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452	https://historysoa.com/items/show/452	The Author, Vol. 04 Issue 02 (July 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.+04+Issue+02+%28July+1893%29"><em>The Author</em>, Vol. 04 Issue 02 (July 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>	1893-07-01-The-Author-4-2					37–72																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-07-01">1893-07-01</a>							2			18930701	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 2.] JULY 1, 1893. [Prick SIXPENCE.<br /> GONTENTS.<br /> PAGE PAGE<br /> Warnings and Notices a 1 - oe ae one ... 39 | Omnium Gatherum for July. By J. M. Lely ... i ies as 8<br /> The Annual Dinner ... oe Ae oe as ee ie ... 41 | Notes from Paris. By R. H. Sherard ... as oe eee cor OF<br /> Literary Property— To Arrigo Boito. By Mowbray Marras... ae aes i sen 00<br /> 1.-Notes by the Way. By Sir Frederick Pollock ... +. #4 Notes and News co ey Ate<br /> 2.—Anglo-Austrian Copyright Convention See ae we 44 Correspondence— aS<br /> 3.—Copyright in Brazil ae . 45 1,—The Stock-in-Trade of Critics ... see see tue tte 58<br /> . The Profession of Letters. By the Editor ... on Bs ax 58 ee eee Reoven a8 a eS = Be _<br /> ‘ . : . aes, . C ee one eee aoe eee<br /> Memorial of Shelley at University College... ees &lt; ee 46 4.—Reviewing. By the Kev. Canon Bell ... He ee 2 Bo<br /> What the Papers Say— 5.—An Explanation. By the Rev. J. J.Haleombe ... os 60<br /> 1.—Loeal History sie ws ave eon one ave ws 48 6.—‘* In Plain Figures ” ae a ts oe oC 60<br /> 2.—The Human Element of Criticism oe ew ane “se 38 7,—** All the Edges Gilt, Please” ... as a pee 80<br /> 3.—The Dante Exhibition ae sae see on oe ve 49 8.—The Right of Translation cee pee sae aus ie OO.<br /> 4.—A Question of Propriety... .. + + «+ + 49 | At the Sign of the Author&#039;s Head ee OE<br /> The Preternatural Story. By Henry Cresswell Oe ee ... 49 | New Books and New Editions ... as te o aS see 02<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 4. Literature and the Pension List. By W.Mornrs Corrzs, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 35.<br /> <br /> 5, The History of the Sociéte des Gens de Lettres. By S. Squrre Sprices, late Secretary to<br /> the Society. Is.<br /> 6<br /> <br /> . The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7, The Various Methods of Publication. By S. Squire Spriecr. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> <br /> kinds of fraud which have been made possible by the different clauses in their agreements.<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 /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill, By J.M.Luny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> 9. The Society of Authors. A Record of its Action from its Foundation. By Watrrer Brsant<br /> (Chairman of Committee, 1888—1892). 15.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 38 ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporatfed).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> GHEORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin Arnot, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barrie.<br /> <br /> A. W. A BECKETT.<br /> <br /> Ropert BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BrRRELL, M.P.<br /> <br /> R. D. BLacKMORE.<br /> <br /> Rey. Pror. Bonney, F.R.S.<br /> Riaur Hon. James Bryce, M.P.<br /> Haut Carne.<br /> <br /> EGERTON CASTLE.<br /> <br /> P. W. CLaYDEN.<br /> <br /> EpWwaARpD CLODD.<br /> <br /> W. Morris Conus.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dosson.<br /> A. W. Dupovura.<br /> <br /> EpMUND GOSsSE.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Ley.<br /> <br /> <br /> <br /> OswALD CRAWFURD, C.M.G.<br /> Tue EArt or DEsartT.<br /> <br /> J. Eric Ericusen, F.B.S.<br /> <br /> Pror. MicHakEt Foster, F.R.S.<br /> Rigut Hon. HerBeRT GARDNER, M.P.<br /> RicHaRD GARNETT, LL.D.<br /> <br /> H. Riper HAGGARD.<br /> <br /> JrERnomsE K. JEROME.<br /> RupyaRpD KIPuLina.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> <br /> Rev. W. J. Lorri, F.S.A.<br /> <br /> Pror. J. M. D. MEIKLEJOHN.<br /> HermMAN C. MERIVALE. F.R.S.<br /> Rev. C. H. MippLeTon- WAKE.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max MULLER.<br /> <br /> J.C. PARKINSON.<br /> <br /> Tue EARL OF PEMBROKE AND MoNnT-<br /> GOMERY.<br /> <br /> Srr FREDERICK POLLOCK, BART., LL.D.<br /> <br /> WALTER HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> George AuGustTus SALA.<br /> <br /> W. Baptiste Scoonss.<br /> <br /> G. R. Sims.<br /> <br /> S. SqurrE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy THomMAs.<br /> <br /> H. D. Trarut, D.C.L.<br /> <br /> Baron Henry DE Worms, M_.P.,<br /> <br /> <br /> <br /> EpMUND YATES.<br /> <br /> Hon. Cownsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Fretp, Roscoz, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—G. Herpert Turina, B.A,<br /> <br /> OFFICES.<br /> <br /> 4, PortuaaL Street, Lincoun’s Inn Freips, W.C.<br /> <br /> <br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY OF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGEH HANRY JIN Nite,<br /> CONTENTS.<br /> <br /> Part I.—Riseand Progress of Parliamentary Institutions.<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Parr III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> ApPENDIx.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press<br /> <br /> ‘The work, which has long been held in high repute as a repertory<br /> <br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ”—Scotsman.<br /> <br /> ‘‘Tt is a treasury of useful fact and amusing anecdot in it<br /> latest form should have increased pommlatity.—- Glebe, eae<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers d the electoral<br /> campaign, is incumparable.&quot;—Sala’s Jounal ‘ eer<br /> <br /> of the Present Edition.<br /> <br /> ‘Tt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.”—Xentish Observer.<br /> <br /> ‘We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo. ng<br /> <br /> ‘*Here we have the whole company of Parliamentary celebrities,<br /> past and present, reduced to puppets, so to speak, and made to<br /> repeat their best and most approved rhetorical performances for our<br /> leisurely entertainment, which is not less enjoyable from being allied<br /> with edification.” —Liverpool Courier.<br /> <br /> <br /> <br /> <br /> <br /> Sa Orders may now be sent to HORACE COX “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> The Mutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vot. IV.—No. 2.] JULY<br /> <br /> 1, 1803- [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> <br /> graphs must be taken as expressing the<br /> <br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> <br /> Thring, sec.<br /> <br /> <br /> <br /> ae&quot; Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> <br /> <br /> ect<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> rt ig not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> Pee<br /> <br /> <br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> BADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience. of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. Ser1au Ricurs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time, a simultaneous Serial Right only, otherwise<br /> you may find your work serialized for years, to the detriment<br /> of your volume form. :<br /> <br /> VOL. IV.<br /> <br /> 2. Stamp yvouR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING 1r.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LITERARY Aqunrs.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> <br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost OF Propuction.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE or PuBLisHEeRS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worx.—Never, on any account whatever,<br /> pind yourself down for future work to anyone.<br /> <br /> 8. Royauty.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> . Personat Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. Resectep MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN RicHts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> D2<br /> 40 THE AUTHOR.<br /> <br /> 12. Cession or CopyriaHt.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society&#039;s Offices :—<br /> 4, Portugat Street, Lincoun’s Inn Frevps.<br /> <br /> Poe<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> 1. Every member has a right to advice upon his agree-<br /> ments, his choice of a publisher, orany dispute arising inthe<br /> conduct of his business or the administration of his pro-<br /> perty. If the advice sought is such as can be given best by<br /> a solicitor, the member has a right to an opinion from<br /> the Society’s solicitors. If the case is such that Counsel’s<br /> opinion is desirable, the Committee will obtain for him<br /> Counsel’s opinion. All this without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5- Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> __ 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE, ©<br /> <br /> EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the<br /> Society, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed entirely out of the commission charged on rights<br /> placed through its intervention. This charge is reduced to<br /> the lowest possible amount compatible with efficiency.<br /> Meanwhile members will please accept this intimation that<br /> they are not entitled to the services of the Syndicate gratis,<br /> a misapprehension which appears to widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the business of the Syndicate is not to advise<br /> members of the Society, but to manage their affairs for<br /> them.<br /> <br /> 5. That the Syndicate can only undertake arrangements<br /> of any character on the distinct understanding that those<br /> arrangements are placed exclusively in its hands, and that<br /> all negotiations relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 7. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> 9. The Editor will be glad to receive the titles of pub-<br /> lished novels available for second right serial use.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 41<br /> <br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year ? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years P<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as canbe procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> call it.<br /> <br /> eee<br /> <br /> THE ANNUAL DINNER.<br /> <br /> <br /> <br /> HE Annual Dinner of the Society of<br /> Authors was held in the Venetian Room<br /> of the Holborn Restaurant on Friday,<br /> <br /> June 2. Sir Robert Ball, LL.D., F.R.S., Lown-<br /> dean Professor of Astronomy and Geometry at<br /> the University of Cambridge, took the chair,<br /> and was supported by many gentlemen distin-<br /> guished in the various branches of literature—<br /> in science, in the law, in theology, and im fiction.<br /> <br /> The following is a full list of the ladies and<br /> gentlemen present :—Mrs. Aria, E. A. Armstrong,<br /> W. Allingham, A. W. a Beckett, Mrs. A. W.<br /> X Beckett, Mr. Justice Gorell Barnes, Sir R.<br /> Ball, Lady Ball, The Rev. Prof. T. C. Bonney,<br /> Oscar Browning, Walter Besant, Mrs. W. Besant,<br /> The Rev. J. Bownes, Mrs. Brightwen, H. J.<br /> Bushby, Dr. J. Lauder Brunton, Dudley W.<br /> Buxton, Miss M. Belloc, Mackenzie Bell, The<br /> Rev. Canon Bell, Mrs. Oscar Beringer, P.<br /> Bagenal, Miss M. Blind, The Comtesse de<br /> Bremont, A. J. Butler, H. P. Becher, Jas. Baker,<br /> J. Bumpus, H. Blackburn, J. D. Campbell, A.<br /> Chatto, Miss E. Curtis, Miss Cox and guest, Miss<br /> L. Croft, Lady Colin Campbell, Mrs. Cox, Miss<br /> CG. Coleridge, Miss Cordeaux and guest, Prof. L.<br /> Campbell, W. Cook-Taylor, J. B. Crozier, Horace<br /> Cox, Madame J. Couvreur, Miss B. Chambers,<br /> W. M. Colles, M. Conway, The Vice-Chancellor<br /> of Cambridge, H. P. Cholmeley, P. W. Clayden,<br /> Sir W. T. Charley, Lieut.-Col. J. R. Campbell,<br /> Gen. Sir George Chesney, J. Coleman, Frank<br /> Danby, Austin Dobson, W. C. Dawe, Mrs. Ed-<br /> monds, W. Ellis, Mrs. G. Ford, The Rev. R.<br /> Free, The Ven. Archdeacon Farrar, A. P.<br /> Graves, J. A. Goodchild, Edmund Gosse, Mrs.<br /> Gosse, Mrs. Aylmer Gowing, R. Garnett, H.<br /> Glaisher, F. Gribble, Major-Gen. Hire, I. Hen-<br /> derson, J. W. Hill, Miss B. Harold Harrison<br /> and guest, ©. Holland, Miss V. Hunt, Mrs.<br /> Hunt, Jerome K. Jerome, Mrs. Jerome, Rev.<br /> Prebendary Harry Jones, C. T. C. James, Mr.