinion of<br /> the book itself, we maintain our perfect right—as holders<br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> of the copyright—to issue the volume in its present form,<br /> with any advantage that may accrue from Mrs. Clifford’s<br /> name having become better known to the public. At the<br /> same time we decline to take a lesson in just dealing from a<br /> lady whose principles may best be judged by the fact that<br /> she has been willing to sell a work—which she herself<br /> designates as “uninteresting and foolish’—for the sum<br /> of £25, and afterwards to decry it.<br /> <br /> Further, it appears to us a moot question whether a<br /> journal like the Athenewm should open its columns for<br /> ex parte statements of this nature without ascertaining if<br /> there is any justification for them.<br /> <br /> FREDERICK WARNE AND CoO.<br /> <br /> III.<br /> To this Mrs. Clifford makes rejoinder to the<br /> Author :—<br /> <br /> I did not give any receipt at all (for an obvious reason)<br /> till some time after the publication of the story. I could<br /> hardly have given it under any other title than that by<br /> which it had been published. If Messrs. Warne publish it<br /> now as a reprint or new edition, why do they not say so on<br /> cover or titlepage? There is no hint of it, nor of its being<br /> one of a series. And why is it announced in the Publishers’<br /> Circular for Jan. 28 and the Bookseller for February as a<br /> new book? If I did not make the anonymous condition<br /> why did Messrs. Warne not use my name? It was of no<br /> value in 1877 when this story was written; but it must<br /> have been worth something in 1883 when they republished<br /> it. For in 1881 Messrs. Wells, Gardner, and Darton had<br /> published a little book called “ Children Busy,” of which<br /> 31,000 copies were sold in the first year. The stories were<br /> known to be mine though they were not signed. In 18821<br /> published “ Anyhow Stories” with Messrs. Macmillan, so<br /> that my name must have had some value even then, and<br /> the inference is that Messrs. Warne would have used it had<br /> they been at liberty to do so. Lucy CLIFFORD.<br /> <br /> LY:<br /> <br /> The St. James’s Gazette and the Westminster<br /> Gazette comment upon the case as follows :—<br /> <br /> I.<br /> <br /> We referred only a month ago to a dispute Mr. Clark<br /> Russell had with Messrs. Kegan Paul and Co. as to their<br /> right, as assignees of copyrights purchased from Messrs.<br /> H. S. King and Co., to republish to-day, under Mr. Russell’s<br /> name, youthful work contributed years ago, under a pseu-<br /> donym, to the Liverpool Daily Post. The alleged right<br /> struck us, we confess, as wholly untenable. Mrs. W. K.<br /> Clifford has to complain of a similar and flagrant grievance<br /> against Messrs. Warne and Co.<br /> <br /> Il.<br /> <br /> A curious case in the ethics of publishing is raised by the<br /> treatment to which Mrs. W. K. Clifford has been subjected<br /> by a certain firs. In her early days, when her intellectual<br /> standpoint was very different from what it is now, she wrote<br /> some goody-goody but (if she will pardon us for saying it)<br /> somewhat dull stories for the Quiver. In 1883 she sold the<br /> copyright of one of them to the firm in question, stipulating<br /> that it should be published anonymously, though she<br /> neglected to put this stipulation in the agreement. In 1884<br /> the story was duly published in a series of religious books<br /> for young people.<br /> <br /> So far so good. But the other day, without a word to the<br /> authoress, the publishers re-issued the work, in the guise of<br /> a new novel, with the name of Mrs. Clifford on the title-<br /> page, to which they added the titles of her recent books<br /> (“* Mrs. Keith’s Crime,” “ Aunt Anne,” &amp;c.). In charity one<br /> <br /> AUTHOR.<br /> <br /> 351<br /> <br /> must suppose that the publishers meant no harm; but the<br /> effect is that an unsuspecting public will imagine this imma-<br /> ture story, written by Mrs. Clifford when she was a girl, to<br /> be a new book written in direct succession to ‘‘ Aunt Anne.”<br /> Doubtless the firm in question have acted entirely within<br /> their legal rights. But is the proceeding one which com-<br /> mends itself to the publishing conscience? When the<br /> Publishers’ Union is an accomplished fact perhaps we shall<br /> know. Meanwhile, what does the Society of Authors think<br /> of the case?<br /> <br /> v.<br /> <br /> These letters speak for themselves. The<br /> author says that there was the condition of<br /> anonymous publishing; that the title was<br /> <br /> changed without consulting her; that the new<br /> edition is presented as a new novel ; and that there<br /> is no date on the title-page. The publisher says<br /> that there were no conditions. Very well.<br /> There is, perhaps, no written agreement. But the<br /> book was published anonymously. Why? The<br /> publisher says that the insertion of the author’s<br /> name would not have helped the sale. Then are<br /> we to understand that a publisher is to please<br /> himself whether a name is to be given or not?<br /> In that case what becomes of reputation? How<br /> is a name to be made? If a book is anonymous,<br /> the world always understands that it isso ordered<br /> by the author.<br /> <br /> Such a case as this seems to us one that should<br /> be decided by the courts of law. It seems a<br /> simple thing. The point does not appear to<br /> have ever arisen and been decided at law, but<br /> it seems at least arguable that the publisher<br /> of an anonymous book buys the work, but not<br /> the name. Otherwise one may conceive of a<br /> great deal of mischief being done to a writer.<br /> We all have our beginnings; some of us have<br /> our necessities. When these are surmounted,<br /> the most serious injury might be done by reviving<br /> immature work for the sake of trading upon an<br /> honourable and popular name. Once more, the<br /> case is another warning for every writer.<br /> <br /> it<br /> CopyrigHt and MaGazines.<br /> <br /> With reference to the article appearing in your<br /> last issue, p. 313, on the subject of magazines and<br /> copyright, there is one point on which I would<br /> venture to differ from the opinion expressed by<br /> Mr. Hardy on sect. 18 of the Copyright Act, 1842.<br /> Mr. Hardy suggests three conditions which must<br /> be fulfilled before the proprietor can become<br /> entitled to the copyright in articles written for<br /> him by others. The second of these conditions<br /> is, ‘that the articles must be written on the<br /> terms that the copyright therein shall belong to<br /> the proprietor,” and in support of this contention<br /> he cites the case of Layland y. Stewart (4 Ch.<br /> <br /> <br />  <br /> <br /> 352 THE<br /> <br /> Div. 419) — but that case, I would submit,<br /> only shows that, where an author enters into an<br /> agreement for the publication of his work, no<br /> copyright will pass to the publisher without an<br /> assignment in writing, and that it does not<br /> govern a transaction in which the author has<br /> written an article which he was employed to write<br /> for his employer. Such a case, I submit, would<br /> be governed by the decision in Sweet v. Benning<br /> (24 L. J. 175, C. P.), where it was held that in<br /> order to give the proprietor of a periodical a<br /> copyright in articles composed for him by others,<br /> and paid for by him, under the 18th section of<br /> the Copyright Act (5 &amp; 6 Vict. ¢. 45), it is not<br /> necessary that there should be an express con-<br /> tract that he should have the property in the<br /> copyright. E. CuartEris.<br /> Temple, Feb. 7.<br /> <br /> Seen<br /> <br /> IIT.<br /> In Bankruptcy.<br /> <br /> A publisher who has agreed to produce an<br /> author’s book on royalty, becom-s bankrupt, and<br /> offers a composition of, say, 5s. inthe pound. The<br /> composition isaccepted. Hethen carries on his busi-<br /> ness as before, and sells a number of copies of the<br /> book in question. Upon these sales he proposes to<br /> pay one-quarter of the stipulated royalty. But<br /> the author says: “No; I consented to accept 5s.<br /> inthe pound on all debts due to me at the date<br /> of your composition. I did not consent to accept<br /> 5s in the pound on any debts that might be<br /> incurred afterwards. I want my royalty in full.”<br /> Which is right, author or publisher? Will<br /> some member, who is learned in the law, please<br /> answer, quoting the cases on which his opinion is<br /> based ? D.<br /> <br /> =e<br /> <br /> IV.<br /> AMERICAN COPYRIGHT.<br /> <br /> An author arranges to bring out a book on<br /> royalty in England, and also sells the American<br /> rights. The American firm who agree to buy<br /> are informed of the date when it will be pro-<br /> duced in England; but in spite of that fact, for<br /> reasons of their own, delay publication, and the<br /> American copyright is lost. As the book is thus<br /> rendered practically valueless to them they refuse<br /> to complete their contract. What is the author<br /> todo? If he were to sue in the American courts,<br /> I suppose his evidence could be taken upon com-<br /> mission; but even then would not the expense be<br /> enormous? Also upon what basis should he<br /> assess damages? It they were considered too<br /> <br /> <br /> <br /> high, would not he be mulcted in part of the<br /> The matter is important, as two cases of<br /> <br /> costs r<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> the sort have already occurred, and though in<br /> both the American firms involved have even tually<br /> paid, other cases are sure to crop up. In order<br /> to protect the interest of members, would not it<br /> be possible for the Society to co-operate with the<br /> American Association of Authors, a small addi.<br /> tional subscription being paid for this service ?<br /> Each subscriber would then practically become a<br /> member of the Association, and enjoy all the<br /> rights of membership. Of course, a similar<br /> privilege should be offered to all who belong to<br /> the American Association. It seems to me that<br /> some such arrangement would greatly benefit<br /> authors in both countries, D.<br /> <br /> <br /> <br /> Vv.<br /> THe Frencu Society or Dramatic AUTHORS.<br /> <br /> The French Society of Dramatic Authors, in<br /> their capacity as a syndicate, collected in 1890-91<br /> no less than £136,444 as authors’ rights for its<br /> members. Beaumarchais was the real originator<br /> of this society. Having given his first two pieces,<br /> The Enigma and The Two Friends, to the actors,<br /> free, gratis, for nothing, when it came to the<br /> Barber of Seville and its tremendous vogue, he<br /> claimed an author’s share of the profits. The<br /> comedians sent him 4500 livres, which would be<br /> some £450 to-day, but without any account or<br /> computation of the sum. Beaumarcbais brought<br /> the matter before the licenser of plays—then a<br /> gentleman of the King’s bed-chamber, the Due<br /> de Duras—who suggested to him to get the<br /> dramatic authors together, and draft a regulation<br /> for the future. Diderot, La Harpe, and others<br /> opposed Beaumarchais—these authors always<br /> will have a sylit—but he, in 1777, got together<br /> some twenty-three colleagues, and in 1780<br /> succeeded in fixing an author’s rights in his play<br /> at one-seventh of the net receipts. For the sixty-<br /> five first performances of the Marriage of Figaro,<br /> for example, Beaumarchais thus obtained 41,440<br /> livres, say, nowadays, some £4140. The National<br /> Assembly made the first legislative recognition of<br /> dramatic copyright in January, 1791, but Beau-<br /> marchais had to petition about this law in the<br /> following December. Out of this petition came<br /> another unsatisfactory law in 1792; but at length,<br /> on Sept. 1, 1793, the playwright was assimilated<br /> to any other writer in the ownership of his own<br /> works ; and ever since then—for just a hundred<br /> years—the Society that the indefatigable Beau-<br /> marchais started has gone on prospering, and<br /> earning their bread for all its members. ‘Lhe<br /> Revue de Belgique contains an article on the<br /> subject which is of interest to us all.<br /> <br /> J. O&#039;NEILL.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> VE<br /> PusLIsHERS ACCOUNTS.<br /> <br /> The following judgment has been pronounced by<br /> the Court of Cassation in Paris on a case between<br /> publisher and author. The case is still pending,<br /> this decision being only a step im its progress.<br /> When it is finally settled we hope to report the<br /> whole :<br /> <br /> “ When, in the carrying out of a contract between<br /> publisher and author, the publisher, in order to<br /> increase his profits and reduce those of the<br /> author, renders accounts which dissimulate the<br /> real number of copies in the editions, and at the<br /> same time falsifies his books to make them agree<br /> with the accounts rendered, this combination of<br /> fraud and falsification presents the character of<br /> the crimes of forgery and of the employment of<br /> forged documents.”<br /> <br /> And the Court of Cassation has accordingly<br /> sent down the case anew to the “ Chambre des<br /> mises en accusation,’ or Court of Indictment, as<br /> it might be translated—being a sort of grand-<br /> jury of judges. If they now find a true bill,<br /> the case will then at length be tried by some<br /> Court of First Instance.<br /> <br /> VEL.<br /> Tux Output, 1800 AND 1892.<br /> <br /> The following is a classified list of new books<br /> for the year 1800. The population of the three<br /> kingdoms was then 15,000,000. It is now, counting<br /> English readers in the colonies and India, about<br /> four times as great. We have therefore placed in<br /> parallel columns what would be the output of to-<br /> day in the same proportion, and what is the actual<br /> <br /> <br /> <br /> output. The arrangement of the Publishers’<br /> Circular is followed.<br /> <br /> | 1800. | 1892 1893<br /> <br /> | (in same (actual).<br /> <br /> | | propor-<br /> <br /> | | tion).<br /> eae oe | Se |<br /> Theology and Sermons | 96 384 528<br /> Educational, Classical,<br /> <br /> Piilological .......:... | 56.31. 200 579<br /> ae... (2 | ie 1147<br /> Law, Jurisprudence, &amp;c. | Bio | Lee 61<br /> Political and Social |<br /> <br /> Economy, Trade, and |<br /> <br /> Commerce ............ | 137 |&lt; 048 151<br /> Arts, Sciences, and | |<br /> <br /> Tllustrated Works ...| 63 | 252 147<br /> Voyages and Travels ... | 20 80 250<br /> History and Biography | 52 | 208 293<br /> Poetry and the Drama | 110 440 185<br /> Medicine and Surgery... | 60 | 240 127<br /> <br /> The second and third columns show (1)<br /> VOL. III.<br /> <br /> ‘ accident.<br /> <br /> 3§3<br /> <br /> the increased proportion of readers to population,<br /> and (2) the changes which have taken place in<br /> their reading. Thus, without change, we should<br /> have had 384 new books on theology, we actually<br /> get 528. Now the people who read theological<br /> works certainly use the old standard books more<br /> than new ones. Educational books are multiplied<br /> by nearly three, which shows the immense spread<br /> of education. Novels are multiplied, in propor-<br /> tion, by five, but then a very large number of<br /> those which swell our numbers are stuff which no<br /> one will publish except at the author’s expense.<br /> Voyages and Travels are multiplied by three,<br /> History and Biography by one andahalf. Poetry<br /> and the Drama have decreased by from 446 to 146.<br /> Books on Medicine are diminished by one-half.<br /> Political and Social Economy, Trade and Com-<br /> merce, reduced from 548 to 105. The propor-<br /> tional increase is not so great as we might have<br /> expected, but it grows; in ten years’ time, one<br /> ventures to predict, the increase in educational<br /> books will be very great indeed ; there will be a<br /> great decrease in novels; there will be a large<br /> increase in poetry and the drama, and a decrease<br /> in voyages and travels. Lastly, the whole output<br /> of new books in 1892 in the same proportion to<br /> that of 1800, when it was 693, should have been<br /> 2772: instead, it was, excluding year books and<br /> serials, 4555, or nearly double. The number of<br /> those who read books is therefore doubled in<br /> proportion to the population. The case, how-<br /> ever, cannot be disposed of in this simple way,<br /> because the editions are now very much larger<br /> than they were formerly, and the apparent<br /> increase by no means represents the real increase.<br /> <br /> <br /> <br /> VALE.<br /> A Cask oF COLLABORATION.<br /> <br /> A lady translated a series of stories from the<br /> French, and arranged with a gentleman to super-<br /> vise the MS., and correct any errors that might<br /> occur. He was further to try and place the<br /> stories in magazines and other suitable periodicals.<br /> The financial arrangement was based on_ half<br /> profits. Under the circumstances, a fairly equi-<br /> table arrangement, though what advantage there<br /> was lay on the side of the man, the lady being a<br /> <br /> erson of some literary attainment and culture,<br /> and therefore needing in her MS. not much cor-<br /> rection. In due course a story was placed in<br /> a well-known weekly journal. No mention of the<br /> fact was made; the truth was discovered by<br /> The lady, who constantly met the<br /> gentleman in society, taxed him with it, and<br /> was informed that she should receive a cheque in<br /> due course, but the cheque never came, and a<br /> EE<br /> <br /> <br />  <br /> <br /> 354<br /> <br /> <br /> <br /> year has passed. Another story has been placed,<br /> and no cheque has as yet arrived. Under ordi-<br /> nary circumstances an action at law would be an<br /> easy way to awaken the male partner to a sense<br /> of duty and responsibility. Unfortunately the<br /> lady lives abroad, and this point is a safeguard<br /> to her partner. He knows the fact, and trades<br /> upon it.<br /> <br /> <br /> <br /> IX.<br /> Is tHis Farr?<br /> <br /> An editor of a certain journal or periodical<br /> happens to be also a member of the Society. In<br /> the information column of his journal he is asked<br /> several difficult questions concerning copyright,<br /> and various particulars about publishers. As a<br /> member of the Society he writes off to the<br /> Secretary, stating the complicated legal conun-<br /> drums, and asking advice generally as to the<br /> publishers referred to. The Secretary, in the<br /> innocence of his heart, writes him a full letter<br /> containing valuable information and critical ex-<br /> planations. In the next week’s issue of the<br /> periodical the correspondents are fully answered.<br /> Is this fair to the Society? A member who<br /> really had the work of the Society at heart ought<br /> to refer correspondents to the Secretary, and not<br /> suck the Secretary’s brains for his own aggran-<br /> disement, and to the detriment of the Society, or,<br /> at least, he might acknowledge the source of his<br /> information.<br /> <br /> <br /> <br /> X.<br /> A TALE oF a JOURNAL.<br /> <br /> The public life of third-rate journals and perio-<br /> dicals is full of interest, not only as showing the<br /> ingenuity of the human mind, but as setting<br /> forth the dangers attendant on MSS. forwarded<br /> for insertion in their columns. A limited liability<br /> company is generally the first step in the career of<br /> vice. In the memorandum of association powers<br /> are taken to publish a magazine, paper, book, or<br /> anything that may be printed. The paper is in<br /> due course floated. With the little money pro-<br /> duced from the sale of shares and collected from<br /> the gullible public, advertisements for MSS. are<br /> freely posted. In a short time quite a collection<br /> of literary wares is brought together, but the<br /> printer is left unpaid, and the landlord is clamour-<br /> ing for rent, and the contributors are wild for<br /> their small pittances. There is only one haven of<br /> rest—the bankruptcy court. Now is the editor’s<br /> or proprietor’s chance, the chance of the man who<br /> conceived the brilliant idea, the chance of the<br /> man who knew of its inevitable failure. All the<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> assets of the company are sold for the benefit of<br /> the creditors. The proprietor puts forward a<br /> nominee and buys them in at a small knock-down<br /> value. There is nothing for the creditor. The<br /> printer rages and the contributors are in tears,<br /> But the former proprietor, in a nice new office, is<br /> running a fresh and perhaps successful magazine<br /> of his own with this distinct advantage that for<br /> some time at least he has no contributors to pay.<br /> <br /> <br /> <br /> Xi.<br /> Lost MSS.<br /> <br /> It is curious to hear of the difficulties<br /> encountered in finding MSS., when the impatient<br /> owner, after long delay, at length clamours for<br /> their return. A few cases may suffice to put this<br /> before the minds of the readers of the Author.