<br /> Justice Kennedy, Lord Kelviny Miss G. Kerr,<br /> Mrs. Lynn Linton, Mrs. C. Long, Sidney Lee,<br /> WwW. E. H. Lecky, Mrs. Lefroy and guest,<br /> J. M. Lely, Sir A. Lyall, Rev. H. Lansdell,<br /> George Macmillan, John Murray, A. W. Momerie,<br /> Florence Marryat, S. B. McKinney, Henry<br /> Morris, Miss H. McKerlie, Fitzgerald Molloy,<br /> Mrs. Marks and guest, J. E. Muddock, C. Monk-<br /> house, A. Maudsley, A. Nutt, Mrs. Orpen and<br /> guest, W. Pole, Sir. F. Pollock, Lady Pollock,<br /> Tieut.-Col. S. E. Pratt, J. L. W. Page, Miss E.<br /> Pollock, Eden Philpotts, Mrs. A. Phillips, D. H.<br /> Parry, A. Paterson, Mrs. Campbell-Praed, H.<br /> Campbell-Praed, G. B. Putnam, Gilbert Parker,<br /> <br /> <br /> 42 THE<br /> <br /> Mrs. Reeves and guest, F. W. Robinson, C. F.<br /> Rideal, R. Ross, H. J. Sweet, Sir D. Straight,<br /> Dr. R. Sisley. Mrs. V. L. Simmons, Rev. Pro-<br /> fessor Skeat, S. S. Sprigge, J. E. Sandys, Mrs.<br /> Suisted, Col. Sutherland, A. F, Sieveking, Mark<br /> Sale and guest, P. L. Simmonds, J. A. Sterry,<br /> Mrs. Spender, J. J. Stevenson, Miss F. C. Steven-<br /> son, Douglas Sladen, Miss Stephens, H. M.<br /> Stephens, Sir H. Thompson, A. . W. Tuer,<br /> H. G. F. Taylor, Miss Traver, A. Tilley, G. H.<br /> Thring, Mrs. Thring, Brandon Thomas, Sir R.<br /> Temple, W. C. Unwin, Rev. C. Voysey, J. A,<br /> Warwick, A. D. Waller, Colonel Winsloe, Theo-<br /> dore Watts, Miss B. Whitby, A. Waugh, A.<br /> Warren, W. Westall, Marriott Watson, Aa on,<br /> Watt.<br /> <br /> In proposing the health of the Queen, the<br /> CHAIRMAN mentioned with regret that she had<br /> not joined the Society, which she was certainly<br /> entitled to do, not from her position as Queen,<br /> but from her position as an authoress of many<br /> works. The statement was received with en-<br /> thusiasm.<br /> <br /> The CHarrman then proposed the toast of the<br /> evening, “ The Incorporated Society of Authors.”<br /> He apologised for not being a member of the<br /> Society, but said he would lose no time in joining<br /> it, as he was confident of the good work it was<br /> doing. He touched shortly and with feeling<br /> upon the death of the first President, Lord<br /> Tennyson, who, from the outset, had given the<br /> scheme his name and his hearty support, and<br /> proceeded to dwell upon the present and ever<br /> increasing importance of the work before it.<br /> The Society, he understood, numbered nearly one<br /> thousand, but as there were certainly many more<br /> writers in England, he trusted that the rest<br /> would come in speedily, as “every man is a<br /> debtor to his profession,” and that all writers of<br /> the English tongue, in whatever part of the<br /> world, would, at no distant date, be counted in<br /> its ranks. In coupling the name of the present<br /> chairman of the committee with the toast, he<br /> referred to his distinguished position as a lawyer<br /> and a man of letters, and to his renown as a<br /> fencer.<br /> <br /> Sir Freprerick Potiock*, acknowledging the<br /> toast, paid a tribute to the late Lord Tennyson,<br /> who was the first president of the Society. They<br /> had to regret the absence of Mr. George Meredith,<br /> Lord Tennyson’s successor in that post. The<br /> Society was not yet in the position of certain<br /> Parisian journals, that of having to keep a<br /> fighting editor. There was no reason why the<br /> <br /> <br /> <br /> * The report of Sir Frederick Pollock’s speech is taken<br /> <br /> the Times, June 5, and has not been corrected by<br /> m. ‘ &#039;<br /> <br /> AUTHOR.<br /> <br /> Society should go about fighting anybody. Its<br /> business was simply to defend the interests of<br /> its members—interests that might not always<br /> coincide with those of other persons, but not on<br /> that account to be lost sight of. Least of all was<br /> it engaged in a crusade against honourable pub-<br /> lishers, of whom half-a-dozen were then present.<br /> It was only with a few publishers that the<br /> Society came in conflict. When they found it<br /> right to take up the interests of particular<br /> members of the Society, it might become neces-<br /> sary to make some persons feel that their interests<br /> had not been promoted. (Cheers and laughter.)<br /> Of the publishers present two represented firms<br /> who might be little known to the general public,<br /> but upon whose productions depended very much<br /> of their knowledge of the law of England during<br /> recent times. The American Copyright Act of<br /> 1891 was not satisfactory in its substance, but<br /> they were approaching a better condition of<br /> things in this way than had hitherto been<br /> possible. The Society was doing a good thing<br /> and a safe thing in endeavouring to provide a<br /> settiement of all questions that arose between<br /> authors and publishers. He proposed the toast<br /> of “Literature,” coupling with it the name of<br /> Mr. Lecky, who combined a fine style with a<br /> large grasp of the phenomena of history,<br /> who had forsaken the philosophy of history<br /> for the study of history itself, and who had main-<br /> tained English literature on the level reached<br /> by the great writers of the eighteenth century.<br /> (Cheers. )<br /> <br /> Mr. Lecxy, in reply, said: I feel much<br /> honoured by being asked to speak to-night as the<br /> representative of authorship before the Society of<br /> Authors. Like most representatives in this<br /> democratic age my constituency is a very large<br /> one, for whatever other opinion may be formed<br /> of our contemporary literature no one at least<br /> can dispute its enormous, its redundant activity.<br /> There have been years in which more works of<br /> fiction have appeared in England than there<br /> are days in the year. Biography has been so<br /> cultivated that there are few eminent men<br /> whose lives have not been written not once but<br /> many times, and the fashion has widely spread<br /> of writing the lives of those who are still living<br /> —a form of vivisection as yet untouched by<br /> the law. Nearly all the paths of history have been<br /> traversed with the sate assiduity, and in addi-<br /> tion to the vast mass of criticism that is poured<br /> out by the daily and weekly Press, by monthly<br /> and quarterly reviews, there has arisen in our<br /> time a great literature of books, which are wholly<br /> devoted to commenting on and discussing other<br /> books which are often neither very obscure nor<br /> very ancient. No oneI think can observe modern<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 43<br /> <br /> English literature without feeling with some<br /> melancholy how much of it is like the turn of the<br /> kaleidoscope, merely throwing old familiar facts<br /> into new patterns. On the whole we should not,<br /> I think, complain of this. Intense activity is at<br /> least the sign of intense vitality. It shows<br /> that the great work of popularising knowledge<br /> and “ teaching our masters ’’ was never so actively<br /> pursued. It shows that the taste for reading is<br /> spreading through all classes, displacing other<br /> tastes which were often more demoralising and<br /> less enduring. And, to speak from the special<br /> point of view of the Society of Authors, it also<br /> shows that while few men rise to wealth by<br /> literature, while many take to literature as a<br /> profession who would have done much better<br /> not to have made it their main or their exclusive<br /> dependence, the number is constantly increasing<br /> of those who are turning by their pens a narrow<br /> competence into an easy competence, and securing<br /> for themselves most of the comforts and some of<br /> the luxuries of life.<br /> <br /> There are no doubt shadows in the picture.<br /> Books are in general more short-lived than<br /> they were, many of them more short-lived<br /> than the flies of summer. The tribunal to<br /> which an author must appeal, if it is larger and<br /> more independent than of old, is probably less<br /> instructed and intelligent, certainly less refined<br /> and fastidious, and in a greatly overcrowded<br /> literature ways of attaining notoriety become<br /> popular which are not those of pure art. On the<br /> whole the general characteristic of contemporary<br /> literature is a high average and an immense pro-<br /> duction, but since the death of Tennyson in<br /> England and of Renan and Taine in France there<br /> are not many great eminences.<br /> <br /> We may truly say, I think, that our profession<br /> is regarded more seriously than it once was,<br /> and in this respect the work of the Society<br /> of Authors bas been very useful. Few things<br /> have done more harm to literature than the<br /> notion that genius is naturally allied to Bohe-<br /> mianism, and naturally divorced from common<br /> sense. Men of letters have been too commonly<br /> regarded as a kind of grown-up children, living in<br /> an atmosphere of vanity and paradox and un-<br /> reasoning emotion, quite incapable either of wisely<br /> regulating their own lives or giving any opinion<br /> of real value on the practical affairs of the world.<br /> Those who are acquainted with literary bio-<br /> graphy must, I am afraid, admit that charges of<br /> this kind have not always been without some<br /> foundation ; but they were always exaggerated,<br /> and they are now, I think, becoming less and<br /> less true. Men are beginning to see more clearly<br /> that judgment and Fintan, a due sense of<br /> <br /> measure and proportion, a clear insight into the<br /> <br /> conditions of human life are as important in<br /> literature as in any other field. They are per-<br /> ceiving, too, that literature is very far from<br /> being a mere ornamental appendage to national<br /> life On the whole its importance is probably<br /> rather increasing than diminishing. In an age<br /> when political power is rapidly passing to new<br /> and untried classes, when old beliefs and customs<br /> and traditions are on all sides crumbling away, it<br /> is difficult to overrate the value of a healthy<br /> literature in moulding the opinions and characters<br /> of the English race.<br /> <br /> Mr. Epmunp Gossx, proposing the health of<br /> the Chairman, said :<br /> <br /> It is with a rare satisfaction that I rise to<br /> propose to you a toast which will be universally<br /> welcome, that of our distinguished Chairman.<br /> We have had this evening a charming example of<br /> his famous eloquence, and we have had proof<br /> that a man of genius may spend his life among<br /> the s‘ars, and yet be competent to preside with<br /> grace at a dinner table. I ask you all to join<br /> with me in thanking Sir Robert Ball for the<br /> pleasure of his company amongst us to-night.<br /> <br /> The career of the Chairman is known to all<br /> of us in outline, and to many of us in detail. I<br /> am not in the secrets of the executive sub-<br /> committee to whom we owe the admirable<br /> arrangements of this banquet ; but 1 know them<br /> to be men of resource, and I cannot believe that<br /> their choice of a chairman on this particular<br /> occasion was a matter of accident. J am sure<br /> that they said to themselves: At a banquet held<br /> in the Derby week, on the very evening of the<br /> Oaks, we must invite a chairman who has<br /> expressed some public opinion about horseflesh.<br /> Well, Sir Robert Ball came for the first time<br /> prominently before the public as the author of a<br /> work called “The Theory of Screws.” (Laughter.)<br /> How many young gentlemen who are this evening<br /> returning from Epsom with empty pockets and<br /> languishing countenances would be in a very<br /> different position if they had mastered that<br /> important volume! (Laughter.)<br /> <br /> Then, by one of those enormous curves of<br /> action which are familiar in men of ability, we<br /> find Sir Robert Ball leaping at once to a<br /> totally different sphere. He contributed no<br /> more to zoology, he became an astronomer, he<br /> became that incarnation of imaginative pre-<br /> cision—an Irish astronomer. At that time the<br /> surface of Ireland was positively darkened with<br /> thick masses of politicians, swaying this way and<br /> that, destroying the vegetation, and deafening<br /> the ear with their shouts. Mr. Ball, as he then<br /> was, lost no time in such discussions. He pushed<br /> his telescope up through the crush of Unionists<br /> and Home Rulers, and was lost in contemplation<br /> 44<br /> <br /> of the satellites of Venus. (Laughter.) How<br /> eminent he has since become, how multitudinous<br /> are his contributions to science, you do not need<br /> that I should remind you.<br /> <br /> Perhaps, as a Society of Authors, we may<br /> find one more reason why we are very glad to see Sir<br /> Robert Ball amongst us. He is one who has not<br /> divorced the matter from the form ; he approaches<br /> science with absolute exactitude, but with no<br /> scorn for those outward graces which are the very<br /> life and breath of literature. At a moment<br /> when another and most learned society is<br /> proposing, or at least an influential section of it<br /> is desiring, to drive the elegances of speech and<br /> the arts of literature out of all scientific recog-<br /> nition, to treat form as the accursed thing, we<br /> may be glad to do special honour to a man of<br /> genius whose matter is impeccable and yet his<br /> form dignified and melodious. I have the<br /> honour, gentlemen and ladies, to propose the<br /> health of our Chairman, the Lowndesean Professor<br /> of Astronomy at Cambridge, Sir Robert Ball.<br /> <br /> After the dinner the guests retired to another<br /> room, where tea and coffee were provided, and<br /> where a soirée was held. This was a new<br /> departure, and worked very satisfactorily, as it<br /> gave a great many friends who at the dinner<br /> were separated by lengths of white cloth and<br /> flowers an opportunity for conversation.<br /> <br /> a —————————<br /> LITERARY PROPERTY.<br /> <br /> I.—Nortes BY THE Way.<br /> <br /> I, DO not think Mr. Besant and I really<br /> differ about the sale of copyrights in pure<br /> literature (p. 22 of Author for June).<br /> <br /> The case of a popular known author who can calcu-<br /> <br /> late his returns beforehand with approximate<br /> <br /> certainty was hardly present to my mind. Such<br /> authors are not those who need the Society’s advice.<br /> <br /> I quite agree that for Mr. Besant or Mr Hardy it<br /> <br /> is merely a question of convenience whether they<br /> <br /> choose to take the returns as they come, or dis-<br /> count them for an ascertainable present value.<br /> <br /> 2. Mr. Besant asks (p. 21) why the judges<br /> accept knighthood. The answer is that they<br /> have no practical choice. It has been expected<br /> of them (except those who have a higher rank,<br /> e.g., sons of peers) ever since the reign of<br /> George ITI., in whose time one judge, John Heath,<br /> stood out. As a judge’s official precedence is<br /> far higher than a knight’s, the rule is difficult to<br /> understand. I may add, however, that the<br /> increasing practice of distributing titles of honour<br /> without any regard to definite public services<br /> <br /> THE AUTHOR.<br /> <br /> (which Iam personally disposed to regret) does<br /> in my opinion strengthen Mr. Besant’s case as<br /> against the State.<br /> <br /> 3. In my note on p. 17 the common German<br /> word “heutigen” is misprinted ‘“ Leutigen,’ a<br /> vor nihili. I suppose it was the fault of a hastily<br /> written MS.<br /> <br /> 4. I earnestly hope that no attempt will be<br /> made at the Chicago meeting to revive the pro-<br /> ject of perpetual copyright. In my opinion it<br /> would be pure waste of time. The abstract<br /> jurisprudence of this question was thoroughly<br /> discussed in the great case of Jefferys v. Boosey<br /> in the House of Lords, in 1854, and there can be<br /> nothing new to say about it.<br /> <br /> 5. I do not think it is generally known that the<br /> Swiss Federal Code of Obligations, in force since<br /> 1883, contains a chapter on the contract of pub-<br /> lishing. This is the only code, so far as I know,<br /> that specially deals with the subject. It is easily<br /> procurable, and the French, German, and Italian<br /> texts are equally authentic. The Author might<br /> well print an English version of it some day.<br /> <br /> F, Pouiock.<br /> <br /> TI.—Aneto-AustRiaAN CopyrigHT CoNVENTION.<br /> Vienna, May 2.<br /> <br /> A copyright convention has been concluded<br /> between Great Britain and Austria-Hungary. It<br /> will secure the rights of authors, artists, and<br /> composers over their literary or artistic works.<br /> The want of such a convention has been keenly<br /> felt for many years. English literary and artistic<br /> productions have been at the mercy of any<br /> publisher or theatrical manager who chose to<br /> appropriate them. The manner in which English<br /> literary men, artists, and musicians have thus<br /> been derived of all profit of their labours as<br /> produced in this country has been a long-standing<br /> grievance. Several years ago, the question of a<br /> copyright convention was raised, but it was only<br /> after it was taken vigorously in hand by the<br /> present British Ambassador that any progress<br /> was made,<br /> <br /> The Anglo-Austrian Convention substantially<br /> provides for the protection of the above-men-<br /> tioned rights, and stipulates that there shall be<br /> the same legal remedy against all infringements<br /> of such rights as if the works themselves had<br /> been published in the country where the infringe-<br /> ment occurred. Furthermore, as the right of<br /> translation forms part of copyright, it is to be<br /> oe in the same way.—Our Own Correspon-<br /> <br /> ent,<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> T1I.—Coryricut IN Braziu.<br /> <br /> The Journal des Débats of June 6 has a<br /> long article on Copyright in Brazil, where,<br /> by the old Code, the Brazilian translator of<br /> a foreign book became ipso facto the sole pro-<br /> prietor, within Brazil, of the translation. The<br /> new Code, howeter, promulgated Oct. 11, 1890<br /> (arts. 345 to 350), forbids translation without the<br /> authorisation of the author or owner of the copy-<br /> right of the original. So far so good; but, on<br /> the other hand, the new Brazilian Constitution<br /> (paragraph 26 of art. 72) overrules the Code and<br /> makes a bondfide residence in Brazil an express<br /> condition-precedent to the assertion of any claim<br /> to copyright in the country : an obstacle which is<br /> of course practically insurmountable.<br /> <br /> The French Chargé d’Affaires at Rio has been<br /> endeavouring for more than two years to nego-<br /> tiate a copyright convention of reciprocity, but<br /> hitherto without success.<br /> <br /> po<br /> <br /> THE PROFESSION OF LETTERS.<br /> <br /> <br /> <br /> HE following extract is taken from a paper<br /> by Mr. Robert Buchanan in the May<br /> number of the Jdler.<br /> <br /> I entirely agree with Mr. Grant Allen in his recent<br /> avowal that literature is the poorest and least satisfactory<br /> of all professions ; I will go even further, and affirm that it<br /> is one of the least ennobling. With a fairly extensive know-<br /> ledge of the writers of my own period, I can honestly say<br /> that I have scarcely met one individual who has not dete-<br /> riorated morally by the pursuit of literary fame. For com-<br /> plete literary success among contemporaries, it is imperative<br /> that a man should either have no real opinions, or be able<br /> to conceal such as he possesses, that he should have one eye<br /> on the market and the other on the public journals, that he<br /> should humbug himself into the delusion that book-writing<br /> is the highest work in the universe, and that he should<br /> regulate his likes and dislikes by one law, that of expe-<br /> diency. If his nature is in arms against anything that is<br /> rotten in society or in literature itself, he must be silent.<br /> Above all, he must lay this solemn truth to heart, that<br /> when the world speaks well of him, the world will demand the<br /> price of praise, and that price will probably be his living soul.<br /> He may tinker, he may trim, he may succeed, he may be<br /> buried in Westminster Abbey, he may hear before he dies<br /> all the people saying, ‘“‘ How good and great he is! how<br /> perfect is his art! how gloriously he embodies the tenden-<br /> cies of his time!” but he will know all the same that the<br /> price has been paid, and that his living soul has gone to<br /> furnish that whitewashed sepulchre, a blameless reputation.<br /> <br /> For one other thing, also, the Neophyte in Literature had<br /> better be prepared. He will never be able to subsist by<br /> creative writing unless it so happens that the form of ex-<br /> pression he chooses is popular in form (fiction, for example),<br /> and even in that ease, the work he does, if he is to live by<br /> it, must be in harmony with the social and artistic status<br /> quo. Revolt of any kind is always disagreeable. Three-<br /> fourths of the success of Lord Tennyson (to take an<br /> <br /> VOL. IV.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 45<br /> <br /> example) was due to the fact that this fine poet regarded<br /> life and all its phenomena from the standpoint of the<br /> English public school, that he ethically and artistically<br /> embodied the sentiment of our excellent middle-class<br /> education. His great American contemporary, Whitman,<br /> in some respects the most commanding spirit of this gene-<br /> ration, gained only a few disciples, and was entirely<br /> misunderstood and neglected by-contemporary criticism.<br /> Another prosperous writer, to whom I have already alluded,<br /> George Eliot, enjoyed enormous popularity in her lifetime,<br /> while the most strenuous and passionate novelist of her<br /> period, Charles Reade, was entirely distanced by her in the<br /> immediate race for fame. In Literature, as in all things,<br /> manners and costume are most important; the hall-mark<br /> of contemporary success is perfect Kespectability. It is<br /> not respectable to be too candid on any subject, religious,<br /> moral, or political. It is very respectable to say, or imply,<br /> that this country is the best of all possible countries, that<br /> War is a noble institution, that the Protestant Religion is<br /> grandly liberal, and that social evils are only diversified<br /> forms of social good. Above all, to be respectable, one<br /> must have “beautiful ideas.” “Beautiful ideas” are the<br /> very best stock-in-trade a young writer can begin with.<br /> They are indispensable to every complete literary outfit.<br /> Without them, the short cut to Parnassus will never be<br /> discovered, even though one starts from Rugby.<br /> <br /> Mr. Buchanan has followed the profession of<br /> letters for many years—say thirty. He has written<br /> poems, plays, and novels. He has received a<br /> pension on the Civil List, granted to him alone of<br /> mortals, when he was still quite young, with his<br /> career before him. He is, therefore, enabled to<br /> live without entire dependence on the commercial<br /> success of his books, provided he was content to<br /> live simply. If, therefore, he wished at any time<br /> to lift a prophetic voice against the evils of his<br /> time, he could do so without being starved should<br /> the world refuse to listen. Carlyle raised the<br /> voice of a prophet, for instance. The world did<br /> listen. Nay, the world accorded to Carlyle that<br /> praise which, Mr. Buchanan says, is only given to<br /> those who pay for it at the price of the living<br /> soul. Again, if the hall-mark of contemporary<br /> literature is respectability, it is unfortunate that<br /> Mr. Buchanan quotes George Eliot as a popular<br /> writer, for her whole life was a protest against<br /> respectability. Now, it is quite conceivable that<br /> there are writers who think of nothing but what<br /> will sell—your penny novelette is, I am told, con-<br /> structed carefully on that principle; but it is<br /> ridiculous to assert that a man or woman who has<br /> a message to give—a warning to utter—is not<br /> listened to. There is the condition that he must<br /> know how to speak. There was once a school of<br /> prophets ; but only a dozen or so managed to get<br /> a hearing. The unknown and unsuccessful<br /> Ezekiels probably sat in their cottages and reviled<br /> the age.