<br /> One publisher, in a case brought before us, could<br /> only discover an MS. when the irate author with<br /> his back to the door of the private office threatened<br /> personal violence, This is not every one’s chance,<br /> but this author was an accomplished athlete,<br /> Another writer, a lady of gentle and patient<br /> disposition, who could in no other way get her<br /> MS., took her lunch and a novel, and sat down<br /> in the office to wait, stating her readiness to wait<br /> all day and every day. Presently the MS. was<br /> handed to her from a shelf quite close to where<br /> she was sitting. In another case the address had<br /> been lost, and in another the author’s letter had<br /> been mislaid. Authors, however, are not without<br /> blame. They forward the MSS. recklessly.<br /> They give inadequate instructions as to their<br /> return, and they demand infallibility.<br /> <br /> <br /> <br /> XIi.<br /> Artistic CopyRiGcuHt.<br /> <br /> The society has been applied to recently by<br /> one or two artists for advice on questions of copy-<br /> right, and for help in the negotiation of terms<br /> with publishers and engravers. This is no doubt<br /> a wide field, but it is a field in which the society,<br /> through its knowledge of copyright, can be of<br /> great assistance to fellow workers. Many artists<br /> are, of course, also authors. Many, however, are<br /> not. One or two elections of artists have been<br /> made whose contracts are similar to those of<br /> authors and to whom the society’s experience<br /> may be of equal service.<br /> <br /> <br /> <br /> a<br /> a<br /> Af<br /> a<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> XIii.<br /> <br /> TirLE AND COPYRIGHT.<br /> <br /> A novel difficulty in regard to the law of copyright has<br /> just come under my notice. A retired naval officer wrote a<br /> nautical novel, and for some time before it was complete<br /> spent considerable sums in advertisements and “ prelimi-<br /> nary puffs.” Just as the work was on the eve of production<br /> another astute novelist brought outa book with the title<br /> which the first writer has been sedulously advertising. He<br /> thus appropriates a great part of the fruits of his rival’s<br /> expenditure. So far as I can see, the injured scribe has no<br /> redress; what is more, there appears to be no means by<br /> which an author desirous of advertising his work before pub-<br /> lication can guard against this form of piracy. The Society<br /> of Authors might well address themselves to the amendment<br /> of the law in this respect.<br /> <br /> The above is from 7ruth. It certainly seems<br /> a most flagrant case. But a similar case has<br /> has already been decided in the courts in Max-<br /> well v. Hogg and Hogg v. Maawell (15 L.T.<br /> 204).<br /> <br /> The whole question of title was dealt with at<br /> some length in our issue of December, 1892, and<br /> we would refer readers who are interested to that<br /> number for information.<br /> <br /> HARDSHIPS OF PUBLISHING.<br /> <br /> laa has been little of importance added<br /> <br /> <br /> <br /> to the talk in the Athenewn on_ the<br /> <br /> “Hardsbips of Publishing.” Mr. John<br /> Murray wrote (Jan. 28) to say that he has lost<br /> about £7000 by three books. We might very<br /> fairly contend that we were talking of dealings<br /> with authors, not of reference books. But as<br /> nobody ever supposed that Mr. Murray never<br /> takes risks, we are quite prepared to admit that<br /> Mr. Murray is one of the “few publishers who<br /> take risks.” The fact does not in the least alter<br /> our position. And Mr. Rudyard Kipling (Feb. 18)<br /> sends the following :-—<br /> <br /> At this distance I cannot quite see what in the world my<br /> private notes have to do with Mr. William Heinemann’s<br /> public scufflings. If he had told me that he wanted my<br /> views on the hardships of publishers for publication, I<br /> should have been most happy to have forwarded them,<br /> though I do not think that he would then have considered<br /> them of interest to your readers.<br /> <br /> What I wrote to him was an ordinary civil acknowledg-<br /> ment of his letter to the Atheneum. If I had imagined that<br /> he was going to give my letter to the public, I should<br /> not have been at such pains to dwell upon what seemed to<br /> me his one fair contention. Nor should I have confined my<br /> remarks to the justice on his side. My practice (for I have<br /> bought my experience in the market) is to deal with pub-<br /> lishers entirely through an agent. RupyARD KIPLING.<br /> <br /> VOL. III.<br /> <br /> AUTHOR.<br /> <br /> 355<br /> <br /> To this appears the following reply (Feb. 25) :<br /> <br /> 21, Bedford-street, W.C., Feb. 20, 1893.<br /> <br /> Mr. Rudyard Kipling’s letter to you has grieved and<br /> surprised me. Ihave written to him to express my regret.<br /> But I also remind him, and hope you will let me inform<br /> your readers, that my action was caused by a complete<br /> misunderstanding of his views. In the letter from which I<br /> made-the quotation for the Athenzwm, Mr. Kipling wrote,<br /> in reference to another controversial matter :<br /> <br /> “If you choose to quote anything I said that<br /> you think will do you good, of course I can’t stop it, and I<br /> shouldn’t kick at it. Your mistake lay in asking.”<br /> <br /> In the next paragraph there occurred the words I sent to<br /> you for publication. How could I know that what applied<br /> to Jack was not intended to apply to Jill?<br /> <br /> W. HEINEMANN.<br /> <br /> The “one fair contention” alluded to is the prac-<br /> tice, too common among authors, of attributing<br /> failure of their books to the publisher, whose<br /> interest it certainly is to do all he can to make<br /> them succeed.<br /> <br /> The result of the rather angry controversy is<br /> that nothing whatever has been done to shake our<br /> contention—based upon such an experience of<br /> publishing houses as no single person can have—<br /> that few publishers take risks; or that few risks<br /> are taken by publishers. This is not, of course,<br /> saying that no risks are ever taken. Next, that<br /> after asserting that the society, or any one con-<br /> nected with it, has ever called publishers “in a<br /> lump, thieves,” the accuser, to support his charge,<br /> has to interpret such an adjective “ widespread ”<br /> as “universal” ; and, lastly, that where an offer<br /> has been made, and been refused, to undertake<br /> work at the alleged “cost of production,” the<br /> refusal to accept that offer is virtuously inter-<br /> preted to be based on a desire not to sweat the<br /> poor printer. This is a very fine result of the<br /> last attack. Let us now await the next.<br /> <br /> <br /> <br /> Why do publishers, whenever they talk about<br /> risks, constantly assume that they are all carrying<br /> on business in the same way, with the same<br /> capital, and the same power of ineurring risks ?<br /> When some penniless clerk, backed by a little<br /> credit with a printer, startes publishing, what risk<br /> can he afford torun? The small amount of capital<br /> with which many publishing houses have to work<br /> for years, and until they ‘turn the corner,”<br /> absolutely precludes the possibility of taking<br /> risk. It is vitally necessary for them, not only<br /> that a book shall pay for its cost of production,<br /> but that it shall also pay some margin of profit. It<br /> is in order to secure this margim that so many<br /> frauds have been introduced—overcharge of<br /> printing, paper, binding, advertisements—getting<br /> large discounts on every item and pocketing the<br /> whole. In advertisements, for imstance. an<br /> <br /> EE 2<br /> <br /> <br /> 356<br /> <br /> advertising agent recently informed a member<br /> of this society that he does not take publishers’<br /> business because they want such large dis-<br /> counts. Some of them ask, he says, as much<br /> as 40 per cent. discount—not, of course, in the<br /> great papers, but in the smaller journals. Do<br /> any of these discounts appear in the accounts?<br /> Would it not be more dignified for the great<br /> Houses when they read our experience, embodied<br /> in the form of a perfectly true statement, such as<br /> “‘ Few publishers take risks,” or “ Few risks are<br /> aken by publishers,” to assume that everybody<br /> knows that they are of the “few”? For instance,<br /> when one says, which is perfectly true, that many<br /> solicitors are—what many solicitors’ certainly are<br /> <br /> we do not see our own friends, who are solicitors,<br /> writing to the papers to say that they are not—<br /> they really are not—such as these gentry. They<br /> take it for granted that the world knows them tou<br /> well to suppose that they are meant. Nor, if<br /> one mentions the word “ Quack”’ in the presence<br /> of a medical man, does our personal friend the<br /> doctor jump up with a red face and fiery eyes to<br /> explain that he himself.is a qualified practitioner<br /> and an M.D. of London. Besides, our statement<br /> <br /> about risks is in itself so plainly and manifestly<br /> true, to every one who has any real knowledge of<br /> <br /> the trade and its conditions, that it is wonderful<br /> to see publishers objecting to it. Why should they<br /> take risks when they can avoid risks? The<br /> small Houses have not the capital which would<br /> enable them to take risks. The large Houses<br /> alone, which can afford to wait, may at times<br /> take needless risks, and sometimes make money<br /> and sometimes lose it. They may also make<br /> mistakes. There is in most men of business<br /> a certain element of the gambler. Perhaps<br /> without a little speculation trade would be<br /> dull. Is it, again, quite dignified to announce<br /> the fact of these failures? We do not find<br /> other business men advertising their losses.<br /> Mistakes must be made, it is certain, when<br /> speculation is introduced; all that is claimed is<br /> (1) that there are, and should be, few mistakes in<br /> publishing, considering the reputation and the<br /> position of certain writers ; (2) that the majority<br /> of Houses, which include the hundreds outside<br /> the few generally placed in the first line, either<br /> cannot afford, or will not afford, to run any<br /> risk whatever, and if they publish a risky book<br /> they make the author pay. Therefore, to repeat<br /> again and again, few publishers take risks,<br /> or publishers take few risks. And again, by risk<br /> we mean the speedy recouping of the cost of<br /> production, which in most cases is not paid until<br /> the sales have covered it, so that there is no cost<br /> at all. But we do not mean the expectation of<br /> profit, which is another question altogether.<br /> <br /> THE AUTHOR.<br /> <br /> Here is an illustration of the curious attitude<br /> of mind which is assumed by many in arranging<br /> for the publication of a book. “I have just;<br /> left,” said a certain person to the Secretary the<br /> other day, “the office of Messrs. They<br /> showed me by their own accounts that they are<br /> always losing money by their books. It is quite<br /> wrong to say that they never take risks.’ Well,<br /> nobody says that they never take risks. But<br /> consider what this means. The partners of this<br /> firm live in great opulence; they have arrived at<br /> their present prosperity by the publication of<br /> successful books. Their success proves their per-<br /> ception of what is wanted ; it isa faculty of which<br /> they may be justly proud because it has made<br /> them rich; yet they are constantly pretending<br /> and professing that they lose money by publishing<br /> books. That they do sometimes lose a little is<br /> quite intelligible; that they ever knowingly pro-<br /> duce a book which will probably or certainly fail<br /> to pay expenses may be doubted—except for<br /> reasons which are not apparent to the world,<br /> Then why this pretence? Is there any other<br /> business in the world in which the principals<br /> live in great houses, and yet are always publicly<br /> wailing over their losses? And, of course, to say<br /> that they prove these losses to a visitor by afford.<br /> ing him a glimpse of accounts is perfectly ridicu-<br /> lous, and for this reason, An account, to prove<br /> anything, must be audited. And in auditing a<br /> book account, many things have to be examined, as,<br /> for instance, the vouchers and receipts of printers,<br /> paper makers, and binders. And it must be proved<br /> how much was actually paid, and to what papers,<br /> for advertisements. And, again in the case of<br /> advertisements, not what is the tariff price, but<br /> what discounts were allowed; and not what is<br /> the scale for such and such a magazine, but, was<br /> the advertisement an exchange? And what adver-<br /> tisements, if any, are charged for the House&#039;s<br /> own magazine? Imagine, if you can, one of the<br /> great drapers of Regent-street driving home in<br /> his carriage and pair to sit down and lament<br /> over his daily losses! Now, if the more consider-<br /> able houses, which chiefly concern us, will give<br /> over publicly protesting or suggesting that their<br /> business is entirely a gambling one, and that the<br /> more they publish the more they lose, and will<br /> acknowledge, what every man of common sense<br /> perfectly well knows, that they must, as men of<br /> business, do their very best to run as few risks<br /> as possible ; then the smaller fry will have to leave<br /> off too, and shall be able to discuss matters as<br /> reasonable beings. Meanwhile we have at least<br /> given to the world the figures which show what<br /> book publishing means.<br /> <br /> ———<br /> <br /> <br />  <br /> <br /> i<br /> <br /> i<br /> oa<br /> dl<br /> 4<br /> <br /> ia<br /> q<br /> <br /> <br /> <br /> til<br /> if<br /> t<br /> a<br /> cf<br /> Es]<br /> g<br /> $3<br /> ae<br /> iy<br /> <br /> Se SE<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR.<br /> <br /> There are no fewer than 416 publishers in the<br /> London Trade Directory. A few more—religious<br /> societies—are not on the list. There are, there-<br /> fore, say, 420 houses which profess to call them-<br /> selves publishers. A rough division of this list<br /> shows that there are about twelve which may be<br /> called first-class houses, having regard to the<br /> class of literature they produce, their resources<br /> and history, and the general character they possess<br /> for integrity—but in this list we must be careful<br /> not to include all the firms which advertise long<br /> lists. Among those in the first rank are pub-<br /> lished most of the books--not at the author’s<br /> expense—which carry risk. Next to them stand<br /> some seventeen houses which we may fairly place<br /> in the second class; after them about sixteen of<br /> the third class. Then a few hangers-on in general<br /> literature ; chiefly, they publish the inferior<br /> novel. As for the rest they are American and<br /> foreign houses; religious houses; theological,<br /> scientific, legal, medical, geographical, and tech-<br /> nical houses; publishers of elementary educa-<br /> tional books; some printers who sometimes<br /> publish; some papers whose proprietors call<br /> themselves publishers; the producers of penny<br /> novelettes. For purposes of general literature<br /> there are between forty and fifty houses which<br /> need to be considered at all. And in some of<br /> these the unwary will most certainly be robbed,<br /> while in many of them he will be entrapped into<br /> aone-sided agreement Considering these things,<br /> writers, it cannot be too often repeated, should<br /> take the advice of the Society before sending<br /> MSS., and should, above all, seek the advice of<br /> the Society before signing agreements.<br /> <br /> <br /> <br /> spect<br /> <br /> AN OMNIUM GATHERUM FOR MARCH.<br /> <br /> <br /> <br /> Suggestions for Books or Articles.—A History<br /> of Publishing, with special reference to plural<br /> publication, as that of Chalmers’ “ British<br /> Essayists ” in 1823, in the publication of which<br /> fifty-seven publishers joined; The Force of<br /> Jealousy in Politics, Literature, and Art; The<br /> Duty of Delight; The Budgets of 1842, 1846,<br /> 1853, 1869, and 1892; The History of the three<br /> Reform Acts; The disadvantages of Civilisation ;<br /> The Rise and probably approaching Fall of<br /> Party Government in England; “ One Woman,<br /> Two-thirds of a Vote,” with special reference to<br /> Plato’s Republic, book v.<br /> <br /> A Publishers’ Union—The rumoured Pub-<br /> Jishers’ Union seems to have been given up.<br /> How sad! Authors have everything to gain and<br /> nothing to lose from such a Union.<br /> <br /> 3o/<br /> <br /> Prefaces—It is unfortunate that so little<br /> labour should frequently be bestowed on prefaces.<br /> In novels they are almost unknown. Why<br /> should this be? Wilkie Collins, I believe, never<br /> wrote a novel without a preface. Beyond doubt<br /> the preface assists the reviewer, and conduces to<br /> a favourable review.<br /> <br /> Dedications.—These, which used to be almost<br /> universal, seem to be dying out, which is rather<br /> a pity. They afford opportunity for a pretty<br /> compliment, but it is suggested that the author<br /> should not dedicate to a person much above him<br /> in social or literary position.<br /> <br /> Bedside Books.—As good “bedside books”<br /> for those who may suffer from sleeplessness, I<br /> would respectfully recommend “ Le Mie Prigioni,”<br /> of Silvio Pellico, Boswell’s “Life of Johnson,”<br /> and Burton’s “Anatomy of Melancholy.” For<br /> the first to take the desired effect, the reader<br /> should know enough Italian to enjoy it, but not<br /> so much as to dispense wi&#039; h an occasional puzzling<br /> over it.<br /> <br /> Copyright.—Is not the principal point of<br /> Copyright Law which requires amendment that<br /> clumsy 18th section of the Copyright Act of<br /> 1842, which irregulates (if such a word may be<br /> coined) the respective rights of the magazine<br /> proprietor and his contributors ? Is there a<br /> single human being who would oppose the<br /> amendment of it, suggested by the Royal Com-<br /> mission of 1878?<br /> <br /> Advertisements.—Should not an auth r exercise<br /> some control over the advertisements cof his<br /> books, so that, e.g., the favourable extracts from<br /> reviews should not be too profusely printed ?<br /> <br /> Books sent for Review.—Ought not a book<br /> sent for review and not reviewed to be returned<br /> to the sender? J. M. Lety.<br /> <br /> a<br /> <br /> WHAT THEY READ.<br /> <br /> ee<br /> <br /> OFTEN hear it asserted that the public<br /> read “what they like.” That is said with<br /> reference to circulating libraries, and the<br /> books which there “read best.’ It is said with<br /> reference to “ public libraries” formed under the<br /> new Act, and the works which “go out’? most<br /> often, It is said to authors — as an end of<br /> all controversy respecting why some books are<br /> successful and some are not. Certainly there is<br /> no person whom the point concerns more than<br /> the author.<br /> Now, I may be mistaken, but I believe that<br /> <br /> <br /> 358<br /> <br /> people do not read ‘“‘ what they like,” but what<br /> they can get.<br /> <br /> This is certainly the case at the new public<br /> libraries. People go, day after day, for weeks,<br /> hoping to secure some wished-for book. They<br /> look at the “indicator,” discover that the work<br /> which they wish to have is “out,” and take in-<br /> stead—what they can get. I believe that it<br /> would be no exaggeration to say that, at the<br /> public libraries, for one volume which people take<br /> from choice, they take ten others, because they<br /> cannot get what they want.<br /> <br /> At the circulating libraries the case is rather<br /> different. Itis very different at the headquarters<br /> of the great London libraries. There a good many<br /> people do get what they choose. But not all.<br /> Some folk are wonderfully easily persuaded to<br /> believe that new works are “at present out,’ and<br /> to read instead something which they are told<br /> “they are certain to like.” Nor does anyone get<br /> all he wishes. I have been asking for e ght<br /> weeks for a small French work out of print<br /> which I desire to see before a certain date.<br /> Some other man has had the only copy all<br /> the time. I suppose he is learning it by heart;<br /> for to read it through would take scarcely two<br /> hours.<br /> <br /> But all this applies to the great libraries in<br /> the metropolis. What is to be said about the<br /> country libraries? Do they always promise their<br /> customers the books they wish to see? The<br /> other day a country girl said to me, “Ifa book is<br /> at all popular we frequently cannot get it. If we<br /> ask for it as soon as we hear of it, we are told,<br /> ‘It has not yet been sent down.’ Next, ‘It is<br /> out. Afterwards, ‘It bas gone back to<br /> London.’” Did this lady read what she liked, or<br /> what she could get ¥<br /> <br /> Still, a book not out of print can always be<br /> bought. Can it? Is there no such thing asa<br /> prohibitive price? Is there no such case as its<br /> not being upon the bookstall when Belinda, who<br /> has resolved to read it in the train, asks for it ?<br /> Is the e no such thing as not having heard of a<br /> work? — It will be said that, at present, everthing<br /> possible is done to bring books under the notice<br /> of people whom they are likely to interest. That<br /> may be true. It is most important that it should<br /> be true. Even so, does anyone really believe that<br /> the persistent efforts of the publisher and of the<br /> bookseller to make the public buy, not what they<br /> would like to purchase, but what these tradesmen<br /> have to sell, are altogether without result? Of<br /> course they are not without result. The whole<br /> effect of these efforts of tradesmen, combined<br /> with the other circumstances mentioned above, is<br /> enormous. The reading public really peruses<br /> with a small proportion of works chosen by itself,<br /> <br /> THE AUTHOR.<br /> <br /> a vastly larger number of other works which are<br /> forced upon it by countless ingenious contrivances,<br /> E. K.<br /> <br /> DEFOE AND THE PUBLISHERS.<br /> <br /> N his preface to the “True Born English.<br /> man,” Defoe, in 1701, wrote that “No<br /> author is now capable of preserving the<br /> <br /> purity of his style—no, nor the native product of<br /> his thought—to posterity; since, after the first<br /> edition of his work has shown itself, and perhaps<br /> sinks into a few hands, piratic printers or hackney<br /> abridgers fill the world, the first with spurious<br /> and incorrect copies, and the latter with imper-<br /> fect and absurd representations, both in fact,<br /> style, and design.<br /> <br /> “The ‘True Born Englishman’ is a remark-<br /> able example. By it the author, though in it he<br /> eyed no profit, had he been to enjoy the profit of<br /> his own labour, had gained above a £1000... A<br /> book that, besides nine editions of the author, has<br /> been twelve times printed by other hands ; some<br /> of which have been sold for a penny, others for<br /> twopence, and others for sixpence. The author’s<br /> edition, being fairly printed and on good paper,<br /> could not be sold under a shilling ; 80,000 of the<br /> small ones have been sold in the streets for two-<br /> pence or at a penny; and the author, thus abused<br /> and discouraged, had no remedy but patience.<br /> And yet he had received no mortification at this,<br /> had his copy been transmitted fairly to the world.<br /> But the monstrous abuses of that kind are hardly<br /> credible. Twenty-five, and in some places sixty,<br /> lines were left out in a place; others were turned,<br /> spoiled, and so intolerably mangled that the<br /> parent of the brat could not know his own<br /> ehild.”’<br /> <br /> Authors were thus certainly worse off as<br /> regards their copyrights two centuries ago.<br /> Before two more come about perhaps they may<br /> hope to be in the full enjoyment of their own<br /> again.<br /> <br /> Later, in the “ True Collection” of his works,<br /> Defoe wrote that ‘A certain printer, whose practice<br /> that way is too well known to need a name,<br /> printed [1703] a spurious and erroneous copy of<br /> sundry things which he called mine, and intituled<br /> them a Collection of the Works of the Author of<br /> the ‘True Born Englishman.’”’ Among these<br /> was the “Shortest Way with the Dissenters” (of<br /> 1702), and “the most absurd and ridiculous mis-<br /> takes in the copies’’ (note this word. which then<br /> had the exact meaning that survives in ‘“‘ copy- —<br /> right”) ‘“ were such as rendered it a double<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> cheat, the author having in his first perusal of it,<br /> detected above 350 errors in the printing.<br /> <br /> “The author having expressed himself, though<br /> in decent terms, against the foulness of this<br /> practice, the printer (having no plea to the<br /> barbarity of the fact) justifies it, and says, ‘He<br /> will do the like by anything an author prints on<br /> his own account, since authors have no right to<br /> employ a printer, unless they have served their<br /> time to a bookseller.’ This ridiculous allegation<br /> seems to me [Defoe] to be as if, a man’s house<br /> being on fire, he had no right to get help for the<br /> quenching of it of anybody but the imsurer’s<br /> firemen.”<br /> <br /> Whence we may see that the publisher’s lien<br /> on the hapless author, body and brains, is no new<br /> thing, and that he has always boldly defended<br /> his spoils.<br /> <br /> J. O&#039;NEILL.<br /> <br /> De<br /> <br /> A NEW TRANSLATION OF RABELAIS.<br /> <br /> ———So<br /> <br /> HE appearance of a new translation of<br /> Rabelais, after that by Urquhart and<br /> Motteux has held the field unchallenged by<br /> <br /> any rival, is a literary event. Mr. W. F. Smith,<br /> Fellow and Lecturer of St. John’s, Cambridge,<br /> has achieved this task, one of amazing difficulty,<br /> and now sends it forth with learned notes, appen-<br /> dices, and introductions. Tbe work makes two<br /> large volumes of royal 8vo, of 600 pages each. It<br /> has been a work of love extending over many<br /> years. The notes seem to leave nothing unex-<br /> plained. They give the origines of incidents,<br /> phrases, and characters; they are as valuable for<br /> their Touraine folk lore as for their classical<br /> references. The first edition is limited to 750<br /> copies, of which 250 go to America.<br /> <br /> Urquhart’s translation, as Mr. Smith frankly<br /> acknowledges, is spirited from beginning to end,<br /> and written in idiomatic English. A slavish trans-<br /> lation of Rabelais would, in fact, be absurd. But<br /> Urquhart, and in amuch greater degree Motteux,<br /> amplified. He made use of Cotgrave’s French<br /> Dictionary, in which is embodied a remarkable<br /> glossary of Rabelaisian words often marked<br /> “Rab.” In translating a single word of French,<br /> Urquhart sometimes empties into his page every<br /> synonym that he finds in his dictionary. Motteux<br /> not only does this, but adds words out of his<br /> own varied English vocabulary; and when he<br /> lights upon a piece comic after the fashion of<br /> Rabelasian fun he plays with it, amplifies and<br /> adds to it.<br /> <br /> The new translator has so far recognised the<br /> merits of Urquhart that he has done his own work<br /> <br /> 309<br /> <br /> with Urquhart always open before him. He thus<br /> preserves something of the archaic style, which is<br /> one of the chief charms in Urquhart, and suits<br /> especially a writer of the age to which Rabelais<br /> belonged. A comparison of two passages taken<br /> almost at random will show the differences and<br /> the similarities of the two versions. The passage<br /> is from the famous Eulogy of Debt. The first is<br /> from Urquhart’s translation; the second from<br /> <br /> _M. W. F. Smith’s.<br /> <br /> 1. ‘ Yet doth it not lie in the power of every<br /> one to be a debtor. To acquire creditors is not<br /> at the disposure of each man’s arbitrament.<br /> You nevertheless would deprive me of this<br /> supreme felicity You ask me when I will be<br /> out of debt. Well, to go yet further on, and<br /> possibly worse in your conceit, may Saint Bablin,<br /> the good saint, snatch me if I have not all my<br /> lifetime held debt to be as an union or conjunc-<br /> tion of the Heavens with the Earth, and the<br /> whole cement whereby the race of mankind is<br /> kept together ; yea, of such virtue and efficacy,<br /> that I say the whole progeny of Adam would<br /> very suddenly perish without it. Therefore,<br /> perhaps, I do not think it amiss when I repute it<br /> to be the great soul of the universe, which<br /> according to the opinion of the academics<br /> vivifyeth all manner of things.”<br /> <br /> 2. “ Notwithstanding it is not every one who<br /> wishes that is a Debtor; it is not every one who<br /> wishes that mak~s Creditors. And yet you would<br /> deprive me of this sovereign felicity. You ask<br /> me when I shall be out of Debt.<br /> <br /> ‘And the Case is far worse than that. I give<br /> myself to Saint Babolin, the good saint, if<br /> have not all my life looked upon Debts as a<br /> Connection and Colligation of the Heavens and<br /> the Earth, the one single Mainstay of the Race<br /> of Mankind. I say, that without which all<br /> human Beings would soon perish—perhaps that<br /> is the great soul of the universe, which according<br /> to the academics, gives Life to ali things.”<br /> <br /> The latter version is shorter and quite as effec-<br /> tive. In fewer words it conveys the idea more<br /> clearly. But let us compare the two passages<br /> with the French.<br /> <br /> “Toutes foys, il n’est debteur qui veult; il ne<br /> faict crediteurs qui veult. Et vous me voulez<br /> debouter de ceste felicité soubeline, vous me de-<br /> mandez quand seray hors de debtes? Bien pis y<br /> ha, je me donne 4 Sainct Babolin, le bon sainct,<br /> en cas que toute ma vie je n’aye estimé debtes<br /> estre comme une connexion et colligence des<br /> cieulx et terre; ung entretenement unicque de<br /> Vhumain lignaige (je dy sans lequel bien tost tous<br /> humains periroyent) ; estre par adventure celle<br /> grande ame de l’univers, laquelle, selon les acade-<br /> micques, toutes choses vivifie.”’<br /> <br /> <br /> 360<br /> <br /> Similar comparisons made here and there show<br /> that the new translation, while it preserves the<br /> spirit, and even some of the style of Urquhart, is<br /> both closer to the original and stronger. It is to<br /> be hoped that this smail first edition will be<br /> speedily followed by a cheaper edition. Two or<br /> three chapters are left in the original. But, as<br /> everyone who has seriously read Rabelais knows,<br /> the common charge against him has been grossly<br /> exaggerated, and considering what things are<br /> suffered among our Elizabethans it seems super-<br /> fluous either to bring it at all or to defend it.<br /> Let it be acknowledged that he is a great sinner,<br /> and, that tribute paid to an age of cleaner<br /> exterior, let us pass on.<br /> <br /> NOTES FROM PARIS.<br /> <br /> EFORE the réprise of Musette at the<br /> Gymnase Theatre, de Maupassant’s friends<br /> thought to make the communication of<br /> <br /> the news that his successful piece was to be put<br /> on the stage again, a test of what intelligence<br /> and memory might remain in him. When the<br /> poor Master had heard the news he merely shook<br /> his head and said, ‘“‘ Ah, c’est bien mauvais.”<br /> <br /> Maupassant is neither better nor worse than he<br /> ever has been since his first attack. The mind has<br /> quite gone, but the body remains strong and<br /> vigorous. He spends his days in working hard<br /> in the garden of the maison de santé, and seems<br /> to take pleasure in tiring himself out. His<br /> appetite is good, and he looks better than he did<br /> in the old days, when he seemed constantly jaded<br /> and overwrought. I may also contradict the<br /> report that his financial affairs are so embarrassed<br /> that there has been some difficulty about the pay-<br /> ment of his pension at Doctor Blanche’s hospit-<br /> able house. No such difficulty has ever existed<br /> or would be allowed to exist.<br /> <br /> Zola has finished about a half of his new novel<br /> “Le Docteur Pascal,” and one-third of the<br /> manuscript is already in the hands of the pro-<br /> prietors of the Weekly Times and Echo, in which<br /> paper it is to appear as a serial, commencing in<br /> March. Zola told me that heis satisfied with the<br /> realisation of his conception, as far as it has<br /> gone. It certainly must be giving him very much<br /> less trouble than ‘‘ La Débacle.”’<br /> <br /> THE AUTHOR.<br /> <br /> Pierre Louys, who is one of the most remark-<br /> able poets of the young generation, has been<br /> discharged from the army as unfit for service,<br /> and is now back in Paris, where, in conjunction<br /> with Hérold, the grandson of the composer, he is<br /> engaged on a prose translation of certain of the<br /> librettos of Wagner’s operas, with the consent of<br /> Madame Wagner. He is also finishing his verse<br /> translation of Meleager.<br /> <br /> Taine is not expected to live very much longer.<br /> He himself seems to have abandoned all hope of<br /> life. Only a few days ago he wrote a pathetic<br /> note to the poet de Hérédia, who at last has made<br /> up his mind to publish his sonnets, begging him<br /> to send him the proofs of his book, as he did not<br /> expect to live until it should be published. It may<br /> earnestly be hoped that his mournful anticipa-<br /> tions will not be realised, as Taine is one of the<br /> most valuable men that France possesses. He is<br /> one of the few Frenchmen who know anything<br /> whatever of English literature.<br /> <br /> Taine always led a most healthy life, bemg a<br /> great believer in exercise, fresh air, and regular<br /> hours. He had a huge pair of dumb bells in the<br /> antechamber of his fine apartment in the Rue<br /> Cassette, and told me that he practised with them<br /> regularly every morning and every evening. He<br /> had also the English habit of the daily tub of<br /> cold water. When down at his country house he<br /> used to take long walks. He has always been a<br /> man of a very sober, temperate life, though an<br /> incessant smoker of cigarettes. One day I had<br /> an hour’s conversation with him, and during that<br /> period we emptied a box of Khedives between us.<br /> Taine is a kind-hearted, amiable man, but has<br /> very fixed opinions on matters in general and on<br /> literary affairs in particular. For instance, he<br /> would never hear of Zola as an Academician.<br /> <br /> Monsieur Berthelot, the savant, who was set<br /> up against Zola as candidate for Ernest Renan’s<br /> fauteuil at the Academy, told me yesterday that<br /> he was no longer a candidate, that it had<br /> amused his friends to put up his name, and that,<br /> no result having been obtained, he had now with-<br /> drawn. He shrugged his shoulders when speak-<br /> ing of the Academy, and said that people largely<br /> exaggerated its importance, and that personally<br /> he had no wishes or expectations on the subject.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> Tam rejoiced to see from the papers that my<br /> good friend H. E. the General Tcheng-ki-Tong<br /> has not only been discharged exonerated from all<br /> the charges brought against him of malpractices<br /> and so forth, but has been re-instated in office, and<br /> is now even more of a Mandarin than ever. It<br /> was not so very long ago that his friends in Paris<br /> understood that bastinado, decapitation, or worse,<br /> waited the spirituel Chinaman, and the regret<br /> was universal here. Tcheng-li-Tong was a model<br /> homme de lettres and a wonderfully well-informed<br /> man. He wrote several books about life in China,<br /> besides poems, novels, magazine articles, and so<br /> forth. He had quite caught the Parisian turn of<br /> thought and fashion of style, and held a high<br /> place in the esteem of his confréres. He was a<br /> good linguist. I once translated one of his books<br /> for Trischler and Co., and sent him the revised<br /> proofs. He pointed out to me about thirty errors<br /> which I had overlooked, and set me right on one<br /> or two points in which in writing I had not had<br /> my Lindley Murray before my eyes. He was a<br /> bright charming man, and his face was familiar<br /> in all the worlds of Paris from the highest to the<br /> lowest. And he had the most wonderful tea and<br /> tobacco that I have ever tasted. The tea was<br /> perfumed with dried Howers, and the tobacco was<br /> some which the young Emperor of China had<br /> sent him as a present, and which he himself had<br /> received from the Sultan of Turkey. We used to<br /> smoke it in Chinese pipes after the Chinese<br /> fashion, loading the pipe afresh for each whiff.<br /> <br /> <br /> <br /> Stéphane Mallarmé presided at the last dinner<br /> of La Plume. Verlaine was also p esent and in<br /> high spirits. Whistler had been expected, but<br /> was not able to come. We dined, about one<br /> hundred strong, at the Café du Palais, and the<br /> bill of fare was ornamented with an allegorical<br /> device in whih pigs and geese represented<br /> certain well-known critics. I sat next to Stuart<br /> Merrill, who is one of the most charming poets<br /> that I know. M. Léon Deschamps announced,<br /> after Mallarmé had read us a sonnet in guise of a<br /> speech, that Paul Verlaine would be our next<br /> President, an announcement which was loudly<br /> applauded. The evening after dinner was spent<br /> in the sous-sol of the Soleil d’Or, where various<br /> poets recited verses. Mallarmé’s, Verlaine’s, and<br /> Stuart Merrill’s verse was the favourite, and a<br /> young poet named De Maré¢s, who is considered<br /> very talented, also recited some verses of his own<br /> composition, which were greatly applauded. It<br /> was a novel experience, and very French. Much<br /> of the verse we heard was really of the first order,<br /> and the whole nature of the evening was highly<br /> interesting.<br /> <br /> VOL, III.<br /> <br /> AUTHOR. 361<br /> <br /> x<br /> <br /> Stuart Merrill is a young American of some<br /> fortune who has lived many years in France, and<br /> who has published a volume of poems, which are<br /> considered masterpieces in the world of letters.<br /> He is immensely liked by his confréres, and his<br /> Friday evenings at home in the Bohemian lodg-<br /> ings he has in the Rue de Seine are always<br /> crowded with literary men. Everybody of interest<br /> amongst the younger men may be met there. He<br /> is a singularly modest man, and this quality is<br /> the more to be appreciated that it is rather rare<br /> amongst the poets of the other side of the Seine,<br /> and that Merrill might really be very proud of<br /> what he has written. He is a great Wagnerian,<br /> and detests New York, but piously spends a certain<br /> number of months there each year for the sake<br /> of his family.<br /> <br /> <br /> <br /> Writing about Taine above, I said that the<br /> majority of Frenchmen are wofully ignorant of<br /> English literature. As an example of this igno-<br /> rance | may mention that a day or two ago one of<br /> the best known of our French Jlitterateurs asked<br /> me whether English poets rhymed their verses or<br /> not, his belief being that we used nothing but<br /> blank verse.<br /> <br /> Sa<br /> <br /> Alphonse Daudet receives his literary friends<br /> on Sunday mornings, and very interesting and<br /> agreeable the hours spent with him are. Daudet<br /> is a brillant talker, and there are always present<br /> people who are also worth listening to. The last<br /> time I was at his house there was present a very<br /> clever young man, whom, by the way, Daudet calls<br /> “mon fils,’ and says “thou” to, whom Daudet<br /> asked to relate what he had felt on the evening<br /> on which his play, which failed, was produced.<br /> The young man said that he had watched the<br /> performance from a stage box, and that all the<br /> time he had been thinking how singularly ugly<br /> was the director of the theatre. He afterwards<br /> added that what had most troubled him when his<br /> play was condemned was that he had made his<br /> wife come up from the country to assist at the<br /> premicre, and that he knew how disappointed she<br /> would be Daudet said that henever was present<br /> at any premiere, and that it was only from the<br /> demeanour of his concierge next morning that he<br /> knew whether his play had succeeded or not. If<br /> it had succeeded the concierge was abject, but, if<br /> not, her manners were those of pity blended with<br /> contempt. Daudet’s maxim is that every sin<br /> which a man commits on earth is punished during<br /> this life. I told him that Goethe had held the<br /> same views, and had, indeed, expressed them in<br /> the line. ‘Denn jede Schuld recht sich auf<br /> Erden,” and Daudet said that Goethe was quite<br /> <br /> FR<br /> 362<br /> <br /> right. “My fault,’ he added, “is that I have<br /> been too happy. I am paying for it now” he<br /> said raising the crutch with which he moves about<br /> the room.<br /> <br /> Rozsert H. SHEerarp.<br /> <br /> THE CONVEYANCE OF A GIFT.<br /> <br /> HE following letters speak for themselves :—<br /> <br /> Dear Bssant,<br /> <br /> It is with unusual pleasure that we have to<br /> announce to you to-day the desire of no fewer<br /> than 360 members of the Society of Authors<br /> (whose names are given on the enclosed list), that<br /> you will favour them by accepting the accom-<br /> panying service of plate as a very small expres-<br /> sion of their gratitude and attachment to you.