<br /> <br /> Mr. Grant Allen is reported to have said—I<br /> quote at secondhand—I apologise beforehand<br /> for not verifying my reference —I_ hope<br /> <br /> that he never said such a thing—but he is<br /> E<br /> 46<br /> <br /> reported to have said: “ Don’t take up literature<br /> if you have money enough to buy a broom, and<br /> sufficient energy to annex a street crossing.” If<br /> Mr. Grant Allen really said that, I will myself<br /> with pleasure lend him the money to buy that<br /> broom, For indeed, a man who thinks in that<br /> way about his calling ought to abandon it. My<br /> own advice to a young man would be, “‘ Do not<br /> attempt to live by literature. Harn a livelihood<br /> some other way. Fight Mr. Grant Allen, if<br /> necessary, for his pitch and his broom. At all<br /> cost—at any cost—be independent of your lite-<br /> rary work. There is hardly any kind of work<br /> which does not allow a man time for as much<br /> literary work and study as is good for him. Look<br /> at the men who have been journalists, civil<br /> servants, medical men, lawyers—anything. Be<br /> independent. Then Mr. Buchanan’s remarks<br /> will have nothing to do with you, and you need<br /> pay no price at all for the praise of the world,<br /> which you will get—if you do get it—at the price<br /> of hard work, and study the arts of expression<br /> and persuasion in the school of prophets.<br /> There is one thing in my own experience—if I<br /> may speak of myself in connection with this<br /> subject—on which I look back with great satis-<br /> faction. It is that I was able to resist the very<br /> great temptation to live by writing till such time<br /> —about eight years ago—when I thought myself<br /> justified in so doing. I then, and not till then,<br /> resigned a post which had for twenty years taken<br /> the cream of the day, and given me a certain<br /> independence.<br /> <br /> Here, however, is another quotation — also<br /> secondhand — yet I copy it without apology,<br /> because, from internal evidence, I am sure that it<br /> is genuine. The writer is Mr. Hall Caine:<br /> <br /> Of all the literary cants that I despise and hate, the one<br /> I hate and despise the most is that which would have the<br /> world believe that greatly gifted men, who have become<br /> distinguished in literature, and are earning thousands a<br /> year by it, and have no public existence and no apology<br /> apart from it, hold it in pity asa profession, and in contempt<br /> as anart. For my own part I have found the profession of<br /> letters a serious pursuit, of which in no company and in<br /> no country have I had need tobe ashamed. It has demanded<br /> all my powers, fired all my enthusiasm, developed my<br /> sympathies, enlarged my friendships, touched, amused,<br /> soothed, and comforted me.<br /> <br /> Is, then, the pursuit of literature one which<br /> degrades or “ least ennobles” its follower? This<br /> is a question which cannot be answered on<br /> abstract grounds. He who spends his life in<br /> meditating things pure and lofty would, one<br /> thinks, himself become pure and lofty in mind.<br /> But Mr. Buchanan will not allow that the literary<br /> man does so occupy his mind; he pictures men<br /> <br /> who work for money, praise, and contemporary<br /> <br /> fame. Perhaps so. The experience of men<br /> <br /> THE AUTHOR.<br /> <br /> differs; there are levels—planes, grades. Let us,<br /> however, pass from generalities to examples.<br /> Shelley, Wordsworth, Southey, Emerson, Brown-<br /> ing, Tennyson, Longfellow, Lowell, Carlyle, are<br /> examples taken at random where the pursuit of<br /> literature has conspicuously and without doubt<br /> ennobled the man. Let us, however, take other<br /> examples. Can we not very truly say that what-<br /> ever nobility belongs to the name and remem-<br /> brance of Thackeray, Dickens, George Eliot,<br /> Charles Reade, Wilkie Collins, Leigh Hunt,<br /> Thoreau, Jefferies—names taken at random—<br /> has been won by the noble things that they have<br /> written, and not by the ignoble things—if they<br /> have written any? Or, to go lower down, is<br /> there no nobility attaching to the names of men<br /> whose lives were not in themselves noble—such,<br /> for instance, as Savage, Oliver Goldsmith,<br /> Thomson (“The City of Dreadful Night”) and<br /> others which will at once suggest themselves? It<br /> is possible to create a great estate in literature,<br /> without genius, without nobility, solely by<br /> dexterity and by “watching the market.” But<br /> this is not fame, or praise, or anything but<br /> money. Contemporary praise or fame may be<br /> excessive; in looking at the living man we<br /> magnify his stature; but contemporary praise is<br /> never, I believe, bestowed upon such men as Mr.<br /> Buchanan, in most unfortunate experience, has<br /> detected in that curious barter of a real and<br /> living soul for imaginary praise or fame.<br /> W. B.<br /> <br /> ———————<br /> <br /> MEMORIAL OF SHELLEY AT UNIVERSITY<br /> COLLEGE.<br /> <br /> N the afternoon of Wednesday, June 13<br /> Jane, Lady Shelley, accomplished the<br /> crowning purpose of her life: she is to be<br /> <br /> congratulated upon a notable triumph. The<br /> ceremonial which drew the heads of many of the<br /> colleges—or, to use the words of one of the local<br /> papers, “all that was best in the University” —and<br /> certain prominent Jlittérateurs from all parts of<br /> the world, was decidedly an impressive one. As<br /> to the memoria], most persons saw the cast of it<br /> when it was exhibited at the Royal Academy<br /> last year. It is not now my province to praise or<br /> blame this work; but it seemed to me that some<br /> modification had been made in it, in the direction<br /> of simplification ; an impression obviously due to<br /> the altered and happier environment. It repre-<br /> sents the poet as conceivably he may have lain<br /> when washed up by the sea. The figure is<br /> appropriately nude; it is chiselled out of a<br /> beautiful piece of Connemara marble, and lies on<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 47<br /> <br /> a slab supported by winged lions, between<br /> which is seated an emblematical effigy of the<br /> Muse of Poetry. These supports are of bronze.<br /> The work is by Mr. Onslow Ford. The chamber,<br /> or temple, in which the memorial is placed was<br /> designed by Mr. Champneys. It is arched in by<br /> a dome-shaped roof on which a_ star-spangled<br /> firmament is painted, beneath which certain lines<br /> from the “ Adonais” are emblazoned. One<br /> approaches the chamber through a grille, which<br /> grating is continued round one half of that side<br /> of the building which faces the corridor.<br /> <br /> The guests being assembled, Lady Shelley,<br /> who entered the building on the arm of the<br /> Master of Balliol, handed a gold key to the Master<br /> of University, and proceeded to read her address.<br /> She said that for more than forty years she had<br /> been a student of Shelley, and, so far as she was<br /> able, had striven to give the world a just impres-<br /> sion of his character. She spoke feelingly of her<br /> association with his wife and son, of the poet’s<br /> residence at Oxford, of the beauty and brightness<br /> of his life, and of the high sense of duty which<br /> both he and Mary entertained. ‘Men of great<br /> genius,” said Lady Shelley, “could not always be<br /> reduced to rule; they erred sometimes, but they<br /> were not therefore to be deprived of the love and<br /> admiration of their countrymen.” At this point<br /> Lady Shelley was visibly affected, but she strug-<br /> gled with her emotion and bravely conquered it.<br /> We may be sure she was not the only one<br /> present whose feelings were wrought upon<br /> acutely ; indeed, Dr. Bright’s reply can only be<br /> explained on the assumption that he was carried<br /> away by the sensations and sentiments which<br /> prevailed. It came as a surprise to everyone ; the<br /> most ardent Shelleyan scarcely could have said<br /> more. Dr. Bright’s words carried the sense of<br /> conviction with them, if we except the pardonable<br /> boast that Oxford ‘is the very centre and<br /> heart of the growth of Young England.” This<br /> is manifestly absurd. But it is impossible to<br /> take exception to any other part of the address.<br /> It is certain, as the Master said, it is difficult to<br /> conceive any truer emblem of the present<br /> century than the great poet whose effigy the<br /> University has received. Percy Bysshe Shelley<br /> was, as Dr. Bright affirmed, “ prophetic in<br /> all directions of what had come into the world.<br /> The very greatness of the man had rendered him<br /> open to the treatment the University of Oxford<br /> and the world generally had accorded him,”<br /> “Tt was because,” he asserted, “there was in<br /> him such a well-spring of hatred of all that was<br /> false and all that was oppressive, and because he<br /> had so strong a feeling of all that was gloomy<br /> and sad in the history of the world and man-<br /> kind, that he could not but become a rebel, and<br /> <br /> VOL, IV,<br /> <br /> being a rebel, he was treated as a rebel.” But,<br /> he begged us to observe, “ that the rebel of eighty<br /> years ago was the hero of the present century.<br /> In other words, the great aspirations which he<br /> nurtured, the fervent love of the human race which<br /> he cherished, the intense admiration of all objects<br /> that met his eyes in the natural world, the uncom-<br /> promising hatred of all that was evil and all that<br /> was sad, what were they all but the very things<br /> they had been learning for these last eighty years ?<br /> When at this time,”’ said the Master, ‘they had<br /> constant repetitions of very sad and pessimist<br /> views as to what this world was going to<br /> become, it was most cheerful to encounter a<br /> prophet who prophesied good things, and not<br /> bad; and although it probably was true that the<br /> great giant lay still chained upon the hill-tops,<br /> and although Jupiter, the emblem of what was<br /> false and conventional, still in some degree<br /> reigned, it must be confessed that the prophecies<br /> the poet uttered had been hastening toward<br /> their conclusion ; and that in some way or other,<br /> though it might not be as Shelley fancied it, the<br /> human race was coming, as they all hoped, to<br /> something like a condition of happiness in uni-<br /> versal and divine equality and love.”<br /> <br /> So spake the head of the college from which<br /> Shelley was ignominiously expelled. The audience<br /> wondered; but it applauded. It is an open<br /> secret that Lady Shelley’s proposal to give the<br /> memorial to Oxford was not received there initially<br /> with any great show of enthusiasm; and, although<br /> I do not for a moment dispute the sincerity of the<br /> official declaration which I have reported, I have<br /> no kind of doubt that if a thinker were to<br /> appear as far in advance of the normal thought<br /> of to-day as Shelley was in advance of the<br /> current beliefs of his day, he would fare very<br /> much as Shelley fared. Still, Oxford has acquitted<br /> itself better than Horsham, which town, I am<br /> told, might have acquired this memorial had it<br /> shown the slightest interest in the great man who<br /> was born a few yards outside its precincts. The<br /> reasons of the failure to move Horsham appre-<br /> ciably I have explained in this journal, in the St.<br /> James’s Gazette, and elsewhere ; but it must be<br /> remembered Oxford was not called upon to make<br /> any sacrifices, and that Horsham was. The whole<br /> expense of the Oxford undertaking fell upon<br /> Lady Shelley.<br /> <br /> For the rest, the gathering at University<br /> College was not nearly so representative or<br /> important as that which assembled at Horsham<br /> on Aug. 4 last. It included, however, the Bishop<br /> of Southwark, the Master of University, the<br /> Master of Balliol, Sir William Markby, the<br /> Warden of All Soul’s, the President of Magdalen,<br /> the Warden of Merton, the Rector of —_<br /> <br /> E<br /> 48<br /> <br /> Mr. Edmund Gosse, Mr. Arthur Sidgwick, Mr.<br /> Onslow Ford, Canon St. John, Dr. Garnett, Dr.<br /> Raleigh, Mr. Hamilton Aidé, and Mr. William<br /> Hsdaile (grandson of the poet).<br /> <br /> Jas. Stanuey Lirrre.<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> I.<br /> Locau History.<br /> <br /> AT, in my opinion, ought to be regarded<br /> <br /> \ \) as the cardinal principle in writing a<br /> local history, is that the town or district<br /> <br /> chosen should be treated as an entity which is<br /> capable of being described from the dim times<br /> when chronicle first began right through the<br /> period of its growth until the day in which we<br /> live. The too common fault of the antiquarian is<br /> that he merely loved the antique, and that when<br /> he has passed the dissolution of the monasteries<br /> or at latest the Great Rebellion, he loses interest,<br /> dismisses subsequent events as of no moment, and<br /> appears to consider that a town’s history ended<br /> when newspapers were about to begin. Into the<br /> service I would press the researches of genealogy,<br /> of heraldry, and of bibliography, finding for each<br /> student, however humble or however learned, a<br /> place in which to help. Insisting upon absolute<br /> accuracy, and welcoming every additional fact, the<br /> local historian should seek to make his work not a<br /> mere collection of isolated incidents and unex-<br /> plained names, and should endeavour so to collate<br /> his information as to give us not a heap of un-<br /> smelced ore but a finished mass of polished metal.<br /> The subject is almost an eshaustless one:<br /> Macaulay has shown and Professor Gardiner has<br /> indicated how much local research can aid the<br /> natural historian; and one means of stimulating<br /> the study which has been too long neglected is by<br /> adding it to the curriculum of our schools. What<br /> boy would not be the more keenly interested in<br /> the Conqueror if he were taught what Domes-<br /> day Book had to say of his own town? The<br /> story of the Great Charter would be brought<br /> the nearer to him if he knew that on the field of<br /> Runnymede, while the wax which sealed Magna<br /> Charta was still warm, John signed an_ order<br /> affecting the place in which he lives. The great<br /> personalities of the Black Prince, of Thomas and<br /> Oliver Cromwell, and of the first Charles would<br /> become real to him if he had the knowledge how<br /> closely they had in various ways been connected<br /> with the borough in which he was born. Every<br /> old street name should be caused to tell its story ;<br /> <br /> THE AUTHOR.<br /> <br /> the very dates of the fairs should serve to recall<br /> those dim monastic times when our little towns<br /> were filled with chapels, and the fairs were held<br /> on the days of the saints to whom those edifices<br /> were dedicated. By making local history real, we<br /> could make national history more than book<br /> learning ; and it is because I believe that much<br /> can be done to systematise the conception and to<br /> elevate the writing of that local history, that<br /> these suggestions are laid before the readers of a<br /> magazine which has helped so greatly all who<br /> study the chronicles of the West.—From the<br /> “ Writing of Local History,” by A. F. Robbins.<br /> <br /> II.<br /> Tur Human EvEMent OF CRITICISM.<br /> <br /> One takes up the review of a new book now-<br /> adays, and especially in America, with the almost<br /> absolute certainty that it will be wholly lacking<br /> in the human element—that it will be analy-<br /> tical, impersonal, reserved, and without the<br /> touch of emotion. The critic, so to speak,<br /> unbinds and unstitches his book, separates the<br /> leaves, weighs them individually and _ collec-<br /> tively, and arrives at an exact and conventionally<br /> correct, but more or less inadequate, estimate of<br /> the work before him. The great mass of book<br /> reviewing at the present time is a highly-refined<br /> machine-criticism. It is cold, exact, and, one<br /> may say, as far as it goes, fair. But it does not<br /> go far enough to reach the standard of the best<br /> criticism.<br /> <br /> The best criticism is not- altogether conven-<br /> tional and not altogether analytical. It finds<br /> room for personality, and makes some departures<br /> from the established customs of probing and<br /> dissecting. It does not leave a book or an<br /> author, as the saying is, “struck all of a heap.”<br /> If it becomes necessary to make fragmentary<br /> disposition of a writer, the better critic will at<br /> least restore him to his. complete and organic<br /> uncomeliness, and, like the accomplished juggler,<br /> with a kindly sweep of the hand over shattered<br /> wheels and springs, will say :—‘ Here, sir, is your<br /> watch, just as you gaveitme. It has not even<br /> lost a second.”<br /> <br /> When a critic admits synthesis, constructive-<br /> ness, and personality into his work, that work<br /> begins to display the true human element. It is<br /> evident that this element cannot be fully defined<br /> by the word kindliness. That is one of the<br /> humanities of the best criticism, but it is not the<br /> only one. There must be also breadth, tolerance,<br /> sympathy, freedom, and sincerity. The critic is<br /> a man dealing with a man. He is not, or should<br /> not be, a man dealing merely with a book. So<br /> far as a book stands for anything more than a<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> stick or a stone, it does so by virtue of the per-<br /> sonalty with which it is suffused. If publishers<br /> would issue elaborate volumes of what printers<br /> call “ pi,” there would be a book for the critic to<br /> deal with simply as a thing. There would be no<br /> man behind it, no subtle personality pervading<br /> its whole texture. But wherever there is cohe-<br /> rence there is thought, and wherever there is<br /> thought there is personality. So I say that a<br /> critic, who is a man, dealing with a writer, who is<br /> also a man, certainly ought not to neglect the<br /> human element in criticism. He should synthe-<br /> sise as well as analyse; he should bind as well as<br /> sever; he should be able to stand in another’s<br /> place as well as in his own; he should be a helper<br /> as well as a censor; he should yield as well as<br /> crowd; he should be tender as well as keen,<br /> candid as well as brilliant. Howsoever inky his<br /> doublet, a warm heart should beat beneath it;<br /> and he should havea hand that no writer’s cramp<br /> could deprive of its power to give or return a<br /> human grasp.<br /> <br /> This is humanity in criticism; this is love in<br /> judgment. How many literary critics think of<br /> the man whom they are vivisecting? They are<br /> less humane than experimentalists in biology, for<br /> they give their victims no anesthetics. ‘“ Here<br /> is a book—what’s init?” The weights and the<br /> screws determine that, and Lord help the author<br /> if there be much of him in his book!<br /> <br /> I plead for the human element in criticism :—<br /> more elbow room, if the critics will, to turn them-<br /> selves about in; then they will not be so narrow<br /> and unceremonious. What of personality can<br /> you transfuse into a single paragraph? ‘True ;<br /> do not criticise by paragraphs. Call them rather,<br /> what they will verily be, “ notices.” I plead for<br /> amore generous recognition of what authors put<br /> into books, as well as what they leave out.<br /> Writers always—the least admirable of them—<br /> put a vast deal of personality into their work.<br /> What critic pays adequate attention to this?<br /> Many a book throbs like a human heart ; but the<br /> critic counts only the dropped beats in the systole<br /> and diastole of its rhetoric. I plead for more of<br /> the genial smile in criticism, less of the chilling<br /> sneer. ‘There is sunshine in a smile, even when<br /> it wins you from a fault. But the sneer is like<br /> lightning in the night. Everything in its glare<br /> is hideous and hopeless.<br /> <br /> James BuckHam.<br /> New York Critic.<br /> <br /> 49<br /> <br /> III.<br /> Dante EXHIBITION.<br /> <br /> We are glad to be able to announce that the<br /> Dante Exhibition was successful beyond all<br /> anticipations. About a thousand persons visited<br /> it, and the entrance fees will cover expenses and<br /> leave a small balance, which will be devoted to<br /> the social branches of the work of University<br /> Hall. The general public and the general Press<br /> failed, it is feared, to catch the idea of the<br /> collection, and found it scrappy and dull. But<br /> Dante students, who visited the hall in consider-<br /> able numbers, saw that the illustration of the<br /> central conceptions of Dante’s scheme of things<br /> in their contrast alike with classical and modern<br /> ideas, and the universal scope of his studies<br /> within the framework of that scheme, gave the<br /> exhibition an organic character not obvious to the<br /> casual visitor.— Westminster Gazette.<br /> <br /> <br /> <br /> IV.<br /> A QUESTION OF PROPRIETY.<br /> <br /> My attention has been called to a communica-<br /> tion in The Nation of April 20, holding up the<br /> following sentence from my recent article “A<br /> Trio of Notable Women,” as an awful example of<br /> impropriety: “‘ Under her hospitable mahogany<br /> were frequently stretched the eminent legs of<br /> Mrs. Barbauld, Sir James Mackintosh, Dr.<br /> Southey,” &amp;c. It may be worth while to say, for<br /> the benefit of the worried objector, that the play-<br /> ful expression objected to is an old one,<br /> well seasoned, and justified by good usage.<br /> Thackeray was partial to it, and rang many<br /> changes on it. You may find an instance in<br /> chapter IX. of ‘The Great Hoggarty Diamond.”<br /> —H.G. J. in the Chicago Dial.<br /> <br /> THE PRETERNATURAL STORY.<br /> <br /> <br /> <br /> MONGST the various forms of fiction the<br /> tale with a preternatural element has<br /> always maintained a prominent place.<br /> <br /> The few Greek and Roman romances and frag-<br /> ments of romances that have survived, all present<br /> an abundance of preternatural incidents. Motifs<br /> of preternatural kinds form the basis of some of<br /> the most striking Italian novelle, the Spanish<br /> “ books of chivalry” that turned the head of the<br /> Knight of La Mancha contained little else, and,<br /> at the present date, in England, tales of a preter-<br /> natural character have become so much the vogue<br /> 50 THE AUTHOR.<br /> <br /> that not long since a London publisher, who issues<br /> about as many novels as any one, declared that<br /> people had got tired of romance, and cared for<br /> nothing but fairy-tales.<br /> <br /> Under such circumstances the preternatural<br /> story can hardly fail to present points of interest<br /> both to the student of fiction, and to those whose<br /> pens are engaged in meeting the ceaseless public<br /> demand for tales containing something “ up to<br /> date.” In point of fact the close observer will<br /> find in this particular kind of romance a great<br /> deal that may arrest attention, and suggest reflec-<br /> tion. A little investigation reveals, what few<br /> suspect, that, though preternatural stories seem<br /> at first sight much of the same kind, they are<br /> really divided in several distinct and widely<br /> different species ; whilst by no means the least<br /> singular phenomenon connected with compositions<br /> of this sort is that the extreme contrasts of taste<br /> and distaste for them on the part of different<br /> readers (which every one will have observed) is<br /> based, incredible as that may appear, upon an<br /> appetite for truth.<br /> <br /> On approaching the subject of preternatural<br /> fiction the student is, at the very outset, con-<br /> fronted by the rather unanswerable question,<br /> “What is the preternatural?” On account of<br /> the difficulty of finding an absolutely satisfactory<br /> reply to this question, and in order that a number<br /> of stories, which certainly should be included in<br /> any consideration of this kind of tale, may not<br /> be set aside by a mere definition, any story may<br /> for the present purpose be held to be of the<br /> preternatural sort which contains incidents appa-<br /> rently not to be explained by the familiar laws of<br /> nature.<br /> <br /> To have some sort of definition of the preter-<br /> natural is, however, still necessary; for it will<br /> presently appear that upon this definition must<br /> depend a very great distinction between various<br /> tales of the kind under consideration. Of course,<br /> to define the preternatural * is very nearly the<br /> same thing as to define the miraculous, and this<br /> leads at once into the province of the theologians.<br /> Nor is that singular. It is into this province that<br /> more than one preternatural novel of the present<br /> day purposely penetrates.