<br /> <br /> This feeling, which all alike have expressed to<br /> us, is no new one on the part of the members of<br /> the Society, but your retirement from the chair-<br /> manship, a step which you have with difficulty<br /> persuaded your friends to permit you to take,<br /> seems to offer an apt occasion for a review of past<br /> services. In taking such a review, the members<br /> of the Society are at a loss to find words for their<br /> appreciation of your unselfish goodness and of the<br /> value of your powerful advocacy. They contem-<br /> plate the present flourishing state of the Society,<br /> and they are tempted to attribute nearly the whole<br /> of its success to you.<br /> <br /> Pray believe us to be, dear Besant,<br /> Yours very sincerely,<br /> <br /> (Signed) J. M. Barris.<br /> <br /> Epwarp CLopp.<br /> <br /> Epmunp Gossz.<br /> <br /> THomas Harpy.<br /> <br /> W. Houtman Hunt.<br /> <br /> Water Herries Poutock.<br /> Aurx. Gaut Ross.<br /> <br /> S. Squire SPRIGGE.<br /> <br /> 123, Chancery-lane, W.C.<br /> Feb. 4, 1893.<br /> <br /> My prEArR Ciopp,<br /> <br /> I received last night your letter of the 4th,<br /> together with the noble service of plate therein<br /> referred to.<br /> <br /> Your letter alone, signed as it is by the names<br /> of those who composed your committee, would be<br /> in itself, without the plate, a gift of priceless value<br /> to me. I beg that you will kindly convey to these<br /> gentlemen—my friends—my most sincere grati-<br /> <br /> THE AUTHOR.<br /> <br /> tude for this expression of appreciation of my<br /> humble labours.<br /> <br /> I should like you also, if you can, to thank all<br /> those members of the Society who have joined<br /> you in this generous gift. I value it especially,<br /> because, although I have never hoped to carry with<br /> me allour members in all my own views, it shows<br /> that in the essentials which constitute the strength<br /> of the Society we are all agreed.<br /> <br /> I am in great hopes that the initial difficulties<br /> of the Society have now been successfully over-<br /> come, and that so strong a feeling for the neces-<br /> sity of association and associated action has been<br /> created that the Society is on a stable basis, and<br /> will advance more and more every year in numbers,<br /> honour, and respect. As for me, I desire nothing<br /> more than to be permitted to serve the Society in<br /> any capacity in which I may be useful.<br /> <br /> I remain, my dear Clodd,<br /> Very sincerely yours,<br /> (Signed) Waurer Besant.<br /> Frognal End, N.W.<br /> Feb. 7, 1893.<br /> <br /> NOTES AND NEWS.<br /> <br /> EADERS are requested to consider the<br /> appeal made by Mr. Sherard. The secre-<br /> tary, Mr. Herbert Thring, will receive,<br /> <br /> acknowledge, and forward all contributions for<br /> this object.<br /> <br /> “The committee for the Baudelaire Memorial,<br /> which is presided over by M. Leconte de Lisle,<br /> being aware that the poet Baudelaire has<br /> numerous admirers in England, has asked me to<br /> see if any of these admirers would care to con-<br /> tribute a trifle to the fund which is being<br /> collected for the Baudelaire Memorial. The<br /> committee is formed of all the leading Litterateurs<br /> of France, including Paul Bourget, Francois<br /> Coppée, Stéphane Mallarmé, Paul Verlaine, and<br /> Emile Zola. Our own Master, Swinburne, is a<br /> member. The statue will be executed by<br /> Auguste Rodin in a manner worthy of the sub-<br /> ject. I should be glad to receive any subscrip-<br /> tions for this fund, and to transmit them to M.<br /> Léon Deschamps, the treasurer, who will acknow-<br /> ledge them in the magazine La Plume. I may<br /> add that money is needed for the completion of<br /> the work, and that the Philistines will exult if<br /> for want of funds the project cannot be realised.<br /> <br /> R. H. SHerarp.”<br /> <br /> —<br /> <br /> <br />  <br /> <br /> oot<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The following paragraphs are extracted from the<br /> Queen of Feb. 25:<br /> <br /> The Author is sent to me every month, and from no<br /> comic paper do I get so much enjoyment. Its delightful<br /> suggestions as to why editors should not be compelled to<br /> do this and publishers to do that are really too funny.<br /> <br /> By the way, the Author has a double function in<br /> journalism. It not only trots out the woes of authors and<br /> journalists, and the iniquities of publishers and editors, but<br /> it gives these last a hint or two. I, for example, know an<br /> editor who says he never knew how ridiculously he overpaid<br /> his contributors until he read in the Author the plaints of<br /> some of that unhappy class. May.<br /> <br /> The only reason why these little malignities,<br /> which do us no harm, are continually perpetrated<br /> must be that some person who ardently desires<br /> to rob and sweat writers has been either prevented<br /> or detected. The Author has certainly done good<br /> service both to publishers, editors, and writers<br /> alike, by ascertaining the law as it exists with<br /> regard to their contracts, and it will go on in<br /> the same course. The present relations of editor<br /> and contributor in all high-class journals, daily,<br /> weekly, or monthly, are apparently quite satis-<br /> factory, and it certainly is not the mtention or<br /> the desire of this journal to interfere with,<br /> or to disturb, these relations. As regards the<br /> treatment of certain writers by the humbler<br /> journals—the miserable pay, the delay in pay-<br /> ment, the refusal of payment—the Author will<br /> certainly not desist from the publication of these<br /> facts. The writer of the above paragraphs has a<br /> friend—they are probably kin spirits—who has<br /> found out from this paper how ridiculously he<br /> overpays his contributors. Very likely. There is<br /> everywhere a lower deep. The only figures pub-<br /> lished here have been those of the worst kind of<br /> sweaters. One can always, in sweating, “ go one<br /> better ” than the worst sweater on record. Yes;<br /> many a hint may be picked up from the Author<br /> by the sweater.<br /> <br /> <br /> <br /> <br /> <br /> I am asked by Mr. Colles to call attention to<br /> two or three points in connection with the<br /> Authors’ Syndicate. They are these: (1) That<br /> the report for the year 1892 has been prepared<br /> and is now ready; (2) that the accounts have<br /> been examined by professional auditors, Messrs.<br /> Oscar Berry and Carr, and that they certify to<br /> the effect that no moneys have been expended<br /> except on the necessary establishment, so that<br /> nobody makes any profit except the authors<br /> themselves. I should like to add that, to my<br /> certain knowledge, Mr. Colles has made very<br /> considerable pecuniary sacrifices in carrying on<br /> this work. Many difficulties were interposed at<br /> the outset. The more successful authors for the<br /> most part were already pledged to others or<br /> <br /> 363<br /> <br /> engaged a long way ahead. It was difflcult to<br /> persuade authors that this was not a scheme for<br /> personal plunder, even though the Syndicate<br /> sprang out of the Society itself. The difficulty<br /> now appears to be, that while authors accept the<br /> work done for them, they seem to think that it<br /> should be done for nothing. Well: but there are<br /> clerks to pay; rent, stationery, postage—the last<br /> item alone is about £5a month. Is Mr. Colles to<br /> give all this as well? This grumble is called for<br /> by the fact reported to me that some who have been<br /> greatly helped by the Syndicate—helped, I mean,<br /> to the extent of getting work placed where they<br /> could not by themselves have placed it—have<br /> resented the small charge which the Syndicate has<br /> imposed, There may, again, be some suspicion<br /> in the minds of members, that the so-called<br /> “advisory committee” have knowledge of the<br /> private and pecuniary affairs of those whose work<br /> goes to the Director. They may rest assured<br /> that this is not the case. The ‘advisory com-<br /> mittee” are only there in order to act as referees<br /> in case of dispute or misunderstanding. Its<br /> members are not informed of the transactions<br /> undertaken by the Director—who is sole Director<br /> —and they are not in any other way responsible<br /> for the conduct of the Syndicate.<br /> <br /> <br /> <br /> <br /> <br /> A correspondent, writing on the question of<br /> remuneration for articles and stories supplied to<br /> magazines, compares the writer who accepts a<br /> miserably small fee with a general practitioner<br /> who charges sixpence for advice with a bottle of<br /> physic. Such a man, he says, is deservedly held<br /> in contempt. Quite so. And an author who<br /> writes for a few shillings a column stands<br /> certainly in the same rank as_ the sixpenny<br /> “doctor,” and is entitled to all the contempt,<br /> whatever that may be, which poverty deserves.<br /> But our correspondent must note that the SIX-<br /> penny medical adviser cannot be got rid of. He<br /> is necessary. So—alas!—is the sixpenny author.<br /> Tt isa lamentable fact that men and women are<br /> found to write for next to nothing. Necessity<br /> compels them; the sweater is merciless. It 1s<br /> also lamentable that many magazines are simply<br /> not able to pay those who stand above the<br /> sixpenny author. “The only way,” says my<br /> correspondent, “to exact our just dues, is to com-<br /> bine—strike, boycott, or whatever else may be the<br /> best name for sticking up for our rights. Is it<br /> hopeless to expect this?” No, it is not hopeless.<br /> On the contrary, the combination of authors for<br /> any just and reasonable object is becoming<br /> distinctly possible and even visible. | But the<br /> possibility has not yet arrived. And it must be<br /> remembered that no hard and fast rule as to what<br /> 364<br /> <br /> is right pay for a contributor—no minimum—will<br /> ever be possible ; first, because there are so many<br /> magazines which are written for a limited circle<br /> only, e. g., the journal of the Royal Astronomical<br /> Society, a Law journal, a Cuneiform Literature<br /> journal—if there were one: and next, because so<br /> many exist which are quite poor, and are written<br /> by quite poor people, glad to take what may be<br /> offered.<br /> <br /> Ss<br /> <br /> In another column will be found the testimony<br /> of a member to the benefit he has reveived from<br /> the society. He also advocates, like Mr. Haes<br /> (Author, Jan. 1893), that the committee should<br /> do something to facilitate the publication of new<br /> books by new and unknown authors. It is one of<br /> the stock charges against us that we are helping<br /> to flood the market with new books. The exact<br /> contrary is, as our correspondent writes, the truth,<br /> that we do little or nothing for young authors.<br /> First of all, it is not part of our programme to<br /> do anything for them. We exist for the defence,<br /> not the creation, of literature. But, if we desired<br /> to help them, a thing greatly desired by many of<br /> us, what could we do? So faras I can see, nobody<br /> but himself can possibly help the young author.<br /> He often writes to me and asks for my “in.<br /> fluence”’ with editors. I know a great many<br /> editors, but there is not one with whom I have<br /> any such “influence.” Editors, strange to say, are<br /> guided solely by the interests of their papers.<br /> Nobody, therefore, can help the young author<br /> but his own wit and his own pen. At the same<br /> time, if our correspondents can suggest anything,<br /> the advice would be gratefully received. “It has<br /> been proposed that the Society should recommend<br /> works, and that publishers should accept their<br /> recommendations. Very good, and if I were a<br /> publisher I should give to the opinions furnished<br /> by the Society’s readers respectful considera-<br /> tion, but I,should still refer the MS. to my own<br /> reader.<br /> <br /> The Authors’ Club has its rooms at Whitehall<br /> Court nearly ready; the Club will take up its<br /> quarters in a week or two; the next monthly<br /> dinner will be held in the new rooms. The<br /> Directors invite all the members of the Society to<br /> inspect the rooms. The shares have been taken<br /> up very well so far; the original number, how-<br /> ever, is not yet allotted. The design of the<br /> Directors has been to provide a club which shall<br /> be simple in its fittings, good in everything<br /> provided, and extremely cheap. Every member<br /> will be supposed to know every other member; the<br /> situation is as central as can be desired. As a<br /> cheerful, but not a noisy, club, as a meeting-<br /> <br /> THE AUTHOR.<br /> <br /> place of men of letters, as a central place for<br /> lunch, dinner, or supper, or as a place for quiet<br /> work, it is hoped to make the club attractive and<br /> pleasant. The “ Uncut Leaves” will continue. The<br /> Chairman is Mr. Oswald Craufurd, C.MG. The<br /> Honorary Secretary is Mr. Douglas Sladen,<br /> <br /> Is marriage fit for literary men? The question<br /> is treated in a little volume published in the year<br /> 1769 by one P.H.M.D. It professes to be a trans-<br /> lation from the Italian of one Cocchi, formerly a<br /> physician, of Florence. The subject is treated from<br /> many points of view: that of passion; that of affec-<br /> tion; that of friendship; that of esteem ; that of<br /> the weakness and frivolity of women—our author<br /> is not polite to the other sex—and many others.<br /> The literary man, it appears from the book, is unfit<br /> for the state of marriage for many reasons. He<br /> cannot bear the ignorance and the folly of women,<br /> their love of fashion, their ungoverned tempers—<br /> the author was an Italian—the necessity of re-<br /> ducing a shrew to silence is “ most disagreeable<br /> to a thinking and literary man.’’ He cannot bear<br /> the expense and trouble of children. He does<br /> not want to be hampered with the new ties of his<br /> wife’s relations. Unless he marries a woman with<br /> money he increases that poverty which is the<br /> recognised accompaniment of the literary calling,<br /> “otherwise the poor devil of a husband, oppressed<br /> by grinding poverty, must be overwhelmed with<br /> want and misery; for a wretched man of genius,<br /> with a wretched wife and a group of wretched<br /> children, is a most shocking sight and a flagrant<br /> disgrace to literature.” Finally, the literary man<br /> must not allow his mind to be disturbed from his<br /> favourite occupations and concentrations by the<br /> light thoughts of love or the desire to pay court to<br /> a girl, or to find amusement for a wife. The<br /> question is so thoroughly and completely<br /> answered that there is not a word to be said<br /> on the other side, except, perhaps, that all the<br /> arguments apply with equal force to every pro-<br /> fession or vocation whatever. And in spite of<br /> this excellent and convincing body of argument,<br /> literary men have gone on marrying as much as<br /> any other men. Perhaps that is the chief cause<br /> of the inferior nature of modern literature.<br /> <br /> The Zimes, taking its figures from the ‘‘ News-<br /> paper Piess Directory,” points out that while in<br /> the year 1846 there were 551 journals—weekly<br /> or daily—published in Great Britain, there are<br /> now 2268; that while there were then only 14<br /> daily papers, there are now 192; that there are<br /> to-day 1961 magazines, mostly monthly, and that<br /> 456 of these are of a religious or sectarian<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> kind. The population of these islands was then<br /> 26,000,000. It is now 37,000,000. There was<br /> then one newspaper to every company of 47,000<br /> people ; there is now one for every company of<br /> 16,300; while, therefore, the population has<br /> increased by less than 50 per cent., the propor-<br /> tion of papers to population has increased. three-<br /> fold. But even this means little, unless we con-<br /> sider the increase in circulation as well as in the<br /> number of papers, and this has gone up in-<br /> credibly. Sixty years ago the Daily News, the<br /> Daily Telegraph, the Standard, the Daily<br /> Chronicle did not exist. The combined circula-<br /> tion of the London daily papers alone must now<br /> be three-quarters of a million. And we must con-<br /> sider the vast improvements in the provincial<br /> papers. Some of them are as well written, as<br /> ably supplied with news, as imperial or national<br /> in their character, as a great London daily.<br /> Where is the house in the whole country, removed<br /> by but one step from the working man’s house,<br /> which has not its morning paper? Inthe trains,<br /> in the omnibuses, in the trams, all the people are<br /> reading—when they are not reading the paper<br /> they are reading a magazine. It is difficult to<br /> realise this vast—this enormous—increase in the<br /> area of readers; we cannot understand that<br /> men hitherto thought hardly worth considering<br /> as factors of the national intelligence, whose<br /> vote we have granted grudgingly, and still regard<br /> the act with regret, actually read the same lead-<br /> ing articles, debates, speeches, arguments, and<br /> news, as ourselves. They are taught the same<br /> doctrines; they are led by the same considera-<br /> tions. Nothing of all the changes that a middle-<br /> aged man remembers is so extraordinary as this<br /> change of Great Britain and Ireland into a<br /> nation of readers. They do not, as yet, greatly<br /> desire books; but that will come; it is, indeed,<br /> fast coming. What the influence of the demand<br /> upon literature will be one hardly ventures to<br /> predict. Enormous popularity for a few writers,<br /> certainly. What writers? Purveyors of trash<br /> and garbage? I think not. The penny novelette ?<br /> This is the literature of the servant-maid and<br /> the factory girl. They will always be with us.<br /> <br /> Men will not read the penny novelette. What<br /> will they read? Fiction? Perhaps. But it<br /> will have to be dramatic. Trash? Not much.<br /> <br /> Poetry? I fear not. History, politics, socio-<br /> logy of the simpler kind, science of some kind—<br /> books on these subjects will, I believe, become in<br /> great demand. Life to the craftsman is a serious<br /> thing ; he will read, as he works, seriously. There<br /> will also be produced for the baser sort a litera-<br /> ture just as base as the law allows. Meantime,<br /> <br /> those who consider the revolution which is quietly<br /> going on, of which we unconsciously form a part,<br /> <br /> 365<br /> <br /> will do well to watch the popular journals, and<br /> above all, the popular magazines, which circulate,<br /> not by thousands like their respectable elder<br /> brothers, but by hundreds of thousands—and to<br /> inquire carefully into the characteristics of these<br /> magazines. For they indicate what this new<br /> nation of readers will want to read.<br /> <br /> ————$ &gt;<br /> <br /> We are going to make an attempt to carry into<br /> effect a proposal advanced in a nother column<br /> (p. 373) and to institute in the Author a Register<br /> of Books wanted. This paper circulates exclu-<br /> sively among men and women of letters, so, if they<br /> please to make known their wants in these<br /> columns, the fact will certainly become known<br /> among our friends the second-hand booksellers,<br /> who have at present, so far as is known by the<br /> writer, no means at all of knowing what their<br /> customers are looking for. We will begin with the<br /> nextnumber. Care will be taken that the booksellers<br /> shall learn what we are attempting. Most of us<br /> have friends among these benefactors of literary<br /> men and women, and would willingly oblige them<br /> if we can. Even by reading their catalogues it is<br /> impossible for us to ascertain if they have what<br /> we want, because a catalogue does not contain a<br /> tenth part of the books which form a large book-<br /> seller’s stock, And we have no time to go about<br /> from shop to shop inquiring what they have.<br /> <br /> What isto be done with those booksellers’ assis-<br /> tints who save themselves trouble, and injure<br /> their masters’ interests, by saying that a book is<br /> out of print? Theard the other day this anecdote<br /> of a certain bookseller’s assistant in a well-<br /> known watering place. A clergyman, either in<br /> a lecture or a sermon, invited his congregation<br /> to read a book belonging to Arrowsmith’s well-<br /> known Bristol Library. They therefore asked<br /> for it at the shop. “Out of print” was all<br /> the answer they could get. One of them asked<br /> me for information as to the cause of this eclipse<br /> of the book. I wrote to headquarters at once,<br /> and learned that, as I expected, the Bristol Library<br /> is very much alive indeed. Perhaps that young<br /> man somehow will hear of it.<br /> <br /> ————<br /> <br /> The Lady’s Pictorial announces that the<br /> Society of Authors “ will in future allow young<br /> poet members to read aloud their unpublished<br /> works at the Society’s festive gatherings!” The<br /> Society, unhappily, has no festive gatherings<br /> except the Annual Dinner, and the committee<br /> have not yet expressed their intention of having<br /> <br /> <br /> 366<br /> <br /> unpublished poems read at the Banquet; there-<br /> fore, the Lady’s Pictorial has been wrongly in-<br /> formed. The Authors’ Club has started the<br /> “Uncut Leaves” readings, but the Club is not<br /> the Society. The writer goes on to say that the<br /> poet is sure to read his things very badly, and<br /> gives reasons for this opinion. Alas! Theory<br /> and practice so often contradict each other!<br /> There is so much of independence even in a poet.<br /> So far, the poets have read their verses admirably.<br /> <br /> <br /> <br /> Should we—it has been suggested — hold<br /> memorial lectures on our deceased members ?<br /> Why not? We should have a Tennyson—a<br /> Browning—a Lowell—a Matthew Arnold—a<br /> Wilkie Collins—a Charles Reade — Memorial<br /> Lecture. Should it be held every year? And,<br /> if so, for how many years in succession? And<br /> who is to decide upon its continuation? Should<br /> it be a plébiscite of all the members? And<br /> who should deliver the lectures? The idea is<br /> interesting, but opens up many questions.<br /> <br /> <br /> <br /> Here is a case which seems to warrant us in<br /> asking assistance from our members. The lady<br /> is one of those who write stories for girls. Her<br /> stories are very good, and, I believe, popular. TI<br /> have submitted two of them to the criticism of<br /> the age for which they are written, and have<br /> obtained a review most laudatory. I have not<br /> myself read the books, because I am neither a<br /> maiden nor am I young. This lady was attacked<br /> by influenza last year; her chest was affected ;<br /> she could do no work for many months. The<br /> Royal Literary Fund found itself unable to help<br /> her. She has two young nieces or cousins<br /> to support ; she has no private means at all ; she<br /> is too weak to undertake any other kind of work.<br /> Indeed, she can do no other kind of work. She<br /> is now in debt to her doctor and to her landlady.<br /> Perhaps some of our readers will take pity on<br /> this poor lady, and send her something. If they<br /> will have confidence, so far, in me, I will receive<br /> and forward anything, and I will communicate the<br /> name and address of the lady to the donor.<br /> <br /> <br /> <br /> A libel case was recently heard before the courts<br /> in which a close relation to the author of a certain<br /> work had been callednames. The thing is new in<br /> criticism, and introduces quite a novel terror. We<br /> may shortly expect to see the parents, brothers,<br /> sisters, children, of an author, trembling lest the<br /> daily paper should bring them, too, into the scathing<br /> review of the new book. The case, otherwise, does<br /> not concern ourselves, except for a remark which<br /> <br /> THE AUTHOR.<br /> <br /> was made by the counsel for the plaintiff. He ig<br /> reported to have said, “ Authors must, of course,<br /> in these days expect harshand brutal criticism from<br /> the Press, and the law protects them with the shield<br /> of what is humorously called ‘ the doctrine of fair<br /> criticism.’”” The counsel for the defence did<br /> not repudiate this statement, nor did the judge<br /> object to it; the statement was accepted. Dowe,<br /> then, expect harsh and brutal criticism? Is the<br /> criticism of the Press always harsh and brutal ?<br /> Certainly not. We neither expect brutality, nor,<br /> as a rule, do we receive brutality. The bludgeon<br /> is, happily, going out of use; the laws of good<br /> manners are, for the most part, obeyed, even in<br /> criticism. But one notes the statement here as<br /> showing the popular estimation of criticism. Old<br /> habits of thought are very difficult to change.<br /> An author is still, in the mind of the world, a<br /> helpless, starving wretch ; a publisher is a man<br /> with a great bag of gold, which he distributes<br /> capriciously to needy authors, losing by all his<br /> books, and getting rich on the quantity ; a critic<br /> is still a man with a bludgeon. Little by little we<br /> may change these views. Meanwhile, they linger.<br /> <br /> <br /> <br /> A correspondent tells me that the Society for<br /> Promoting Christian Knowledge has adopted a<br /> new and uniform system in buying books. That<br /> is to say, they now pay £1 for every penny in the<br /> published price, or £30 for a 2s. 6d. book, £60 for<br /> a 5s. book and soon. I do not know if this infor-<br /> mation is correct, but let us see how it might work<br /> out. A 5s. book would presumably be less costly<br /> than a6s. book. Let us take off only 10 per cent.<br /> from our published estimate. Now, a 6s. book in<br /> small pica, of seventeen sheets, and about 258<br /> words to a page can be produced, according to our<br /> published estimates, for an edition of 3000 at less<br /> than £146. Let us therefore estimate £128 for<br /> the 5s. book, and let us grant £20 for advertising.<br /> We have, therefore, the following table :<br /> <br /> Cost :—<br /> <br /> &amp; s. d.<br /> <br /> Composition, Printing, Binding, Paper, Adver-<br /> Tsing ee 148 0 0<br /> Author a 60 0 0<br /> Totals Ge 208 0 0<br /> <br /> By Sales :—<br /> <br /> Baad<br /> 3000 copies at Be. 2... 450 0 0<br /> Profit to SPOCK oe 242 0 0<br /> Profit to Author... 60 0 0<br /> <br /> Now, I do not adopt my correspondent’s statement<br /> as true, but I put the case, and what it would<br /> mean, supposing it to be true. Observe that in<br /> all future editions, the whole profit would go to<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> the Society.<br /> in approaching the question from the equitable<br /> <br /> There are two. simple considerations<br /> <br /> or righteous or religious point of view. First,<br /> whether the wage paid to the author is a just<br /> and proper wage, with reference to the commercial<br /> value of the work, the time given to the work, the<br /> character of the work, the position of the work-<br /> man in the craft, and the necessities of life.<br /> Second, the proportion which the distributor of<br /> the work should receive for himself, and, therefore<br /> the proportion which the creator of the work<br /> should receive. With regard to the first, there<br /> are not many who could produce two good books<br /> of this kind ina year. To give, therefore, no<br /> more than £60 could only be defended on the<br /> ground of a very limited sale. To give only £60<br /> when the publisher knows that he is going to make<br /> four times—six times—ten times that amount<br /> is—what? Is it not, in the case of a religious<br /> society, to cumber the courts of the Temple with<br /> the stalls and tables of the money-makers? I<br /> shall be glad to hear that my correspondent has<br /> been misinformed.<br /> <br /> So<br /> <br /> At last—after all these years—there is to be a<br /> life of Douglas Jerrold, with his letters. It is<br /> very much to be regretted that, while there are<br /> still two or three authors living who remember<br /> that group of writers of which he was one, some<br /> account of the literary circles of the Forties and the<br /> Fiftics has not before this been written down.<br /> The life abovementioned will be written by Mr.<br /> Walter Jerrold.<br /> <br /> <br /> <br /> In every college and in every University, except<br /> Cambridge, there is a Professor of English<br /> Literature. But I have never heard that any single<br /> Professor in any college or university, English<br /> or American, has ever given a course of lectures<br /> on the History and Development of the Novel.<br /> Single lectures by professors and critics have<br /> undoubtedly been delivered. And we all know<br /> that when subjects are lacking, an article on the<br /> Decay of the Modern Novel by one who cannot<br /> write novels and never reads any ; or by one who<br /> has written novels and failed; can always be put<br /> into a magazine to fill up. But, so far, learned Pro-<br /> fessors have avoided the subject, being themselves,<br /> probably, under the illusion so beautifully ex-<br /> pressed by a recent lady writer in the Spectator<br /> that novels grow of their own accord, and that the<br /> novelist has only to sit down and write. Strange,<br /> that a Fine Art should have grown up all over<br /> the world in. the last two hundred years without<br /> the least recognition until recently—and even<br /> now only grudgingly—that it is one of the<br /> Fine Arts! Mr. Brander Matthews, Professor<br /> <br /> 367<br /> <br /> of English Literature in Columbia College,<br /> has been holding a course of lectures on the<br /> History of Fiction and the Development of the<br /> <br /> Modern Novel. He has up to the present<br /> reached the beginning of this century. He has<br /> sent me the enclosed examination paper. I pre-<br /> <br /> sume, from the date upon it, that the examina-<br /> tion was held on Feb. 7, so that no mischief will<br /> be done by publishing the paper for our readers.<br /> <br /> CoLumBIA COLLEGE IN THE City oF New YoRK.<br /> Mid-Year Examination.<br /> LITERATURE II.<br /> <br /> 1. Explain the successive stages of the development of<br /> the art of fiction from the Gesta Romanorum to Don<br /> Quixote.<br /> <br /> 2. Explain the distinction between the Rabelaisian tradi-<br /> tion and the Cervantine. Give the names of such writers<br /> of fiction as are followers of Rabelais. Give the names of<br /> such as are followers of Cervantes.<br /> <br /> 3. Explain what is meant by the sense of form. Mention<br /> several works of fiction having the merit of form; and give<br /> your reasons for crediting them with this quality.<br /> <br /> 4. Give a brief sketch of the life either of Cervantes or of<br /> Goldsmith.<br /> <br /> 5. Give a brief outline of the plot either of Clarissa<br /> Harlowe or of Pride and Prejudice.<br /> <br /> 6. Give a critical explanation for the abiding popularity<br /> of Robinson Crusoe and of Gulliver’s Travels.<br /> <br /> 7. Arrange the following in chronological sequence, giving<br /> the dates of publication and the full names of the authors :<br /> Sorrows of Werther, Tristram Shandy, Vicar of Wakefield,<br /> Humphrey Clinker, Tom Jones, Paul and Virginia, Castle<br /> Rackrent.<br /> <br /> 8. Why is the Castle of Otranto important in the history<br /> of fiction? Why is the Princess of Oleves? Why is Paul<br /> and Virginia? Why is Wilhelm Meister ?<br /> <br /> 9. Do women novelists regard life from a different point<br /> of view from men? Llustrate your answer from the novels<br /> of Madame de Lafayette, Miss Edgeworth, and Miss Austen,<br /> as compared with the novels by Le Sage, Fielding, and<br /> Goethe.<br /> <br /> 10. What benefit, if any, have you derived from this<br /> course P<br /> <br /> Tuesday, Feb. 7, 1893.<br /> <br /> oo<br /> <br /> What a fine field would be open to the Society<br /> if we could institute examinations for critics,<br /> so that no one should be allowed to criticise any-<br /> thing without our certificate! Imagine the wail-<br /> ing when the uncertificated critic should find him-<br /> self firmly put aside! For the examinations<br /> would have to be stiff. The dramatic critic would<br /> have to show that he knew the principles of<br /> dramatic art; that he had read and studied the<br /> plays of two countries at least ; and that he could<br /> himself construct a play—if not a great play, at<br /> least a play artistically constructed. And so with<br /> everything else. The Society could, as we said<br /> last month, confer those magic letters which are<br /> so ardently desired by the members of the Society<br /> mentioned below, though the Society of Authors<br /> will never, I fear, rise to the Greatness of a<br /> <br /> <br />  <br /> <br /> 368<br /> <br /> Gown and Hood, a Ring, and a Badge; the<br /> Badge, especially, we must regret.<br /> <br /> &lt;&lt;<br /> <br /> There exists—one is happy in making it. better<br /> known—an association known as the Society of<br /> Science, Letters, and Art, of London. The<br /> “International” Society of Literature and<br /> Science, under the management of the notorious<br /> Morgan, is immediately suggested by this title.<br /> There is, however, no connection between the two<br /> societies, and very little resemblance. Morgan’s<br /> association was a bogus: this is a real thing, é.e.,<br /> it actually does, as shall be shown, what it<br /> professes to do. You can:become a “ Fellow ” of<br /> the society, and you can call yourself F.8.Sc., by<br /> sending a trifling subscription of two guineas a<br /> year. Think of being an “ F.S.Sc.”—nothing<br /> short of that—for two guineas a year! There, as<br /> the advertisers say,is Value! If you can only<br /> afford a guinea, you can still be a Member. The<br /> following is a list of the splendid achievements<br /> of the society up to the present date :—First,<br /> they meet once a month, and, after passing<br /> minutes and electing more distinguished men,<br /> who want nothing but the F.S.Sc. to complete<br /> the glory of their career, they sing songs and<br /> listen to papers. Many of the Fellows have,<br /> it 1s stated—actually, many !—written books—<br /> actually, books !—in Science, Literature, and<br /> Art. The society has endeavoured to introduce<br /> Volapuk—a most useful attempt. The society<br /> has issued a register of American colleges, a step<br /> calculated to advance enormously the cause of<br /> Science, Literature, and Art in this country. The<br /> society has photographed a map. The society has<br /> given women a new occupation—that of cameo<br /> cutting. The society has sent papers to exhibi-<br /> tions. And the society has instituted a set of<br /> examinations called the Kensington Locals. In<br /> fact, the work of this society, except for its<br /> song-singing, reads exactly like a parody of<br /> that of the Society of Arts—local examinations<br /> and all. But, as was said above, it is manifest<br /> from the account of their work that this is<br /> no bogus society. The committee do what they<br /> profess to do. But is it not wonderful that<br /> 2000 people—they say there are 2000 members—<br /> should pay two guineas a year for the sake of<br /> calling themselves F.S.Sc.? And is it not more<br /> wonderful still that schools should be found to<br /> prefer the examinations of such a body to the<br /> examinations of Oxford and Cambridge? It is,<br /> however, stated, and this is so far satisfactory,<br /> that the accounts are duly laid before the<br /> members, and “ passed unanimously.” Humph<br /> <br /> <br /> <br /> —Yes—But—are they audited and published ?<br /> We must not forget to mention that the<br /> <br /> THE AUTHOR.<br /> <br /> Fellows are entitled to wear Gowns and Hoods,<br /> and to carry a gold or silver Badge, thus resem.<br /> bling a Master of Arts, a parish Beadle, and an<br /> omnibus Conductor all rolled into one. Think of<br /> the Glory of it! 4<br /> <br /> <br /> <br /> <br /> <br /> Atarecent meeting of the Society of American<br /> Authors (Colonet Thomas Wentworth Higginson,<br /> President) Mrs. Kate Tennant-Woods, among<br /> others, was elected a member. The importance<br /> of this election, over and above the adhesion of<br /> Mrs. Woods to the Society, lies in the fact that<br /> some years ago Mrs. Woods organised an associa-<br /> tion of ladies only, called the “ Guild of Authors,”<br /> and that by this election she acknowledges that<br /> all literary men and women should write and work<br /> together for the common object.<br /> <br /> <br /> <br /> An American magazine was so very good, the<br /> other day, as to expose the tricks, cajolements,<br /> and flatteries and arts by which autographs are<br /> procured, and persons whose autographs are<br /> desired, are induced to write letters. After this<br /> exposure, the following note may perhaps be<br /> regarded as suspicious:<br /> <br /> Dear Sir,<br /> <br /> Will you kindly tell me your opinion of Alphonse Daudet<br /> compared with Dickens as a novelist ?<br /> <br /> I see that a critic in one of our magazines says his<br /> <br /> “Sappho” is infinitely better than anything Dickens ever<br /> wrote.<br /> <br /> Tam personally unknown to you, but should like very<br /> much to know what you think of this, and trust, if your<br /> time permit, you will answer,—Very respectfully<br /> <br /> An AMERICAN ADMIRER OF YouRS.<br /> <br /> Then follows the name and address, at a “ whole-<br /> sale Dry Goods and Notions” establishment.<br /> The writer, bearing in mind the article referred<br /> to, must not take it unkindly if no answer should<br /> be sent.<br /> <br /> <br /> <br /> The book of the month is Mr. Walter Pater’s<br /> “Plato and Platonism” (Macmillan and Co.).<br /> Another book of the month is Mr. W. F. Smith’s<br /> Translation of Rabelais, noticed elsewhere. &#039;To<br /> this a third may be added in “Salome,” the<br /> forbidden play by Oscar Wilde.<br /> <br /> Watter Besant.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Ae<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE, AUTHOR. 369<br /> <br /> THE PROFESSOR’S PHENIX.<br /> <br /> <br /> <br /> o ATHER, couldn’t you make the story end<br /> <br /> -K there? It is such a pretty bit—it seems<br /> <br /> a pity to add anything more.”<br /> <br /> “No, no, my dear ; you don’t understand. The<br /> paragraph you want to suppress is the most<br /> important in the book. Are you ready ? Then<br /> let us proceed.”<br /> <br /> And the Professor resumed his slow tramp up<br /> anddown the room, his hands clasped bekind him,<br /> his eyes rolling “in fine frenzy” in spite of their<br /> restlessness, while he dictated certain ponderous<br /> sentences with the air of a man inspired.<br /> <br /> “There, Ihave done!” he cried at last. “‘ This,<br /> I think, should rouse the world. It will be<br /> forced to hear my voice now—though I stand on<br /> the threshold of the grave, I have strength<br /> enough left to drive the lesson home. The world<br /> must hear—must attend. This voice of mine will<br /> preach to it still when I myself have passed away ;<br /> this book will be as it were a Phcenix rising from<br /> my ashes—unique, beautiful, strong. Oh, glorious<br /> thought !”<br /> <br /> He threw himself into an arm-chair, resting<br /> his white head on his hands, and smiling to him-<br /> self; but presently he sighed.<br /> <br /> “ Ella, if this work is not recognised I think I<br /> shall die! But it cannot fa&#039;l—it is a beautiful<br /> story. You, even you, can see that it is a<br /> beautiful story.”<br /> <br /> “Yes, yes,” cried the girl eagerly ; “ it is a<br /> beautiful story—one of which I could never<br /> tire—”’<br /> <br /> “ Full of fancy and delicate feeling ¢<br /> <br /> “ Full of fancy and feeling.”<br /> <br /> “And then the style,’ went on the old man,<br /> leaning forward and speaking excitedly, “ culti-<br /> vated, polished, dignitied; every word giving<br /> evidence of erudition and research. As for the<br /> message which it is given to me to deliver, do I<br /> not trumpet it forth for all the universe to hear?<br /> Why, each page contains its lesson. Iam a<br /> teacher, Ella, a teacher before everything, and<br /> this book is, I may say, an epitome of all my<br /> other work ; it is the ripe and perfect fruit of all<br /> my wisdom and experience—it must succeed.”<br /> <br /> The girl rose, and, leaning over her father’s<br /> chair, drew him gently backwards so that his<br /> head rested on the cushions. Then she kissed<br /> his upturned face.<br /> <br /> “You must rest,” she said; “your work is<br /> done.”<br /> <br /> “Yes, yes,” he assented, “it is done, and I<br /> await the reward. Make a parcel of the manu-<br /> <br /> script quickly, dear; we must send it off at<br /> once.”<br /> <br /> ”<br /> <br /> Ella gathered up the papers, and left the room<br /> stifling a sigh. For well she knew what was<br /> likely to be the result of her father’s labours,<br /> All his life he had been fanciful, and imprac-<br /> ticable, and didactic. He could indeed conceive<br /> a charming story, rich in incident, full of delicacy<br /> and tenderness; but he invariably marred it m<br /> the telling. He must needs paint his lily; he<br /> must point his moral and adorn his tale. No<br /> simple everyday language was good enough to<br /> convey his meaning; he must wrap it round in<br /> a curious antiquated jargon of his own, illustrate<br /> it with a thousand flowery figures of speech,<br /> interlard it with cheap wisdom and secondhand<br /> philosophy. He had a passion for teaching, poor,<br /> good, simple old fellow! and having long ago<br /> resigned his Professorship, and being unable of<br /> late years, by reason of his blindness, even to<br /> take pupils, he had devoted himself to the task<br /> of instructing the world at large. Treatises,<br /> essays, tales — he composed them by the dozen,<br /> and Ella’s little fingers ached with writing them ;<br /> but as he was too poor to bring them out at his<br /> own expense, no publisher could be induced to<br /> produce them, and, indeed, it is doubtful if, even in<br /> the event of their seeing the light, anyone could<br /> have been persuaded to read them.