<br /> <br /> A word about the theologians, lest any readers<br /> of these lines should suspect them of the error<br /> of a theological bias, which would in the pages of<br /> the Author be egregiously out of place. Theology<br /> and belles lettres, have, it is true, been as often<br /> <br /> <br /> <br /> *Some writers use preternatural and supernatural as<br /> almost equivalent terms. Others, drawing an important<br /> distinction, confine the latter to cases of intervention of<br /> the Deity. See Fleming, “ Vocabulary of Philosophy.” The<br /> term preternatural alone is used throughout this paper<br /> purposely, -<br /> <br /> hostile camps as the contrary. But it must never<br /> be forgotten that the theologians, every one of<br /> them to a man, belong to the wide republic of<br /> letters. As authors they laboured at their desks,<br /> threw their hearts and lives into their books,<br /> desired through them to speak to the world, and<br /> were deeply concerned in their success and in-<br /> fluence, like everyone else who writes. Creeds<br /> apart, their dicta are all the dicta of literary<br /> men.<br /> <br /> Proceeding, then, to borrow a definition of the<br /> miraculous (and this definition will be necessary<br /> presently) from one of them, it will be admitted<br /> by all that the guidance of Coleridge may be<br /> safely followed. Coleridge’s success with the<br /> preternatural was itself a marvel. Archbishop<br /> Trench mentions that he had heard Coleridge<br /> exalt the greatness and depth of the remarks of<br /> Aquinas on the subject of miracles. Trench,<br /> Coleridge, Thomas of Aquino, are all great lite-<br /> rary names, and the definition Aquinas offers<br /> runs thus :—<br /> <br /> “Tlla proprie miracula dicenda sunt que divi-<br /> nitus fiunt preeter ordinem communiter observa-<br /> tum in rebus.” +<br /> <br /> Any tale, then, that relates preternatural<br /> incidents of a distinctly miraculous nature, in<br /> point of fact introduces some special intervention<br /> of the Deity, and so becomes a religious tale.<br /> “ A Beleaguered City” is a tale of this sort,<br /> and a fine one. Anyone who will think of it,<br /> and of Prosper Mérimée’s “La Venus d Tile,”<br /> also a very fine story, will now perceive at once<br /> to what vastly different categories the different<br /> species of preternatural tales belong.<br /> <br /> Having quoted a great Catholic divine, it is<br /> only right to state equally clearly the opposite<br /> view of miracles. Hume says, in his “ Essay on<br /> Miracles: ” “A miracle is a violation of the laws<br /> of nature; and as a firm and unalterable expe-<br /> rience has established these laws, the proof against<br /> a miracle, from the very nature of the fact, is as<br /> complete as any argument from experience can<br /> possibly be imagined.”’ ;<br /> <br /> And this viewis very important. Because if either<br /> author or reader of a preternatural story hold it,<br /> he is compelled to take his choice between two<br /> alternatives. Either what is related must be<br /> merely one of those rare phenomena of nature<br /> which are still imperfectly understood, or not<br /> observed by the vulgar, or it must be false. Here<br /> it is worth while to remark that the character of<br /> “preternatural’’ would certainly, and it seems<br /> justly, be denied by many to incidents that were<br /> merely of a rare or imperfectly comprehended<br /> kind. Further, it will presently appear that the<br /> <br /> <br /> <br /> + 8. Thomas Aquinas, “ Contra Gentiles II.,” 102.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 4<br /> :<br /> 4<br /> <br /> THE AUTHOR. 51<br /> <br /> honest lie, pure and simple, is by no means<br /> excluded from the domain of preternatural<br /> fiction.<br /> <br /> To many, however, the views both of Aquinas<br /> and of Hume will seem much more stiff and defi-<br /> nite than either author or reader need desire. A<br /> tertium quid is postulated, neither “ miraculous ”<br /> on the one hand, nor in accordance with “ natural<br /> laws imperfectly understood” on the other. It<br /> is, however, fair to remark that it is not at all<br /> clear what this “‘ border land,” as it is sometimes<br /> called, is supposed to be ; and to add that, to the<br /> logically minded, it is not a very attractive region.<br /> Plentiful vagueness of view and meaning can, of<br /> course, be easily wrapped up in the familar<br /> “There are more things in Heaven and earth,<br /> &amp;c.;” but the thoughtful explorer of the domi-<br /> nions of preternatural romance, will certainly find<br /> this easy evasion of an explanation of what is<br /> really meant, a good deal out of taste in the case<br /> of stories which bear on the face of them some<br /> evidences of having been written with a very dis-<br /> tinct purpose of insisting upon something or<br /> another. Indistinctness may furnish amuse-<br /> ment; it can even awaken awe. But it cannot<br /> instruct.* All that belongs to “the border-<br /> land” should be able to be divided between the<br /> really miraculous, and the strange but natural<br /> phenomenon.<br /> <br /> The whole range of preternatural romance is<br /> thus divisible into the really miraculous, the rare<br /> or imperfectly understood natural phenomenon,<br /> and — lies. The last province is a large one<br /> with no particularly definite boundaries; but a<br /> more important one than at first appears. Pro-<br /> bably the author in nine cases out of ten, and the<br /> reader in ninety-nine out of a hundred, bestows<br /> little thought upon determining to which province<br /> the tale belongs. But that is not always the case.<br /> The author’s intention is in some instances<br /> evident enough. Everyone will observe that,<br /> strictly speaking, thename of preternatural fiction<br /> might with much reason be confined to tales of<br /> the really miraculous.<br /> <br /> Tf the attention be next turned from the<br /> provinces of preternatural romance to the stories<br /> themselves, all can be immediately drawn into<br /> three classes.<br /> <br /> a. The story in which the narrator relates the<br /> preternatural incident as absolutely true.<br /> <br /> b. The story in which the narrator relates the<br /> <br /> *It is worth while to observe that the mediwval theolo-<br /> gians, who firmly believed in magic and devilries of every<br /> description, considered them as merely ingenious results of<br /> the employment of natural agencies not understood by man.<br /> “Piunt -virtute causarum naturalium,” says Aquinas.<br /> Summa, 2, 2, 178, 1.<br /> <br /> preternatural incident as absolutely false; of this<br /> sort there are two kinds.<br /> <br /> c. The story in which the narrator uses preter-<br /> natural incidents as mere figures of speech.<br /> <br /> Three very great names might be appropriately<br /> attached to these three kinds of tale. Homer<br /> relates the preternatural as true. Lucian excels in<br /> the art of compounding a farrago of lies.<br /> Rabelais wraps truth in a cloak of preternatural<br /> fable.<br /> <br /> The literary student who would see the pre-<br /> ternatural (the miraculous preternatural) related<br /> as truth in its highest form, had better go straight<br /> to the pages of Homer. The superlative charac-<br /> teristic of the Homeric preternatural incidents is<br /> that the poct himself believes in them. He<br /> believes in them so absolutely, and relates them<br /> with so absolute a certainty of their commanding<br /> the hearer’s belief also, that they almost lose their<br /> preternatural character, and glide back into the<br /> natural and ordinary, by being as integral a part<br /> of the poet’s cosmogony as are the rising of the<br /> sun, and the opening of the flowers. Homer<br /> narrates without ashade of difference the simplest<br /> human incident, such as Nausicaa’s game of ball<br /> with her maidens; a magical one, such as the<br /> healing of Ulysses’ wound by the singing of a<br /> spell; and one of divine intervention, such as<br /> when Sleep and Death, at the command of<br /> Apollo, in answer to a prayer, bear Sarpedon’s<br /> dead body to Lycia and bury it there. All<br /> represent to the poet’s mind things equally in the<br /> course of nature, and the preter ordinem com-<br /> muniter observatum has no place in his imagina-<br /> tion, This is what gives Homer’s preternatural<br /> incidents their inimitable reality. If any one<br /> wishes to see how inimitably real they are, he has<br /> only to compare them with similar episodes in<br /> Virgil. Virgil is more than careful about the<br /> introduction of each preternatural incident. He<br /> never violates the rule,<br /> <br /> Nec deus intersit nisi dignus vindice nodus:<br /> <br /> and he treats all his miracles with great artistic<br /> skill. But they are hopelessly hollow. Homer<br /> dares everything. And the more he dares the<br /> more realistic he becomes, and the more audaci-<br /> ously he treats the preternatural like the merest<br /> ordinary commonplace the more powerful is the<br /> effect he produces. Ares, wounded by Diomede<br /> with the assistance of Athena, bounds up to<br /> heaven with a howl like that of ten thousand<br /> mev, Pallas flies down, to lend Achilles divine<br /> strength, in the shape of an osprey. She actually<br /> ig an heron that meets Diomede and Ulysses by<br /> the wayside at night, and the latter recognises<br /> the goddess by the bird’s cry. She and Apollo<br /> meet on the road “ by the fig-tree” outside Troy.<br /> 52 THE AUTHOR.<br /> <br /> The gods drink, and squabble, and cheat each<br /> other, and worse :<br /> <br /> ~ « , ,<br /> Tdvra Oeots avéOnxav “Opnpos “Hoiodds re<br /> A \ , \<br /> &quot;Ocoa rap’ dvOpwroiow dveidea Kal Woyos éoriv,<br /> , ,<br /> Kérrew, porxevew te, Kal dAAjAovs arrarevev *<br /> <br /> But Homer recks nothing, and—here is the<br /> wonder—forces conviction all the time.<br /> <br /> Perhaps no other author ever wrote with such<br /> power to carry irresistible conviction in_ telling<br /> the impossible. But then he himself believed all<br /> he related. There is something of the same spell<br /> in the “ Nibelungenlied,” and the ‘‘ Thousand and<br /> one Arabian Nights” come still nearer to it. But<br /> the present lovers of preternatural romance do<br /> not (alas!) read Homer; nor “The thousand<br /> nights and a night.” If asked ‘‘Why not ?”<br /> their answer would be ready. They cannot<br /> believe such stories. Here, then, is the secret of<br /> the preternatural tale which the author offers,<br /> and the reader acceptsas true. It may be written<br /> in one word—conviction.<br /> <br /> And if it be asked what pleasure do people find<br /> in being convinced of the truth of quaint preter-<br /> natural incidents, the reply seems to be first, that<br /> man’s natural love of the marvellous is pleased,<br /> and also something deeper gratified, which lies<br /> behind the love of the marvellous, an ever restless<br /> craving for wider and wider existence, and in<br /> existence for wider and wider possibilities. The<br /> young love these tales for this reason: because<br /> they still believe in possibilities for which their<br /> elders have ceased to hope. Besides, if the truth<br /> could be ascertained, it would be found that in<br /> every case the zealous readers of histories of<br /> ghosts, and astral influences, and what not else<br /> do secretly cherish a dim persuasion that they<br /> may themselves some day perchance have the luck<br /> to meet with a small preternatural adventure:<br /> which is only the old story of Don Grazia, who,<br /> <br /> Un braccio, un piede, un occhio avria pagato<br /> Per fare anch’egli un sol miracoletto.<br /> <br /> Consequently, those who can be convinced by<br /> the stories of the supernatural find in them some<br /> fascination which nothing else can equal. To<br /> others, unable to arrive at this degree of con-<br /> viction, these tales are as insufferable as the<br /> “ Arabian Nights” to the admirers of , the<br /> reader may supply any one he pleases of half a<br /> dozen names. When the power of convincing<br /> exists, it would seem, judging from Homer, that<br /> the more daring the realism, the more completely<br /> absent any art of supernatural presentation, the<br /> more powerful will the effect become. And it<br /> may be that those authors will win the largest<br /> audience who can best succeed in persuading<br /> <br /> <br /> <br /> <br /> <br /> * Xenophanes Colophonius.<br /> <br /> their readers that something preternatural may<br /> some day befall themselves.<br /> <br /> The essence of the first sort of preternatural<br /> story is, then, that it seems true. The charac-<br /> teristic of the second is that it is avowedly false.