<br /> <br /> “ Dear father,” Ella would say, half pleadingly,<br /> half impatiently, “if you would only let me write<br /> your stories as you tell them to me sometimes, as<br /> we piece them together by the fire, in—in plain<br /> words, I know they would be more successful.”<br /> <br /> “ Nonsense, child! What are you thinking<br /> of? I tell them to you in that way, to give you<br /> just an idea of them; but when I speak to the<br /> world I must use language of a different kind—<br /> language that readers of intellect and learning<br /> may not cavil at.’ And another overwhelming<br /> sentence would come booming out. It seemed to<br /> Ella in her despair that every remonstrance ot<br /> hers rendered his phraseology more bombastic,<br /> and whetted his appetite for words of five<br /> syllables.<br /> <br /> “ ] think his heart will break if this book fails<br /> too!” she thought as she mounted the stars.<br /> “ And yet of course it must. Poor dear! as he<br /> says, he has put all his wisdom, all his wisdom<br /> in it—all those dreadful little bits which ruined<br /> his other books, and those terrible long words<br /> which make one feel hot all over!”<br /> <br /> She had gained her room, now, and unlocking<br /> a drawer took out the remainder of the manu-<br /> script.<br /> <br /> « Let me see, though ; perhaps, after all it is i<br /> that am wrong in not sufficiently appreciating it.<br /> Let me try to imagine myself a publisher’s reader<br /> <br /> lancing through the work for the first time.”<br /> <br /> She sat down and read half a page with a<br /> <br /> A A OIE<br /> <br /> <br />  <br /> <br /> 37°<br /> <br /> most business-like expression on her small, bright<br /> <br /> face. She was small and bright altogether, this<br /> little eager creature—small and bright and<br /> brown. Her eyes were bright and brown, too,<br /> <br /> but large—the only Jarge things about her—and<br /> very alert and intelligent. She had little quick<br /> movements, and saucy ways, and occasional<br /> flashes of temper, such tiny flashes that people<br /> only laughed at them. Her father called her<br /> The Robin, and the name suited her.<br /> <br /> “Tt’s no use!’ she sighed presently, pushing<br /> away that MS. “Oh, my dear precious old<br /> father, why will you not do justice to yourself ? ”<br /> <br /> When the parcel came back—as was inevitable<br /> —from the publisher towhom Ella had entrusted<br /> it, it chanced that the Professor was unwell, and<br /> the girl, not liking to distress him, concealed the<br /> fact of the failure of his book from him. She<br /> undid the fastenings, and glanced mechanically<br /> through the: papers. The first two or three<br /> pages were slightly soiled indeed, but the<br /> remainder were painfully, ironically clean—a<br /> very little of the intellectual feast within had<br /> apparently sufficed to satiate the reader. And<br /> yet, as Ella turned overthe pages with a kind of<br /> ind&#039;gnant anguish, her eyes fell on the descrip-<br /> tion of what was really a pretty scene, deliberately<br /> imagined. The old man had in truth something<br /> to say if he did but know how to say it!<br /> <br /> Suddenly a thought struck the girl, so daring,<br /> so tremendous, that she reddened to the very<br /> roots of her hair, and her heart began to thump<br /> wildly.<br /> <br /> “Tl do it,’ she said. “It’s wicked, it’s de-<br /> ceitful ; it’s base in every way, but I’ll do it. He<br /> shan’t break his heart—his dear, kind old heart—<br /> he shan’t be disappointed again; his story shall<br /> be read!”<br /> <br /> She sat down then and there, and wrote out the<br /> first chapter of her father’s book in her own way<br /> and her own words. Those big eyes of hers were<br /> not -o wide open and intelligent for nothing, and<br /> those curly brown locks covered a very clever little<br /> head. Sbe had read much and appreciatively, and<br /> was, besides, endowed with a naturally acute<br /> literary sense, a nice perception of artistic pro-<br /> portion. As she went on the work interested<br /> her more and more; the characters became real<br /> to her ; and by-and-bye, not content with lopping,<br /> and paring, and reproducing, she began to develop<br /> and to create. After many days, the book was<br /> finished, and she read it through, startled at her<br /> own temerity, and yet triumphant at her success.<br /> The success was undeniable. The theme, always<br /> fascinating and now divested of its florid orna-<br /> mentation, proved itself to be a fine melody,<br /> <br /> appealing to the heart with direct and simple<br /> force.<br /> <br /> THE AUTHOR.<br /> <br /> Palpitating with anxiety Ella despatched the<br /> book once more, and one morning received a<br /> letter from the publisher announcing his willing-<br /> ness to produce it, and offering certain terms;<br /> not high ones, for it was a first book and in one<br /> volume, but fair. ;<br /> <br /> She went up to her father’s room to tell him<br /> the joyful news—joyful, but rather embarrassing<br /> too—how should she break. to him her share in<br /> the transaction ?<br /> <br /> He was still in bed, and looked very frail and<br /> feeble.<br /> <br /> “Father,” she began, hesitatingly, ““I—I have<br /> heard from the publisher, Mr. S<br /> <br /> “ Well, child, well? Don’t tell me he has sent<br /> back the book—don’t tell me! Iam not able to<br /> bear it.”<br /> <br /> “No, dear, no—it’s all right.<br /> keep it, he a<br /> <br /> “He wants to keep it!” cried the old man with<br /> a shout of triumph. ‘Oh God,I thank Thee!<br /> My life has not been without fruit afterall. I<br /> had a mission—you see, Ella, I was right! I<br /> knew I was right—and now it is fulfilled.”<br /> <br /> “Yes, but, dear father, I have not told you<br /> everything yet. There are—some drawbacks.<br /> The first publisher I sent it to—”<br /> <br /> “ There, Ella, I don’t wish to hear, Let me be<br /> happy for once—entirely happy! Don’t you<br /> know what a relief it is to make yourself heard<br /> when you have been calling a person for a long<br /> time? I have been calling, calling, calling, all<br /> these years, all my life, to a whole world full<br /> of people, and found no one to listen to me—<br /> not one! Think what it must be to know that<br /> my voice is heard at last. It isa relief and a<br /> joy; do not disturb the blessedness of it. Let<br /> me rest now; my work is done. I wish to hear<br /> nothing more until you place the book in my<br /> hand. I leave the management of all the minor<br /> details to you. Make what terms you like;<br /> correct the proofs. Ido not even want to know<br /> when they come, I might be tempted to alter<br /> and perhaps spoil my work, and it is perfect as it<br /> is. I must not change a word.”<br /> <br /> Ella’s intended confession died on her lips.<br /> How could she bring herself to wake her father<br /> from his dream of bliss? She wished now that<br /> she had not begun to practise this deception, but<br /> since, after all, it made him so happy, and since<br /> he was, alas! so easily deceived, why not carry it<br /> out to the end? Why need he ever know that<br /> this which he hugged to his bosom was not the<br /> child of his fancy, but a changeling? Nay, it<br /> was his child, after all—did it not owe its beg<br /> tohim? Ella had but dressed it in other clothes.<br /> So she said, trying to comfort herself and to<br /> quiet her conscience, for, as the days passed, she<br /> <br /> <br /> <br /> He wants to<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> found it mcre and more impossible to tell him<br /> the truth.<br /> <br /> When, however, at last she laid the little<br /> yolume in the Professor’s guileless hands, she<br /> acknowledged that it was worth while running<br /> any risks, and enduring any number of secret<br /> pangs to see the old man’s ecstacy. How he<br /> fondled the book! With what eager trembling<br /> fingers he examined paper and binding, with<br /> what a deep sigh of content be laid it down at<br /> last !<br /> <br /> “My Phenix, Ella!”<br /> <br /> Presently he requested her to sit down and<br /> read him the story from beginning to end, and<br /> 1etiring to a safe distance she proceeded to read<br /> the original manuscript with which she had<br /> thoughtfully provided herself, blushing fiercely<br /> with shame the while, and feeling a very monster<br /> of deceit. But the Professor had:no misgivings.<br /> He sat listening with a smile, rapturously happy.<br /> Now and then he would interrupt with an inter-<br /> jection of approval, or ask her to read a sentence<br /> or a paragraph again.<br /> <br /> “That will make a point, my dear,” he<br /> would say. “You&#039;ll see. The book will make<br /> a hit.”<br /> <br /> Curiously enough it did. This youthful render-<br /> ing of an old man’s fancy had a fresh, charm-<br /> ing, unusual flavour which suited the public<br /> taste. It went into a second edition almost<br /> immediately, and the reviews were unanimous in<br /> praise.<br /> <br /> Ella’s satisfaction, however, was not unmixed ;<br /> she lived in dread of her secret being discovered,<br /> though, thanks to the retired life led by her<br /> father, and to her judicious ‘ cooking” of the<br /> notices which she read to him, there did not seem<br /> much chance of his being enlightened.<br /> <br /> But was there ever a labyrinth of which some<br /> one did not solve the mystery? Did not the<br /> Serpent find his way even into the Garden of<br /> Eden? How could the Professor remain secure<br /> in his fool’s paradise? It happened that one of<br /> his former pupils—Bodersham by name, if that<br /> matters—a journalist and critic, but still in some<br /> ways quite human—chanced to find the name of<br /> his old tutor on the title-page of a book of which<br /> he and his brother reviewers approved, and was<br /> genuinely pleased. It seemed to him, indeed,<br /> that he could do no less than congratulate his<br /> friend in person, and accordingly one day he<br /> betook himself to the small house in the little<br /> suburb, where the old man had set up his house-<br /> hold Gods.<br /> <br /> Ella was out, but the Professor received him with<br /> pleasure, accepting his congratulations with entire<br /> satisfaction, enumerating the compliments be-<br /> stowed.on the work iv question, and speaking of<br /> <br /> AUTHOR. 371<br /> <br /> his publishers, his profits, his reviewers, with a<br /> gleeful sense of importance. “I agree with the<br /> Times,” remarked young Mr. Bodersham, presently,<br /> “the scene just before the parting of the lovers is<br /> the finest in the book. You ought to feel<br /> flattered—they have quoted nearly the whole of<br /> it.<br /> <br /> “Bh? Havethey? Let me see. Imust have<br /> missed that. I dont remember Ella reading it<br /> to me. Find it for me, that’s a good fellow.<br /> Here’s the book. Excuse the impatience of an<br /> author—a young author who has just brought<br /> out his first book! Eh? A young author of<br /> seventy-five !””<br /> <br /> He rubbed his hands and chuckled; preparing<br /> himself to listen, and already blushing with grati-<br /> tied vanity. But, as Bodersham read, the smile<br /> died out of his face, and a puzzled and startled<br /> look came there instead.<br /> <br /> “1 —T don’t remember that bit,” he said, as the<br /> young man ceased. “ What has happened to my<br /> book? I—cannot recollect—it is strange. Go<br /> on, go on—let me hear more.’<br /> <br /> Bodersham read on, but presently paused<br /> again.<br /> <br /> “ What an exquisite sentence!” he exclaimed.<br /> <br /> “ Exquisite perhaps, but not mine. I never<br /> wrote a word of it. Good God! Someone has<br /> been tampering with my book—that fool of a<br /> publisher, perhaps. Bodersham, for Heaven’s<br /> sake turn to the beginning of the chapter—does<br /> it open thus:—‘ There are sundry idiosyncracies<br /> easily recognisable in certain individuals, in whom<br /> an adept in pathognomy may readily detect<br /> infallible signs—— ’”’<br /> <br /> “No, nothing of the sort. It begins with a<br /> conversation—— ” and he read a few lines.<br /> <br /> “As I thought!” groaned the Professor.<br /> “Someone has been meddling with it—it is not<br /> my book at all—not mine, but so like it. Someone<br /> has stolen my ideas, and made another work of<br /> it. Yet then again! Taat little conversation<br /> was mine. What has happened? What shall I<br /> do? There is hideous wrong somewhere, and I<br /> am so helpless, so helpless, they can impose on Us<br /> as they like. But Ella, Ella should have<br /> known !”<br /> <br /> He fell back in his chair, panting, trembling,<br /> straining bis poor sightless eyes, and at this<br /> moment Ella walked in, rosy, fresh, smiling, and<br /> laden with packages. One glance told her what<br /> had happened, and, flinging down her purchases,<br /> she rushed to her father’s side. “It’s all your<br /> fault!” she cried, glancing furiously at the<br /> bewildered Bodersham, and immediately bursting<br /> into tears.<br /> <br /> “Qh Ella, Ella child—something dreadful has<br /> happened — something inconceivable! I have<br /> <br /> IEE<br /> <br /> <br />  <br /> <br /> 372<br /> <br /> been robbed—deceived! This is not my book—<br /> _you know it is not my book ?”<br /> <br /> “ Yes, dear, it is yours,” cried Ella, flmging her<br /> arms round his neck. “It is indeed yours—your<br /> story, and your beautiful idea, only—only a little<br /> altered and modernised. ’<br /> <br /> “Then you knew,” faltered the old man, feebly<br /> pushing her away from him. ‘ You knew—and<br /> you let them do it!”<br /> <br /> “Oh, dearest father, how shall I tell you? and<br /> yet you must know, since people will meddle so,”<br /> pausing to scowl through her tears at poor Mr.<br /> Bodersham. “It was I did it. I, Imyself! I wrote<br /> it out and changed it.”<br /> <br /> “You did it!” he repeated, almost in a<br /> whisper. ‘ You /—because I was blind!”<br /> <br /> It was the only reproach he made her, but it<br /> almost broke her heart. She threw herself on<br /> her knees beside him, kissing his hand, and<br /> gasping out her confession between her passion-<br /> ate sobs. He accepted her caresses passively at<br /> first, but, presently, moved by her distress, he<br /> stooped and kissed her.<br /> <br /> “Poor child,’ he said, “do not ery. You<br /> meant well, and of course my work was of no use.<br /> They would not have it. -But it would have been<br /> kinder not to have deceived me. Yet I should<br /> not reproach you, for I have been deceiving<br /> myself all these years I—I thought I was a<br /> venius, and I am only—a fool.”<br /> <br /> There was infinite pathos in words and tone—<br /> pathos, and a certain dignity for all their naiveté.<br /> Bodersham, standing by the table, miserable and<br /> awkward, felt a lump rising in his throat. The<br /> Professor presently addressed him :<br /> <br /> ‘“‘ Bodersham, will you be so good as to read<br /> <br /> the book to me from the beginning? It will not<br /> take you long, and I should be grateful.”<br /> _ The young man complied, his voice, somewhat<br /> husky at first but clearing and steadying itself<br /> as he went on. Ella, turning a pettish shoulder<br /> on him, curled herself up at her father’s feet, and<br /> buried her face in her hands. He listened for the<br /> most part in silence, though he interrupted<br /> now and then with a muttered commentary,<br /> There was a moment’s pause when the reading<br /> ceased, and then Ella, raising her head timidly,<br /> saw that his face was glowing, and working<br /> oddly.<br /> <br /> “My little girl,” he said, “it is beautiful. I<br /> am foolish and old . . . but I can see that.<br /> Though I should have thought,” he added, rub-<br /> bing his nose meditatively, ‘that it might have<br /> improved it to amplify a little now and then—but<br /> perhaps I am wrong. I have antiquated notions,<br /> Iknow. Ah,” he cried with sudden exultation,<br /> ‘my little bird can sing—my little bird can sing!<br /> You are a wonderful little woman. I think that<br /> <br /> THE AUTHOR.<br /> <br /> you—you—you—are my Phenix! Yes—yes—<br /> not my book at all—but you—you—you.”<br /> M. E. Francis,<br /> <br /> CARLYLE ON THE POSITION OF LITERARY<br /> MEN.<br /> <br /> <br /> <br /> HAT had Carlyle to say on the status and<br /> organisation of literary men? Take<br /> his ‘“‘ Hero as Man of Letters,” and<br /> <br /> much will be found on a subject which has<br /> received new interest and impetus from the death<br /> of the Poet Laureate. When “Hero Worship ”<br /> was written, Carlyle felt deeply on the then gene-<br /> rally disorganised condition of society:—<br /> “perhaps if we look at this of Books and the<br /> Writers of Books, we shall find here, as it were,<br /> the summary of all other disorganisations ; a<br /> sort of heart from which, and to which, all other<br /> confusion circulates in the world.” The sage<br /> dwells for pages upon the art of writing, upon<br /> the marvellous effect of writing, the revolutions<br /> it has created in thought, in art, in politics, in<br /> government, in education, in religion. It has<br /> made democracy inevitable, “it is the purest<br /> embodiment a thought of man can have. No<br /> wonder it is, in all ways, the activest and noblest.”<br /> Admitting all this, Carlyle then goes on to pro-<br /> phecy: “If men of letters are so incalculably<br /> influential, actually performing such work for us<br /> from age to age, and even from day to day, then<br /> I think we may conclude that men of letters will<br /> not always wander, like unrecognised, unregulated<br /> Ishmaelites, among us. Whatsoever thing has<br /> virtual unnoticed power will cast off its wrap-<br /> pages, bandages, and step forth one day with<br /> palpably articulated, universally visible power.<br /> That one man wear the clothes, and take the<br /> wages, of a function which is done by quite<br /> <br /> another: there can be no profit in this; this is_<br /> <br /> not right, it is wrong. And yet, alas! the making<br /> of it right,—what a business, for long times -to<br /> come. Sure enough this that we call Organisa-<br /> tion of the Literary Guild is still a great way off,<br /> encumbered with all manner of complexities. If<br /> you asked me what were the best possible orga-<br /> nisation for the Man of Letters in modern Society;<br /> the arrangement of furtherance and regulation,<br /> grounded the most accurately on the actual facts<br /> of their position and of the world’s position, I<br /> should beg to say that the problem far exceeded<br /> my faculty! It is not one man’s faculty; it is<br /> <br /> that of many successive men turned earnestly<br /> upon it, that will bring out alone an approximate<br /> solution, What the best arrangement were, none<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THe AUTHOR. 373:<br /> <br /> of us could say. But if you ask, which is the<br /> worst? I answer: This which we have now,<br /> that Chaos should sit umpire in it; this is the<br /> worst. To the best or any good one, there is yet<br /> a long way.”<br /> <br /> Thus wrote Carlylein 1840. He was convinced<br /> that the regulation of the literary life was coming.<br /> “This is a prophesy,” said he, “one can risk.<br /> For so soon as men g-t to discern the importance<br /> of a thing, they do infallibly set about arranging<br /> it, facilitating, forwarding it; and rest not till,<br /> in some approximate degree, they have accom-<br /> plished that ‘Literature will take<br /> care of itself,’ answered Pitt, when applied<br /> to for some help for Burns. ‘Yes,’ adds Mr.<br /> Southey, ‘it will take care of itself, and<br /> of you too, if you do not look to it?”<br /> Carlyle had in his mind, when he wrote these<br /> words, Jean Jacques Rousseau, driven to<br /> exasperation and lighting the torch of Revo-<br /> lution by his paradoxical writing ; and he might<br /> have added the name of Theobald Wolfe Tone,<br /> who, instead of fom-nting Irish revolution, might<br /> have been a British governor in some quarter of<br /> the Empire, had he been given employment by<br /> Pitt when he asked for it.<br /> <br /> But what would Carlyle have said to the reten-<br /> tion of the Laureateship? Generally he would<br /> have been in favour of it, if we may judge by his<br /> writings in these lectures on Hero worship. Not<br /> that he cared much, or at all. for money and<br /> rank. He even doubted whether there ought not<br /> to be literary men poor, to show whether they<br /> were genuine or not. But recognition of worth<br /> was what he craved for himself, and for all strong<br /> men born in the lower classes of life, ‘‘ who ought<br /> to stand elsewhere than there.’ He was con-<br /> vinced that it deeply concerned society “whether it<br /> will set its light on high places, to walk thereby ;<br /> or trample it under foot and scatter it in all ways<br /> of wild waste (not without conflagration) as here-<br /> tofere. Light (he continues) is the one thing<br /> wanted for the world. Put wisdom in the head<br /> of the world, the world will fight its battles vic-<br /> toriously, and be the best world man can make<br /> it.” If light is the one thing wanted for the<br /> world, we may well ask why hesitate to put it<br /> on a candlestick, that it may give light unto<br /> all who are in the House of Literature, and out-<br /> side it too? All that need be insisted on is that<br /> the best candle be placed in the candlestick. We<br /> must have the best illuminant in our Poetic<br /> Beacon. Po. B:<br /> <br /> eo<br /> <br /> CORRESPONDENCE.<br /> <br /> iE<br /> A RectsterR oF Books WANTED.<br /> <br /> PREGNANT thought arises out of the<br /> fact that the writer of these lines, in<br /> common, no doubt, with many other<br /> members of his club (which contains a fair<br /> number of literary men) is in the habit of<br /> receiving from dealers in second-hand books,<br /> not only in London but in some provincial<br /> towns, printed catalogues of the works they<br /> have to offer, comprising several hundreds in<br /> <br /> number, and alphabetically arranged as regards,<br /> <br /> the names of their authors. The compilation<br /> of these lists, including a short description of<br /> contents of each book and a statement of price,<br /> <br /> must be for certain a work involving very con-.<br /> <br /> siderable time and labour, and the revision of<br /> the proofs must require exceeding accuracy and<br /> care. It would be, perhaps, a safe guess to say<br /> that the mere cost price of each catalogue cannot<br /> be much under 2d., to say nothing of postage.<br /> How many of the receivers of these lists ever<br /> buy (if at all) or even peruse them, there is no<br /> means of knowing. The writer, indeed, does<br /> make a habit of glancing through them; and<br /> very occasionally he makes a purchase. Not<br /> having that amount of spare time or money<br /> <br /> which should make him wish to possess books. or-<br /> <br /> indeed a library wherein to place them, he is<br /> obliged to content himself with the large facili-<br /> ties for the reading of books offered by public<br /> libraries. Still he does want a book sometimes,<br /> but he is willing te give for it only a fair second-<br /> hand price. How can his want be met? He<br /> may collect these catalogues by the score or by<br /> the hundred, or. visit shop after shop in. a vain.<br /> search for it; and all the while it may be lying<br /> in some shop down a back street within a few<br /> yards of the ground over which he has just<br /> passed.<br /> <br /> It seems to me that the present plan inverts<br /> the whole process by which —as proved by<br /> Beecham, Pears, and others—the old adage has,<br /> been falsified, and now “Supply [er rather the<br /> advertisement of it] creates the demand.” Every<br /> one wants soap; millions want—or think they<br /> want—pills ; and the public buy. the article the<br /> name of which is stamped on their brain. But<br /> these puffers advertise one thing only; and the<br /> cost to them, when divided among the millions<br /> who read, who cannot help reading, is almost as<br /> a drop of water in the ocean. On the other<br /> hand, the booksellers spend, say, 2d. or 3d. in.<br /> sending-to a few individuals catalogues of several<br /> <br /> <br /> o14<br /> <br /> hundred books, of which the great majority need<br /> not one, and by chance a single person, here or<br /> there, may want one or two.<br /> <br /> What is required is a catalogue (or register) of<br /> “hooks wanted,” properly classified and arranged,<br /> the fee paid by the “ wanter” for imsertion being<br /> divided between him and the “supplier” on<br /> completion of the bargain. The scheme would<br /> require organisation, and, probably, in the end<br /> an office and a staff. I can only here indicate<br /> the bare outlines of such a scheme; but I enter-<br /> tain no shadow of a doubt that, if once properly<br /> started and supported by the hearty co-operation<br /> of the second-hand booksellers, they would save<br /> many thousands of pounds in the cost of all but<br /> useless catalogues, and gain many other thou-<br /> sands in the quicker and better sale of ‘ Books<br /> wanted,’ which now cumber their shelves and lie<br /> there year after year, representing so much sunk<br /> capital and a prey to dust, moth, damp, and the<br /> destructive habits of rats and mice.<br /> <br /> E. F. Wourerstan.<br /> <br /> +<br /> <br /> II.<br /> MissTaTEMENTS IN REVIEW.<br /> You have, I think, expressed the opinion in the<br /> <br /> Author, that the reviews written about a book<br /> influence to some extent its sale. If this is the<br /> case, it is the duty of a reviewer to be careful as<br /> to the accuracy of his statements; it is also, I<br /> venture to think, the duty of an editor to allow<br /> space to an author to correct any misstatements<br /> which have appeared in a review in his paper,<br /> always supposing that the nature of the paper in<br /> question admits of letters or explanatory para-<br /> graphs. The same publicity ought m common<br /> fairness to be given to the correction of a mis-<br /> statement as was given to the misstatement itself.<br /> This, unfortunately, does not appear to be the<br /> opinion of the editor of the Atheneum. Some<br /> weeks ago (Dec. 10, 1892) a notice of a book of<br /> mine—* Animal Coloration ’—was published in<br /> that review. The reviewer said that I bad not<br /> given “references” to the investigations of a<br /> certain physiologist, and expatiated upon this<br /> supposed omission to the extent of one-third of<br /> the whole notice, thereby perhaps giving the<br /> impression that my book was defective in an<br /> important particular. As a matter of fact, I had<br /> referred both to the name of the physiologist and<br /> to the journal where most of his papers were to<br /> be found. I accordingly wrote to the editor and<br /> pointed this out, in a perfectly civil way, begging<br /> him to correct the error. At first he declined to<br /> do anything, stating that the reviewer saw no<br /> reason for altering anything written, since I had<br /> <br /> THE AUTHOR.<br /> <br /> not given any account of the discoveries<br /> mentioned. I wrote again to the editor, suggesting<br /> that a reference to an author and his work and a<br /> discussion of his results were two very different<br /> things; finally he published (Feb. 3, 1893), not<br /> a letter stating the bare facts which I had sent<br /> him, but a paragraph grudgingly admitting that<br /> I had mentioned the name of the author in<br /> question, but omitting to mention the equally<br /> important fact that I had given a reference to<br /> the journa! where the author’s papers were pub-<br /> lished; in fact, having said in the notice that I<br /> had neglected a reference, he preferred to stick to<br /> that misstatement. Frank E. Bepparp.<br /> <br /> TI.<br /> Tur EXaMpLeE OF RICHARD SAVAGE.<br /> <br /> There is one aspect of the perennial author-<br /> publisher question which we might sometimes<br /> consider with ourselves. Just 150 years ago John-<br /> son sent forth his admirable “ Life of Savage,”<br /> which was republished in the still more admir-<br /> able “Lives of the Poets” some six-and-thirty<br /> <br /> ears later. Speakivg of Savage’s production<br /> “ The Wanderer,” he said :<br /> <br /> From a poem so diligently laboured, and so successfully<br /> finished, it might be reasonably expected that he should<br /> have gained considerable advantage; nor can it, without<br /> some degree of indignation and concern, be told that he sold<br /> the copy for ten guineas, of which he afterwards returned<br /> two, that the two last sheets of the work might be re-<br /> printed; of which he had, in his absence, intrusted the<br /> correction to a friend, who was too indolent to perform it<br /> with accuracy.<br /> <br /> That he sold so valuable a performance for so small a<br /> price was not to be imputed either to necessity (by which<br /> the learned and ingenious are often obliged to submit to<br /> very hard conditions), or to avarice (by which the book-<br /> sellers are frequently incited to oppress that genius by which<br /> they are supported), but to that intemperate desire of<br /> pleasure and habitual slavery to his passions which involved<br /> him [Savage] in many perplexities. He happened at that<br /> time to be engaged in the pursuit of some trifling gratifica-<br /> tion, and, being without money for the present occasion, sold<br /> his poem to the first bidder—and perhaps for the first price<br /> that was proposed—and would probably have been content<br /> with less, if less had been offered him.<br /> <br /> Authors have a great deal of human nature in<br /> them; so, indeed, have publishers, but it shows<br /> itself in a different aspect. Savage’s particular<br /> exhibition of human nature is perhaps incurable,<br /> ineradicable; but had he been in the habit of<br /> resorting to an Authors’ Syndicate, it is just<br /> possible that his feet would have turned quite<br /> naturally in that direction, and deposited the<br /> copy of “The Wanderer” in its safe custody ;<br /> finding there, too, perhaps—waiting for him from<br /> some such previous famous performance as “The<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 375<br /> <br /> Author to be Let ”’—the means for his “ trifling<br /> gratification.”<br /> <br /> And the mention of that last pamphlet, which<br /> Johnson said “ would do honour to the greatest<br /> names,” leads one to add the confession that we<br /> still have our Iscariot Hackneys with us, and<br /> that some of them do now attack the Society of<br /> Authors, and ring the changes, with ‘“ damned<br /> iterations ” unartful aid on the dull, short list of<br /> oft-refuted empty charges against it. Johnson<br /> sometimes used strong language, and he described<br /> Iscariot Hackney as “a prostitute scribbler.”<br /> <br /> ee<br /> <br /> LV:<br /> Tnaccuracy IN Fiction.<br /> <br /> If room could be found in the pages of the<br /> Author, it would be interesting to know what<br /> opinions some of our leading authors hold re-<br /> specting inaccuracy in fiction, and the duty of the<br /> novelist to be exact in his handling of circum-<br /> stances drawn from real life.<br /> <br /> Perhaps an instance should be cited. This one<br /> I read, not long since, in an exceedingly clever<br /> and successful tale. Two people rush to catch a<br /> certain train leaving a London terminus. A gate<br /> is slammed behind them so that a third person<br /> cannot follow. The time of the departure of the<br /> train has also been advanced ten minutes. These<br /> circumstances completely account for very impor-<br /> tant incidents which follow.<br /> <br /> But the time of the departure of important<br /> trains isnot advanced by ten minutes without great<br /> care being taken to inform the public of the fact,<br /> and here a man who made due inquiries at the<br /> terminus a few days before is ignorant of it, and,<br /> as a fact, no gate prevents access to the platform<br /> from which this train starts. I speak from expe-<br /> rience, haviog travelled by it.<br /> <br /> Now anyone who reads many novels will be<br /> able to think of similar instances of inaccuracy.<br /> <br /> It would be vastly convenient to be permitted<br /> to take such liberties, when the exigencies of the<br /> tale demanded them. Are they to be held legiti-<br /> mate?<br /> <br /> I can perfectly understand the man who says,<br /> “Tf the tale be a good tale, what do such trifles<br /> matter f”<br /> <br /> But I know others who assert that inaccuracies<br /> of this kind quite spoil their interest in a story.<br /> It was one such man that first pointed out to me<br /> Dickens’s mistake of putting red lights in front<br /> of a train (“ Dombey and Son,” chapter 55, not<br /> far from the end). A more striking inaccuracy<br /> oceurs in “ Oliver Twist” (chapter 46), where<br /> sunshine is, in the morning, reflected on the ceil-<br /> ing from blood spilled on the floor, in “‘ the faint<br /> <br /> light of breaking day.” The blood must have<br /> coagulated in less than half an hour—rather in a<br /> comparatively few minutes. If a novelist could<br /> keep blood liquid as long as he liked he could<br /> probably raise the dead.<br /> <br /> But how far does the novelist’s privilege of<br /> doing as he pleases extend ?<br /> <br /> Henry CrEssweLL.<br /> <br /> MG<br /> UnkNown WRITERS.<br /> <br /> I do not consider myself sufficiently experienced<br /> in literary matters to “suggest anything prac-<br /> tical” in the matter of authors and publishers to<br /> such a body as the Committee of the Society of<br /> Authors; but I still think that Mr. Haes’s sug-<br /> gestion that “some development and combination<br /> of work now performed by the Society, and the<br /> syndicate ” might be arranged that would facili-<br /> tate the publication of works by unknown but<br /> able writers.<br /> <br /> In every other respect save the one in question,<br /> the Society is doing immense service, and I<br /> gladly take this opportunity of bearing testi-<br /> mony to the valuable, and most cordial and<br /> kindly help it affords to young or struggling<br /> authors. Substantial help, as I hope the malig-<br /> nant critic of the Daily Chronicle will duly note,<br /> so far from “receiving no earthly advantage”<br /> from my guinea subscription, I have, taking only<br /> the past year, received back, through the inter-<br /> vention of the Society, that exact amount (as<br /> compensation for detention of MSS.), besides<br /> payment of a much larger sum which I should<br /> not otherwise have obtained without considerable<br /> trouble and expense. This in addition to the<br /> monthly copy of the Author, and valuable advice<br /> upon various matters connected with my work.<br /> <br /> As for ‘‘a share in the management,” every<br /> member has that, through the pages of the<br /> Author, and will have it so long as criticisms and<br /> suggestions receive the courteous consideration<br /> which they do at present, e.g., the valuable sug-<br /> gestions in Mr. J. M. Lely’s recent “ Omnium<br /> Gatherum,” which will doubtless bear fruit.—<br /> Hh.<br /> <br /> VI.<br /> Times oF PaYMENT.<br /> <br /> The question of the regular times of payment<br /> to writers in magazines has been broached in the<br /> Author, and one writer expresses a pious wish<br /> that all journals should pay ona recognised date.<br /> There is another similar question on which<br /> opinion might be expressed, and this is, the times<br /> <br /> <br />  <br /> <br /> 376<br /> <br /> of payment of accounts to authors of books.<br /> Usually, when a fixed time is mentioned, the<br /> publishers stipulate for payment every six months.<br /> This is often, it would seem, somewhat of a<br /> hardship on the author, especially if a beginner,<br /> and the book is successful. The publisher gets<br /> in his return, and holds the money. Why should<br /> not at least quarterly accounts be the rule?<br /> The difficulty of balancing accounts at least<br /> approximately quarterly should not prevent such<br /> an arrangement. Only rich men can well afford<br /> to wait six months. H.<br /> {Should not our correspondent consider the<br /> great trouble of making up accounts every three<br /> months? In cases where money is due to<br /> authors, many publishers of the first rank are<br /> constantly advancing sums on account.—Eb. |<br /> <br /> <br /> <br /> VII.<br /> Prompt PayMENTs.<br /> <br /> “W.” writes to point out certain journals<br /> which follow the good example set by most of<br /> the daily papers in promptitude of payment.<br /> He says that “we should discriminate and not<br /> class all together.” Certainly. But has anything<br /> been said which has led our readers to class all<br /> together? In that case great injustice would be<br /> committed. Surely, however, no one has been<br /> so foolish as to suppose that proprietors of<br /> great and important papers are accused of these<br /> injurious delays. The sinners are the small<br /> papers, very poor themselves, who not only have<br /> to pay little, but also seek to postpone or to avoid<br /> payment as long as possible.<br /> <br /> <br /> <br /> VIII.<br /> Tue Recorp Press Company.<br /> <br /> The manager of the “ Record Press Company,<br /> Limited,” 376, Strand, asks publicity for the fact<br /> that the company has no connection at all with<br /> the “ Literary Society,” now defunct. It appears<br /> that the Company is the third tenant of these<br /> offices since the lamented decease of that admir-<br /> able association. The “Society” has been<br /> exposed over and over again; it has been<br /> succeeded by publishing firms carrying on the<br /> <br /> same game—one, at least, still exists and still.<br /> <br /> attracts the credulous; it has been exposed in<br /> these pages, in the daily press, in every- way.<br /> Yet, says the manager of the Company, not a<br /> week passes without some one—chiefly ladies and<br /> country clergymen— applying for membership<br /> and forwarding postal orders. Why do they<br /> want to become members? Is it — like the<br /> <br /> THE AUTHOR.<br /> <br /> “ Fellows ”’ of the Society above mentioned—ijp<br /> order to wear a hood and gown and a badge? Ig<br /> it for some imaginary distinction? Is it to assist<br /> the imagination and to further the belief that the<br /> “member” is a literary person? We ought—<br /> we must, the nation demands it—we ought<br /> without any delay to create an order—a distinc.<br /> tion—for the undistinguished. It should consist<br /> of a hood and gown with a badge. Then every.<br /> body will be perfectly happy.<br /> <br /> oct<br /> <br /> “AT THE SIGN OF THE AUTHOR’S HEAD.”<br /> <br /> <br /> <br /> “ CYALOME. Drame in un Acte.<br /> Wilde.”’ The forbidden play is published<br /> at last. It appears in a first edition of<br /> <br /> 600, and-is produced by Messrs. Elkin Matthews,<br /> <br /> and John Lane (Vigo-street). There can be no<br /> <br /> doubt that the first edition will be run out in a<br /> <br /> few days, and very little doubt that copies will be<br /> <br /> at a premium a few days later. There the play<br /> is, and those who please may consider the Lord<br /> <br /> Chamberlain justified or not in his action.<br /> <br /> The poems of a young writer, whose poems are<br /> greatly extolled by those who know him and his<br /> work — Mr. John Gray — are also to be pro-<br /> <br /> duced by the same publishers in a very limited ~<br /> <br /> edition of 250 copies. The book will be called<br /> <br /> “ Silverpoints.”’<br /> <br /> Mr. James Ashcroft Noble, whose name is<br /> known in connection with good and delicate work,<br /> both in poetry and criticism, will immediately<br /> produce (also through Messrs. Matthews and<br /> Lane) a book of essays, called “‘The Sonnet in<br /> England.”<br /> <br /> The new Handbook (Murray) of Constanti-<br /> nople, “Brusa aud the Troad,” is edited by Col.<br /> Sir Charles Wilson, G.C.B.<br /> <br /> Mr. John Cordy Jeaffreson’s “ Victoria, Queen,<br /> and Empress” is now ready at Mr. Heinemann’s.<br /> <br /> Charles Leland’s translation of “ Heme” has<br /> now advanced to the 7th and 8th volumes.<br /> <br /> Messrs. Chatto and Windus have produced a<br /> separate edition of Charles Reade’s masterpiece,<br /> “The Cloister and the Hearth.” It is in four<br /> volumes, with an introduction by the editor of<br /> this paper.<br /> <br /> There is a new book by the author of ‘Some<br /> Emotions and a Moral.” It is called “ A Study<br /> <br /> in Temptations” (Fisher Unwin). -<br /> <br /> Mr. Andrew Lang’s new book ‘‘ Homer and the<br /> Epic,” is nearly ready.<br /> <br /> (Longmans. )<br /> <br /> Par Oscar<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> It is pleasant to notice the growing recognition<br /> of Mrs. Croker’s powers. The Times of Feb. 24<br /> selected it for a review of a column and a quarter<br /> in length of “ A Family Likeness.” Sucha review<br /> has been a turning-point on the road to popularity<br /> for many an author. “Her tales,” says the<br /> reviewer, “are buoyant, romantic, satirical, and,<br /> above all, picturesque.” Among other good<br /> novels of the season, Messrs. Chatto and Windus<br /> have this book of Mrs. Croker’s, Mrs, Hunger-<br /> ford’s “Lady Verner&#039;s Flight,’ Mr. Christie<br /> Murray’s ‘“‘Time’s Revenges,’ Bret Harte’s<br /> “ Susy,” and Grant Allen’s “ Blood Royal.”<br /> <br /> Miss Mary Angela Dickens has produced a new<br /> novel called “ A Mere Cipher.’ The publishers<br /> are Messrs. Macmillan and Co.)