<br /> <br /> Here Lucian excels. His “true history ”’ has<br /> been a model for imitation for ages; and he him-<br /> self, in the preface to that queer story, admirably<br /> describes the sort of work it is, and its intention<br /> —to offer a light entertainment, by the relation<br /> of various falsehoods credibly and vivaciously<br /> narrated, hinting too in a comic manner at<br /> certain passages in authors who have written<br /> about wonderful and mythical things.<br /> <br /> This is plainly playing with the preter-<br /> natural. Nothing is farther from the author’s<br /> intention than to convince. His only aim is to<br /> entertain—and to ridicule the preternatural<br /> tale. In Lucian’s hands this kind of story<br /> becomes a burlesque with occasional serious<br /> import. The nearest thing to it in our own<br /> literature is ‘The Travels of Baron Mun-<br /> chausen,” that book of lies beyond all imagina-<br /> tion.<br /> <br /> But to this second kind of preternatural tale,<br /> the preternatural tale that lays no claim to<br /> truth, belong, in modern literature, many stories<br /> constructed with preternatural elements of purely<br /> graceful fancy. Here may be classed all artificial<br /> “ fairy-tales,” written to amuse small folk; not,<br /> however, real folk-lore; there the preternatural<br /> element is generally of the Homeric order. What<br /> fine work the artificial fairy-tale can be is proved<br /> by ‘‘ Alice in Wonderland.” Also, how inept it<br /> can be everyone knows. In this class must a&#039;so<br /> be placed all those stories in which fine imagina-<br /> tion has created other beings not unacquainted<br /> with man’s passions, and other worlds not quite<br /> unlike his world—the literature of man’s wishes,<br /> and misgivings and dreams. It is hazardous to<br /> quote any work as the masterpiece of this or that<br /> sort of literature, but of this kind “ Undine,” if<br /> not the best, must come very near being so. And<br /> a study of “‘ Undine” reveals that in this sort of tale<br /> the method of the successful author is the precise<br /> contrary of that of Homer. Homer succeeds<br /> where Virgil fails, because Virgil uses art and<br /> Homer does not. A comparison of De la Motte<br /> Fouqué with any of his many unsuccessful imi-<br /> tators shows that Fouqué’s triumph is a triumph<br /> of most consummate art; art in the selection of<br /> every detail; art in the proportion and presenta-<br /> tion of every incident, in the management of<br /> every particular, and in the composition of the<br /> whole. In this kind of preternatural story, which<br /> is a pure jeu d’esprit, art is everything. The result<br /> is an appearance of truth which renders the reader<br /> oblivious of the fact that he has neither been<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> asked to give, nor is giving credence to a single<br /> word. What he feels is that, if such things<br /> could be, this is how they would happen.<br /> <br /> Thus, then, of the preternatural story that<br /> makes no pretence of being true there are two<br /> sorts. One is a farrago of audacious falsehoods,<br /> and the bigger the lies the better the story. The<br /> other is a dream, and the nearer the dream<br /> approaches a vision, the finer its illusion becomes.<br /> Both demand consummate art.<br /> <br /> In the third kind of preternatural tale Rabelais<br /> excelled. Here all is parable, and the pretence<br /> of preternatural incident either thinly covers<br /> something the author has not dared to say<br /> openly, or is used to give stronger point to<br /> truths which, if plainly stated, touch the imagina-<br /> tion less forcibly than they should. In these<br /> stories everything is true and nothing true at the<br /> same time; and the reader must discover, “ par<br /> curieuse lecon et meditation frequente, rompre<br /> Vos, et sugcer la substantificque mouelle.”<br /> <br /> Of this kind are “ Gulliver’s Travels,” imitated<br /> of course from Gargantua’s voyages, as they in<br /> turn had been, partly, suggested by Lucian.<br /> Probably no fiction of any kind demands gifts so<br /> great. Its earliest form is the Msopic fable of<br /> talking beasts.<br /> <br /> And now appears what the writers of preter-<br /> natural tales seem often to overlook, that the<br /> essential characteristic of all preternatural romance<br /> is—truth. For the intrinsic quality of the<br /> Homeric story is conviction. The tale of lies is<br /> admired because it ridicules the incredible. The<br /> story of the Undine type depends for success<br /> upon its appearance of truthfulness, and the<br /> Rabelaisian parable, is merely truth told in<br /> figurative speech.<br /> <br /> Tales such as “Undine” and “Gulliver’s<br /> Travels” will be appreciated by all possessed of<br /> cultivated imagination and philosophic thought.<br /> The tales, however, that ask to be believed, and<br /> those which ridicule the marvellous, have narrower<br /> audiences. The latter are far too difficult of<br /> composition for many to attempt them. Of the<br /> former there are just at present plenty. Those<br /> who write them must probably make up their<br /> minds to please a certain section of the reading<br /> public, at the price of being carefully eschewed<br /> by others. But that, in a greater or less degree,<br /> is the fate of all authors.<br /> <br /> That preternatural stories demanding credence<br /> should be the fashion, may be considered one of<br /> the social phenomena of the day. Literature<br /> takes its colour from its age. A Hellenic world<br /> profoundly religious, and simultaneously materi-<br /> alistie to profanity, great-minded, and equally<br /> simple-minded, listened to the rhapsodies of<br /> Homer, whose poem has nota trace of the empire-<br /> <br /> VOL. Iv.<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> 53<br /> building spirit of the Epic of Virgil. Ariosto’s<br /> theme was another,<br /> <br /> Le donne, i cavalier, l’arme, gli amori,<br /> Le cortesie, l’audaci imprese io canto.<br /> <br /> The romances of knight errantry reflected the<br /> humour of their day as completely as ‘‘ The Senti-<br /> mental Journey” and “The Man of Feeling ” that<br /> of the sentimentalists of the latter half of the<br /> last century. Whatthe popularity of the preter-<br /> natural novel indicates it would perhaps be rash<br /> to say. This however, is certain in literature :<br /> everything very pronounced portends a reaction.<br /> <br /> Henry CRESSWELL.<br /> <br /> <br /> <br /> Sec ———<br /> <br /> OMNIUM GATHERUM FOR JULY.<br /> <br /> —<br /> <br /> Subjects for Books or Articles.—A definition of<br /> “religious education” ; a comparison of Pusey’s<br /> and Stanley’s treatment of scepticism, as detailed<br /> in “ Through Storm to Peace” ; the amenities of<br /> the English, Scotch, and Irish Lakes; Second<br /> Marriages ; an English translation of La Bruyére ;<br /> Quarantine; the substitution of Roman for<br /> German and Greek characters in the printing of<br /> German and Greek; Prorogation, Adjournment,<br /> or Dissolution of the present Parliament? with a<br /> few words on the more celebrated dissolutions of<br /> the present century.<br /> <br /> Giving away Books.—Surely in no case should<br /> an author give away a copy of his book to a<br /> stranger on asking for it, and even unsolicited<br /> presentation copies should be very sparingly<br /> distributed.<br /> <br /> The Coining of Words.—Mr. W. H. Shee, in<br /> his pleasing “ My Contemporaries,” complains (in<br /> 1870) of “colliding” and “stores” and other<br /> then new expressions. I must respectfully differ<br /> from him. Fingere cinctutis, &amp;c. Why not,e.g.,<br /> “irregulate,” “ polyglottist,”” and for “Hadn’t I<br /> better?” “ Bett’n’t 1?”? And why not ‘“ Ameri-<br /> canisms,” if they express something, as “ fall”<br /> for autumn, better than we can?<br /> <br /> Biographies.—Perhaps the best modern field<br /> for literature is biography, but the subject should<br /> be interesting, the biographed should have been<br /> dead some ten years, the biographer should have<br /> known him well, but not be either his wife or<br /> child, the biography should disclose some new<br /> facts, the whole truth should be told, and scarcely<br /> a letter should be printed at length. The best<br /> modera biography I know is that of Miss Austen,<br /> by a nephew; and that of Macaulay by Sir<br /> George Trevelyan—again a nephew—ranks very<br /> high.<br /> <br /> F<br /> 54 THE AUTHOR.<br /> <br /> The best thing in Literature—Carlyle twice<br /> committed himself to naming the best thing in<br /> all literature, naming, oddly enough, a different<br /> thing each time. His selections were, first, the<br /> Francesca narrative in the “Inferno” (how<br /> mangled by Cary !) ; secondly, without any refer-<br /> ence to his first selection, the description of the<br /> war-horse in Job. Had he attempted the<br /> impossible? Or is the Nausicaa episode in the<br /> Odyssey better than either of Carlyle’s selections ?<br /> <br /> Title —There is very much in a title, and titles<br /> have been frequently changed before publication.<br /> There is no copyright in a title, as was shown by<br /> the “Splendid Misery” case. Should there<br /> not be?<br /> <br /> The Second Mrs. Tanqueray.—It is impossible<br /> for dramatic art to treat this subject more finely<br /> than Mr. Pinero and Mrs. Patrick Campbell have<br /> treated it. But it may, perhaps, be hoped that<br /> the subject will in this country be relegated to<br /> the pages of the philosophical historian (see, e.7.,<br /> the eloquent words of Mr. Lecky, in the “ History<br /> of European Morals,’ vol. ii., at p. 299) :—tkat<br /> Niniche, with or without variation, is not about<br /> to invade our stage :—and that the genius of Mrs.<br /> Campbell will soon be displayed in another play<br /> as “strong” as that which has made her name<br /> famous, but less unpleasing.<br /> <br /> A two-page Preface.—I have to thank my<br /> learned friend Sir Frederick Pollock for pulling<br /> me up in the last number of the Author. No<br /> loubt I put my case too high in the May number.<br /> Brevis esse laboro, &amp;c. Howbeit, Savigny’s<br /> “Vorrede’” in its two last pages contains all<br /> the essentials of a preface, and both Mr. Hunter<br /> and Mr. Sandars are two-page men.<br /> <br /> J. M. Leuy.<br /> <br /> NOTES FROM PARIS.<br /> <br /> Paris, June 23, 1893.<br /> <br /> HE hot weather, a certain amount of laziness,<br /> and a periodical fit of discouragement have<br /> kept me away from the Author for two<br /> months past. As to the discouragement, it is<br /> what I suppose everybody connected with the<br /> noble profession of letters is more or less<br /> accustomed to. I hope, however, that few of my<br /> readers are ever exposed to such a number of<br /> tuiles, as the French call them, as have been<br /> <br /> falling of late on my devoted head. Entin .<br /> <br /> I had heard a good deal about the sweating to<br /> which translators were subjected, but I did not<br /> <br /> know that things were as bad as they appear to<br /> be. A day or two ago I received a letter from a<br /> French publisher who is about to produce in<br /> England, at his own expense, and published on<br /> commission, a translation of a successful French<br /> novel of a highly moral order, and in which he<br /> informed me that my name had been mentioned<br /> to him by the Paris agent of the house which is<br /> to publish the book in London as a possible<br /> translator of the work. I saw the agent in<br /> question, and he informed me that the publisher<br /> intended to produce a first edition of two thousand<br /> copies at six shillings each, which, allowing for<br /> expenses and author’s fee, would put from one<br /> hundred to one hundred and thirty pounds in his<br /> pocket. I then called on the publisher and was<br /> shown the book. It was a volume of about three<br /> hundred and twenty pages, of close type,<br /> amounting altogether, I should say, to close upon<br /> ninety thousand words. He said that he should<br /> like to have the translation in hand towards the<br /> end of July. He then explained that this was an<br /> experiment, and that he was obliged to be very<br /> economical, and could not spend much money on<br /> the translation, I then asked him what he pro-<br /> posed to pay for a literary translation of this<br /> ninety thousand word novel. He said ten pounds,<br /> but then corrected himself and said that he would<br /> pay twelve pounds. I did not say anything<br /> except to wish him good morning. I suppose,<br /> though, that there are plenty of poor people who<br /> would be glad to accept these terms of one<br /> farthing a line for a literary translation of a<br /> difficult French novel. I am very sorry for them.