<br /> <br /> ‘Personal and Social Evolution, with the key<br /> of the Science of History in the Old and New<br /> World of Thought and Opinion, containing the<br /> Mental Development of a Modern Scientist ;<br /> Sociological Miniatures of the Great Religions of<br /> Mankind: the Pedigree, Periods, Products, and<br /> Prospects of the Leading Nations of the Old and<br /> New World; and a Review of the New Revelation<br /> of the Modern Sciences which has dispelled the<br /> hereditary survivals and superstitions of Primitive<br /> Culture.” This is rather a long title, but it is<br /> copied from the title-page, and it is here repro-<br /> duced in full, because the author—‘“a historical<br /> scientist ’’—evidently desires to convey in the<br /> title an abstract of the contents and scope<br /> of the book. It is cast in the form of<br /> dialogues, in which the topics promised m the<br /> title are all discussed. It is published by Fisher<br /> Unwin.<br /> <br /> “The Scientific Study of Theology ’’ is the title<br /> of a little book on a great subject. ‘The author is<br /> the Rev. W. L. Paige Cox; the publishers are<br /> Messrs. Skeffington and Son. The work treats<br /> of the Scientific Study (1) of the Nature of God ;<br /> (2) of the Future Life; (3) of Miracles; (4) of<br /> Worship. ‘There is nothing,” the author says,<br /> “of such profound importance to man as to know<br /> what his religious beliefs should be.” That is quite<br /> true. it is also quite true that the greater part<br /> of mankind have not the power of ascertaining<br /> what their religious beliefs should be—all they<br /> can do is to apply such limited knowledge as they<br /> possess to the examination of religious beliefs<br /> offered them. The book is written with the in-<br /> tention of clear.ng ther minds and stating the<br /> case before they apply that limited knowledge.<br /> That differences in religious belief must always<br /> remain is absolutely certain, even with all the<br /> knowledge that the greatest scholars can ever<br /> acquire, but it is well to know the conditions of<br /> the problem.<br /> <br /> |<br /> <br /> Mr. Joseph Skipsey has collected his songs and<br /> lyrics. They are published by Walter Scott.<br /> These verses, by a self-taught poet, have the true<br /> ring. Their flight is not very high nor is it very<br /> long; nor are the wings of the singer. very<br /> strong; but they are sweet and pure. Among<br /> the minor poets of the century Mr. Skipsey<br /> should find a place.<br /> <br /> The Descent of Charlotte Baroness Compton,<br /> daughter of James, fifth Earl of Northampton,<br /> and Elizabeth Shirley, Baroness Ferrers de<br /> Chartley, has been examined by Isabella G. C.<br /> Clifford, her great granddaughter (Methuen). It<br /> is more than a merely genaological study ; itis the<br /> history of a house which includes among its<br /> members the Cliffords, the Howards, the<br /> Devereux, and the Comptons, with stories of each.<br /> Genealogists, heralds, and family antiquaries are<br /> not found in great numbers, but this little book<br /> should please the few to whom it appeals.<br /> <br /> Mrs. Macquoid’s new novel—a tale of modern<br /> English country life—is named “Berris.”” It<br /> will be published immediately by Messrs. Ward<br /> and Downey in two volumes.<br /> <br /> Miss Eleanor Holmes’s new novel, “‘ Through<br /> Another Man’s Eyes,” in three volumes, is now<br /> ready. The publishers are Hurst and Blackett.<br /> <br /> Miss Iza Duffus Hardy has arranged with<br /> Messrs. F. V. White and Co. for the publication<br /> of her new novel (2 vols.), called “ A Woman&#039;s<br /> Loyalty.”” It has been running as a serial in<br /> Belgravia.<br /> <br /> The author of the “ Story of a Penitent Soul”<br /> is bringing out a new edition in one volume,<br /> with Messrs. Heinemann.<br /> <br /> Mr. Dykes Campbell has completed the Life<br /> of Coleridge. It will appear in an introduction<br /> to the new edition of Coleridge’s ‘Collected<br /> Poetical Works.” Tne Life contains a great<br /> deal that is quite new, or at least much more<br /> accurate than anything previously published.<br /> And there are many poems, fragments, &amp;c., pre-<br /> viously unpublished. ‘The book will be uniform<br /> with the Macmillan’s one volume editions of<br /> Tennyson, Shelley, and Wordsworth.<br /> <br /> A dinner at Edinburgh celebrated the com-<br /> pletion of “‘ Chambers’s Encyclopedia.” The con-<br /> tributors presented their photographs in an album<br /> to Mr. David Patrick, the editor.<br /> <br /> Mr. Joseph Hatton’s new novel, “ Under the<br /> Great Seal,” 3 vuls., will be published by<br /> Messrs. Hutchinson.<br /> <br /> A selection from the works of Jeremy Taylor<br /> has been made by Mr. John Dennis for Messrs.<br /> Innes and Co.<br /> <br /> <br /> 378<br /> <br /> Mr. John Underhill has been engaged for<br /> some time upon a new edition of Gay for “The<br /> Muses’ Library.” It is now nearly ready, and is<br /> announced for next month.<br /> <br /> Mr. Rudyard Kipling will shortly publish a<br /> new volume of verse.<br /> <br /> Mr. William Watson, who is reported to be<br /> much better, will produce immediately a volume<br /> called “ Excursions in Criticism.”<br /> <br /> Mr. Quiller Couch has issued a book of verses<br /> called “ Green Bays, Verses and Parodies, by Q.”<br /> (Methuen and Co.)<br /> <br /> spec:<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> Theology.<br /> <br /> A PLEA FoR TRUE Union between the Sister Churches in<br /> England and America by the joint issue of their<br /> “ Books of Common Prayer,” with the same Scripture<br /> references. Castle and Lamb, Salisbury-square. 6d.<br /> <br /> BricHt, James W. The Gospel of St. Luke, in Anglo-<br /> Saxon, edited from the manuscripts, with an introduc-<br /> tion, notes, and a glossary. Oxford, at the Clarendon<br /> Press; London, Henry Frowde. 5s.<br /> <br /> Byne, Hon. Mrs. Francis. Friends and Foes at the Cross<br /> of Jesus ;_a Good Friday Service of Song. Skeffington.<br /> <br /> CaiRD, Epwarp. The Evolution of Religion. The Gifford<br /> lectures delivered before the University of St. Andrews<br /> in sessions 1890-91 and 1891-92. 2 vols. Maclehose,<br /> Glasgow. 14s. net.<br /> <br /> CuurRcH BELLs— special part, containing the weekly<br /> numbers with Archdeacon Farrar’s course of sermons<br /> on the Lord’s Prayer, preached at Westminster Abbey.<br /> <br /> Church Bells Office, Southampton-street, Strand. Paper<br /> covers. Is. 6d.<br /> <br /> COLLINGRIDGE, Rev. C.F. 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The Greek text, with notes and vocabulary.<br /> Edited by. 2s. net. Percival and Co.<br /> <br /> IntincwortH, J. R., M.A. University and Cathedral<br /> Sermons. 5s. Macmillan.<br /> <br /> JoserH, Rev. Morris. The Ideal in Judaism, and other<br /> sermons. Preached during 1890-91-92. David Nutt.<br /> 58.<br /> <br /> THE AUTHOR.<br /> <br /> MactareEn, A., D.D. The Expositor’s Bible.<br /> Vol. I.—Psalms<br /> 78. 6d.<br /> <br /> Miuiiegan, WiLu1aM, D.D. Discussions on the Apocalypse.<br /> Macmillan. 55s.<br /> <br /> Pace Cox, W. L., M.A.—The Scientific Study of Theology.<br /> Skeffington.<br /> <br /> Rainy, Ropert, DD. The Epistle to the Philippians.<br /> Volume of the LExpositor’s Bible. Hodder and<br /> Stoughton. 7s. 6d.<br /> <br /> RANDALL, VERY Rev. R. W. Addresses and Meditations<br /> for a Retreat. With a preface by the Bishop of Lin-<br /> coln. Second edition. W.H. Allen.<br /> <br /> Rogers, Henry. The Superhuman Origin of the Bible,<br /> inferred from itself. With a memoir by R. W. Dale,<br /> LL.D. Eighth edition. Hodder and Stoughton. 5s.<br /> <br /> Sixes, Rev. THomas. England’s Prayer Book, a short and<br /> practical exposition of the services. Second edition,<br /> revised andenlarged. Skeffington.<br /> <br /> WAKEFORD, JoHN. Behold the Man!<br /> introduction by the<br /> Gardner, Darton. 2s.<br /> <br /> WAKEFORD, JoHN. The Athanasian Hymn, with notes of<br /> history and doctrine. And preface by the Dean of St.<br /> Panl’s. Paper covers. Wells, Darton, and Co. 4d.<br /> <br /> Witiink, ArtHurR. The World of the Unseen. An<br /> Essay on the relation of higher space to things<br /> eternal. Macmillan. 6s.<br /> <br /> The Psalms.<br /> i-xxxvili. Hodder and Stoughton.<br /> <br /> Addresses, with an<br /> Bishop of Chichester. Wells<br /> <br /> History and Biography.<br /> <br /> ANDERSON, Sir C. H. J. The Lincoln Pocket Guide;<br /> being a short account of the churches and antiquities<br /> of the county and of the minster. Third edition.<br /> Edited and revised by the Rev. A. R. Maddison, M.A.<br /> Edward Stanford.<br /> <br /> BLATHWAYT, RAYMOND. Interviews. With portraits and<br /> a preface by Grant Allen. A.W. Hall, Great Thoughts<br /> offi e, Hutton-street, E.C. 3s. 6d.<br /> <br /> CALENDAR OF THE PROCEEDINGS OF THE COMMITTEE<br /> FOR CoMPOUNDING, &amp;c., 1643-1660, preserved in the<br /> State Paper Department of the Public Record office;<br /> Cases, Jan. 1654—Dec., 1659, with introduction, ad-<br /> denda, and index. Edited by Mary Anne Everett<br /> Green. Eyre and Spottiswoode.<br /> <br /> CarRL WILHELM ScHEELE, Pharmacist and Chemist. A<br /> brief account of his life and work. Reprinted from<br /> the Pharmaceutical Journal. Pharmaceutical Society<br /> of Great Britain.<br /> <br /> Conver, C. BR. D.C.L. The Tell Amarna Tablets.<br /> Translated by. Published for the Committee of the<br /> Palestine Exploration Fund by A. P. Watt, Paternoster-<br /> square. 3s. 6d. (To non-subscribers, 5s.)<br /> <br /> Cox, HomersHam, M.A. The First Century of Christianity.<br /> Second edition, carefully revised. 2 vols. Griffith<br /> Farran. 2s 6d. each.<br /> <br /> Frovupr, James AnrHony. The Divorce of Catherine of<br /> Aragon, the story as told by the Imperial Ambassadors<br /> resident at the Court of Henry VIII. In Usum<br /> Laicorum. Being a supplementary volume to the<br /> author’s ‘‘ History of England.” Longmans. 6s.<br /> <br /> Gorpon, Hon. Sir ArrHur. The Earl of Aberdeen.<br /> “The Prime Ministers of Queen Victoria’”’ series.<br /> Sampson Low.<br /> <br /> Gorpon, J. E. Bernardin de St. Pierre, by Arvédne<br /> Barine. Translated by. With a preface by Augustine<br /> Birrell and portrait. Fisher Unwin. 3s. 6d.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Hurcuinson, Jonn. Men of Kent and Kentishmen. 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Gordon Robins, of Lincoln’s-inn. 2 vols,<br /> Sweet and Maxwell. £3 ros.<br /> <br /> Manson, Epwarp. The Law Relating to Dogs. Clowes.<br /> 38. 6d.<br /> Mews, Joun. The Annual Digest of all the Reported<br /> Decisions of the Superior Courts. Sweet and<br /> <br /> Maxwell. 15s.<br /> <br /> SaFFORD, Frank. The Law of Merchandise Marks,<br /> ‘Waterlow and Sons, London-wall.<br /> Stewart, C. E. The Law of Wills.<br /> <br /> Effingham Wilson and Co.<br /> <br /> TRISTRAM, CHANCELLOR, Q.C. The Principal Judgments<br /> delivered in the Consistory Courts of London, Hereford,<br /> Ripon, and Wakefield. and in the Commissary Court of<br /> Canterbury, 1872 to 1890. Butterworth’s, Fleet-street.<br /> <br /> WuiTcomMBE, JoHN. Prideaux’s Precedents in Convey-<br /> ancing, with dissertations on its law and practice. 15th<br /> edition. 2vols. Stevens and Sons. £3 10s.<br /> <br /> Third edition.<br /> <br /> Educational.<br /> <br /> ARNOLD FostEr, H. 0. Things New and Old, or stories<br /> from English history, for the use of schools. Standards<br /> I. and II. Ilustrated. Cassell.<br /> <br /> Beu’s Stanparp Exocutionist. By D. C. Bell and<br /> Alexander Melville Bell. Enlarged edition, completing<br /> the 178th thousand. Hodder and Stoughton. 3s. 6d.<br /> <br /> Bonp, Francis, M.A. An Introduction to English<br /> Grammar and Analysis. Edward Arnold. ts. 6d.<br /> <br /> Dops, Pror. Marcus, D.D., and Wurtz, Rey. Augx-<br /> ANDER, D.D. Handbooks for Bible Classes and<br /> Private Students. Edited by.<br /> <br /> Loney, 8S. L. Mechanics and Hydrostatics for beginners.<br /> Cambridge University Press.<br /> <br /> M.A., and LL.B., Barristers-at-law. A New Guide to the<br /> Bar, containing the most recent regulations and exami-<br /> nation papers, and a critical essay on the present<br /> condition of the Bar of England. Sweetand Maxwell.<br /> <br /> Mex, Arruur, F.R.A.S. Observational Astronomy, a<br /> book for beginners, with a Memoir of the Rev. Preben-<br /> dary Webb, and an appendix. Illustrated. Daniel<br /> Owen and Co., Cardiff. 2s. od., post free.<br /> <br /> PREISINGER, H. A German Commercial Reader.<br /> and Co. 2s. nett.<br /> <br /> Ramsay, G. G., M.A. Latin Prose Composition, adapted<br /> for the Scotch Leaving Certificate and University Pre-<br /> liminary Examinations. Third edition, volume IL,<br /> containing passages of graduated difficulty for trans-<br /> <br /> Percival<br /> <br /> lation into Latin, together with an introduction on con- _<br /> <br /> tinuous prose. Oxford, at the Clarendon Press; London,<br /> Henry Frowde. 4s. 6d.<br /> <br /> Rern, Pror. W. Outlines of Pedagogics. Translated by —<br /> <br /> C. C.and Ida J. Van Liew, with notes by the former. —<br /> Swan Sonnenschein.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> Now Ready, at all the Libraries, Booksellers’, and Bookstalls, in 2 vols,<br /> crown 8vo, cloth extra, price 21s.<br /> <br /> A STUMBLE ON THE THRESHOLD,<br /> <br /> i y<br /> <br /> tS owe eS PAY WN .<br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> <br /> ‘&#039;Mr. James Payn’s pleasant story contains a startling<br /> novelty. he leading actors are a group of<br /> undergraduates of Cambridge University. Mr. Payn’s<br /> picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘nice little college’ of<br /> St. Neot’s. Cambridge men will have little difficulty i in<br /> recognising this snug refuge of the ‘ploughed.’ .<br /> <br /> An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. The uxorious<br /> <br /> master of St. Neot&#039;s is chs armingly conceived. If only for<br /> his reminiscences of his deceased wives, ‘A Stumble on<br /> the Threshold’ deserves to be treasured. We<br /> <br /> turn over Mr. Payn’s delightful pages, so full of surprises<br /> and whimsical dialogue.<br /> <br /> DAILY News<br /> <br /> ‘The dramatic story is told ah an excellent wit. It<br /> abounds in lively presentation of character and in shrewd<br /> sayings concerning life and manners. - That study of<br /> mankind which is ‘man’ has furnished a liberal educa-<br /> tion to this genial humorist. The men and women he<br /> pourtrays move before us, as do our friends and<br /> acquaintances, distinct individualities, yet each possessed<br /> of that reserve of mystery a touch of which in the<br /> delineation of human nature, is more convincing than<br /> pages of analysis. Needham, Fellow of St.<br /> Neot’s, Cambridge—simple, loyal, gently independent—is<br /> a beautiful study. The story alternates in its setting<br /> between Bournemouth, Cambridge, and some charming<br /> spots near the Thames. The description of life in the<br /> <br /> Alma Mater on the banks of the Cam gives Mr. Payn<br /> opportunities for humorous sketches of professors and<br /> students, and he shows himself in the light of an excellent<br /> raconteur. This part of the narrative furnishes some<br /> delightful reading; we seem to be listening to the best<br /> talk, incisive, racy, and to the point. Space will not<br /> allow us to quote some of the wise and witty sayings,<br /> tinged it may be with cynicism, which are the outcome of<br /> Mr. Payn’s philosophy of life, and which are not the least<br /> entertaining part of this attractive novel.”<br /> <br /> DAILY CHRONICLE:<br /> <br /> ‘‘Mr. James Payn is here quite at his usual level all<br /> through, and that level is quite high enough to please<br /> most people. . The character drawing is good.<br /> The story of the master sounds strangely like truth.<br /> <br /> A book to read distinctly.”<br /> DAILY GRAPHIC:<br /> . . . The dramatic unity of time, place, and cir-<br /> cumstance has never had a more novel setting.<br /> <br /> ‘6<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> <br /> ‘A very interesting story, and one that excels in clever<br /> <br /> contrast of character and close study of individualism.<br /> The characters make the impression of reality on<br /> the reader. . Extremely pleasant are the sketches<br /> of University life.”<br /> THE WORLD:<br /> <br /> ‘‘The most sensational story which the author has<br /> written since his capital novel, ‘By Proxy.’<br /> Never flags for a moment.”<br /> <br /> BLACK AND WHITE:<br /> . . . Ingenious and original. Mr. Payn knows<br /> how to invent and lead up to a mystery.”<br /> LEEDS MERCURY:<br /> <br /> ‘Three more distinctive characters have, perhaps,<br /> never been drawn by Mr. James Payn than in Walter<br /> Blythe, Robert Grey, and George Needham, Cambridge<br /> undergraduates, who figure prominently in ‘A Stumble<br /> on the Threshold.’”<br /> <br /> GLASGOW HERALD:<br /> <br /> ee . Mr. Payn’s latest invention in sensational<br /> episode ; “put wild horses will not drag from us a<br /> statement of the mystery. It is new and thoroughly<br /> original, and worthy of the ingenuity of the loser of Sir<br /> Massingberd.”<br /> <br /> “<br /> <br /> BATLEY REPORTER:<br /> Is most attractive reading.”<br /> <br /> ir<br /> <br /> HAMPSHIRE TELEGRAPH AND CHRONICLE:<br /> <br /> ‘‘Mr. James Payn’s latest story, ‘A Stumble on the<br /> Threshold,’ which has been the chief attraction in the<br /> ‘ Queen’ during the last few months—where, by the way,<br /> it was most admirably illustrated—has just been issued<br /> in two handsome vols. by Mr. Horace Cox. The story is<br /> written in Mr. Payn’s happiest vein; it sparkles with wit,<br /> the characters are most unconventional. and the old, old<br /> theme is worked out on quite novel lines.’<br /> <br /> HEREFORD TIMES:<br /> <br /> ‘‘ With all their sparkle and gaiety, Mr. Payn’s novels<br /> would not be complete without the dread Nemesis,<br /> mysterious in operation, and casting suspicion for a<br /> time on every side but the right one. The novel is<br /> thoroughly attractive, and a credit to the practised hand<br /> <br /> which penned it.’<br /> <br /> <br /> <br /> THE OBSERVER:<br /> . Is a characteristic story, remarkably<br /> quietly told, always pleasing and satisfying, and pro-<br /> viding a startling incident at a moment when everything<br /> seems serene.’<br /> <br /> “<br /> <br /> <br /> <br /> London :<br /> <br /> HORACE COX, Windsor House,<br /> <br /> Bream’s Buildings, E.C.<br /> <br /> &quot;CHEAP JACK ZITA”<br /> <br /> NEW SERIAL STORY<br /> <br /> Be S&amp;S. SARIN G-<br /> <br /> ao U- ty. ,<br /> <br /> ENTITLED<br /> <br /> . CHEAP JACK ZITA,’<br /> <br /> Wi-h Illustrations by a Prominent Artist, commenced in the “<br /> <br /> Queen” on Jan. 7.<br /> <br /> <br /> 384<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> Is. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (THe LeapenHatt Press Lrp., E.C.)<br /> ee<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Sixpence each: 5s. per dozen, ruled or plain.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> SS REVISED on Moderate Terms by the<br /> Author of “The Queen’s English up to Date” (see<br /> Press Opinions), price 2s.<br /> <br /> Address ‘‘ Anglophil,”<br /> Strand, W.C.<br /> <br /> LITERARY WOMAN, residing in Oxford, OFFERS<br /> <br /> BOARD and a pleasant HOME (terms Two Guineas<br /> <br /> per week) to any Lady desirous to read in the Libraries or<br /> <br /> to attend Lectures.—Address ‘“ Literary,” Messrs. Parker,<br /> Circulating Library, 21 and 22, Broad-street, Oxford.<br /> <br /> Literary Revision Office, 342,<br /> <br /> <br /> <br /> MRS. GIirdq.<br /> TYPE-WRITING OFFICE,<br /> <br /> 35. LUDGATE HILL, E.C.<br /> <br /> (ESTABLISHED 1883.)<br /> rrr<br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;c., 1s. 3d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.<br /> <br /> Miss PATTEN,<br /> TYPIST.<br /> <br /> 44, Oakley Street Flats, Chelsea S.W.<br /> <br /> Authors’ MSS. carefully transcribed. References kindly permitted<br /> to George Augustus Sala, Esq., Justin Huntly McCarthy, Esq., and<br /> many other well-known Authors.<br /> <br /> Fire - Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> “T always stick in my ) TICKPHAST-<br /> scraps and papers with § PASTE. Ellen Terry.”<br /> <br /> <br /> <br /> Price One Shilling ; by Post, 1s. 3d.<br /> <br /> = QUEEN ALMANACK, and Lady’s Calendar,<br /> 1893, Contains a Chromo-Lithograph Plate of an Album Cover<br /> in Imitation Boule Work, Winter Comforts in Knitting and Crochet,<br /> Designs for Pyrographic, Hand-painted, or Inlaid Work, and Bent<br /> Iron Work. &amp;c.<br /> The ‘‘ Queen ” Office, Windsor House, Bream’s-buildings, E.C.<br /> <br /> TWENTY-FOURTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD&#039;S CLERICAL DIRECTORY<br /> <br /> HOF<br /> <br /> 1892<br /> <br /> Being a Statistical Book of Reference for Facts relating to the Clergy in England,<br /> Wales, Scotland, Ireland. and the Colonies,<br /> <br /> WITH A FULLER INDEX RELATING TO PARISHES AND BENEFICES THAN ANY EVER YET<br /> GIVEN TO THE PUBLIC.<br /> <br /> <br /> <br /> LONDON: HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> BY Tem LATE ME. SHRIBANT COX.<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND).<br /> <br /> PRICE 7s. 6d.<br /> <br /> <br /> <br /> LONDON: HORACE COX,<br /> <br /> “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C,	https://historysoa.com/files/original/5/448/1893-03-01-The-Author-3-10.pdf	publications, The Author