<br /> <br /> I was delighted with the déjeziner that Messrs.<br /> Charpentier and Fasquelle gave to artistic and<br /> literary Paris on Wednesday last in celebration of<br /> the conclusion of Zola’s Rougon-Macquart series.<br /> There were about two hundred guests, and the<br /> déjeiner was held on one of the islands in the<br /> lake of the Bois de Boulogne. Zola looked very<br /> spruce ina black frock coat, light grey trousers,<br /> and a pair of varnished boots. I sat just behind<br /> him, next to Jules Jouy, the chansonnier, and<br /> opposite to Yvette Guilbert, who, during Char-<br /> pentier’s speech, where reference was made to the<br /> days of misery which Zola and Madame Zola had<br /> passed through, burst into very genuine tears.<br /> Zola’s speech in answer to Charpentier was a very<br /> touching one. He called his publisher “my old<br /> friend,” and said, “if I have not ceased writing<br /> you have not ceased publishing,” so that, in sort,<br /> as much of the honour was due to the publisher.<br /> It was a pleasant sight to see author and publisher<br /> sitting side by side united by such bonds of affec-<br /> tion. Catulle Mendés made a_ very literary<br /> <br /> <br />  <br /> <br /> @<br /> 2<br /> i<br /> <br /> of the most illustrious glories of France.<br /> <br /> THE AUTHOR. 55<br /> <br /> speech, in which he complimented Zola on his<br /> triumph and glory, referred briefly to the old<br /> quarrel between the Parnassiens and the<br /> Réalistes, and concluded by saying that, whilst he<br /> must be allowed to consider poetry as “ wonder-<br /> fully superior” to any other form of literature,<br /> he was the first to acknowledge that Zola was one<br /> Other<br /> speeches followed, Zola replying each time. He<br /> insisted on the necessity of work, repeating what<br /> Balzac wrote in “La Cousine Bette” on the sub-<br /> ject of “le travail constant.” The lunch was<br /> followed by an open-air concert, at which Jules<br /> Jouy, Yvette Guilbert, and Kamhill performed.<br /> Clovis Hugues, in conclusion, recited some very<br /> sonorous verses in honour of the hero of the day.<br /> It was a very Parisian féte, and one was glad to<br /> have been present. Zola seemed in fine form,<br /> and to be full of work. Still, I thought that one<br /> of the orators went rather far in saying that in<br /> days to come the production of the Rougon-<br /> Macquart pyramid would appear but a charming<br /> episode in the author’s career, in face of all the<br /> other books that he would eventually produce.<br /> <br /> <br /> <br /> I should like to introduce to the notice of<br /> English authors who may be desirous of having<br /> their works produced in America, the name of a<br /> publishing firm, which has only recently started,<br /> but which is working on principles which should<br /> recommend it to every author’s heart. This is<br /> the Cleveland Publishing Company, of 19,<br /> Union-square, New York. The principal member<br /> of this firm is a lady named Mrs. Cremers, who<br /> desires to bring about a revolution in the arrange-<br /> ments existing between authors and publishers.<br /> The firm pays the highest royalties paid by any<br /> firm in America, and has arranged for monthly<br /> payments of accounts instead of quarterly or<br /> half-yearly settlements.<br /> <br /> I saw a nasty attack made against this firm in<br /> a Scotch evening paper, under the following cir-<br /> cumstances. In sending over copies of a book<br /> which the firm wished to be reviewed in the<br /> English press, a letter was addressed to the editor<br /> of each paper to which a book was sent, asking<br /> that it might be handed to the critic. This was<br /> done because it was thought that the book coming<br /> from abroad—it not being tle practice of<br /> American firms to send books to English papers<br /> for review—it might be overlooked. Nothing, of<br /> course, was said in any of these letters to imply<br /> that a favourable notice was hoped for. It<br /> seemed to me, therefore, very unjust on the part<br /> of the correspondent of the paper referred to to<br /> qualify a simple act of courtesy on the part of<br /> <br /> the American firm as “ confounded impudence,”<br /> “sharp practice,” “a stale trick to try and obtain<br /> favourable notices,’ &amp;c. This was all the more<br /> untrue and unjust that the book in question is<br /> not for sale in England, and will not be.<br /> <br /> <br /> <br /> The next number of La Plume is to be<br /> entirely devoted to Victor Hugo, on the occasion<br /> of the publication of that magnificent volume of<br /> poems, “Toute La Lyre,” which has recently been<br /> issued by his literary executors, and in honour of<br /> which a banquet was given the other day at<br /> Lamardelay’s restaurant. The following number<br /> will be devoted to Jules Chéret, the designer of<br /> those artistic posters which make the hoardings<br /> of Paris the delight of all artists and the envy<br /> of the world.<br /> <br /> <br /> <br /> I don’t think that a novelist can make a greater<br /> mistake than to live out of his country ; and the<br /> writers of fiction who do live away from home<br /> and who succeed, are most certainly very rare<br /> exceptions. To interest one’s public, one must<br /> be in touch with their way of thinking, must be<br /> able to write of the things and the people that<br /> interest them, and to describe the scenes that<br /> they wish to hear of. A writer living in a foreign<br /> country cannot do this. He is out of sympathy<br /> with the people whom he would interest. It is<br /> true that he can write about the people in the<br /> country which he inhabits, but how very little do<br /> foreigners and their ways interest the large public<br /> of another country. Ask the average English-<br /> man to whom he would rather be introduced, a<br /> nice French family or an equally nice English<br /> family, and in nine cases out of ten he will vote<br /> for his countrymen. It is quite natural.<br /> <br /> R. H. SHERARD.<br /> <br /> &gt;&lt; ———__————-<br /> <br /> TO ARRIGO BOITO.<br /> <br /> <br /> <br /> O poet among poets, from a land<br /> Where poetry and music take their birth,<br /> I, but a humble minstrel, kiss thy hand<br /> To greet thee as a king in bardic worth.<br /> Thou whose great name, in music and in verse,<br /> Is wedded to the greatest names we know,<br /> By inspirations lofty, noble, terse,<br /> Through which the flashes of thy genius glow.<br /> Thou, who hast given Goethe’s soul to song<br /> And roused great Verdi to sublimer youth,<br /> Shalt fine a royal welcome to prolong<br /> Thy praise in peans of surpassing truth.<br /> Among the triumphs by thy genius wrought,<br /> One here shall chiefly to thy fame be sung,<br /> For thou hast clothed our Shakespeare’s wondrous thought<br /> In Dante’s musical and magic tongue.<br /> Mowsray MARRAS.<br /> &lt;6 THE<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> Sprigge, the delegates of the Society,<br /> <br /> sailed in the Etruria on June 10, and<br /> arrived off Sandy Hook June 18. It is announced<br /> that the Etruria was placed in quarantine. No<br /> communications have been received.<br /> <br /> \ R. WALTER BESANT and Mr. S. S&amp;.<br /> <br /> _—<br /> <br /> <br /> <br /> IT wonder that no enemy of our Society—if<br /> our Society can have an enemy outside of<br /> Newgate—has pointed out a certain famous<br /> Association apparently, but not really, similar<br /> to our own, founded, but not firmly established,<br /> by Uncle Jack in “ The Caxtons”’ :<br /> <br /> “From time immemorial,” said Uncle Jack, ‘‘ authors<br /> have been the prey of publishers. Sir, authors have lived<br /> in garrets; nay, have been choked in the street, by an unex-<br /> pected crumb of bread, like the man who wrote the play,<br /> poor fellow!”<br /> <br /> “ Otway,” said my father, “the story is not true—no<br /> matter.”<br /> <br /> “ Milton, sir, as everybody knows, sold ‘ Paradise Lost’ for<br /> ten pounds —ten pounds, sir. But the booksellers can<br /> live in houses—they roll in seas of gold. They subsist<br /> upon authors as vampires upon little children. But at last<br /> endurance has reached its limit—the fiat has gone forth—<br /> —the toesin of liberty has resounded—authors have burst<br /> their fetters. And we have just inaugurated the institu-<br /> tion of ‘THe Granp ANTI-PUBLISHER CONFEDERATE<br /> Autuors’ Socimty,’ by which, mark you, every author is<br /> to be his own publisher ; that is, every author who joins<br /> the society. The author brings his book to a<br /> select committee appointed for the purpose. They read it;<br /> the society publish, and after a modest deduction which<br /> goes towards the funds of the society, the treasurer hands<br /> over the profits to the author.”<br /> <br /> In the discussion which follows, all three dis-<br /> putants show themselves totally ignorant of the<br /> real points at issue. The Society issues a list,<br /> and, as everybody remembers, after a_ brief<br /> existence, collapses altogether.<br /> <br /> <br /> <br /> Lytton may have taken this idea—for it was<br /> before the days when Respectability—to use a<br /> Lyttonian capital — believed in Co-operation—<br /> from the Society of British Authors of the year<br /> 1843. Of this miserably abortive attempt Lytton,<br /> with. Dickens, Thackeray, Miss Martineau, and<br /> other excellent writers, was an original member.<br /> But as the measures proposed by the committee<br /> were ludicrous in their uselessness they all with-<br /> drew. The society never attempted an ‘ Anti-<br /> Publishers Confederate Authors’ Society.”” They<br /> never even got so far as to inquire into the cost<br /> of production, nor to ask whether an author<br /> should dare to approach a publisher except as a<br /> mendicant. It is quite possible, however, that<br /> there was a good deal of wild talk about what<br /> <br /> AUTHOR.<br /> <br /> authors could do and should do, but no one<br /> ventured to formulate the real grievances of the<br /> situation. In less than a year the society ceased<br /> <br /> to exist.<br /> <br /> ———<br /> <br /> Next, one would like to ask, how far. Bulwer<br /> Lytton continues to be popular? I do not<br /> suggest, or wish to suggest, that his works are<br /> not still popular. But this question is part of a<br /> much larger one, viz., how far the changes in<br /> ideas and views of things affect the popular<br /> novelist in the one or two generations which<br /> come after him? Many changes, for instance,<br /> have taken place in social matters since Lytton<br /> wrote “The Caxtons.’ Things are done and<br /> tolerated which were not then permitted—the<br /> word “ society,” except in certain circles of which<br /> the world knows little, has become greatly en-<br /> larged in meaning; the use of the dress coat has<br /> been largely extended, as may be seen any evening<br /> by a visit to the Empire Theatre; retail trade<br /> does no longer, in the eves of some, derogate from<br /> gentility. One has only to turn over the leaves<br /> of such a social novel as “The Caxtons’’ to<br /> become aware of a distinct change in the atmo-<br /> sphere. Those of us whoremember that atmosphere<br /> are not displeased to be taken back to it. Those<br /> who cannot remember it are perhaps irritated by it.<br /> Tn the same way and for the same reasons Dickens<br /> is said to be losing his hold on the younger gene-<br /> ration. One can understand that a novelist may<br /> be very popular in his own generation, may lose<br /> most of the popularity when the next two genera-<br /> tions consider his views old-fashioned, and may<br /> recover some of it when they have become<br /> historical. There is also, besides the change of<br /> manners, a certain staginess about some of the<br /> work of the forties and fifties; and there is an<br /> affectation of virtue about some of them which,<br /> to those who know the life and conversation<br /> of the time, is either amusing or irritating. For<br /> instance, who in these days—particularly, what<br /> man who reads French novels—could write the<br /> following ?<br /> <br /> “Oh,” said Vivian carelessly, “French novels; I don’t<br /> wonder you stayed so long. I can’t read your English<br /> novels—flat and insipid; there are truth and life here.”<br /> <br /> “ Truth and life!” cried I, every hair on my head erect<br /> <br /> with astonishment, ‘then hurrah for falsehood and<br /> death !”<br /> <br /> This brought down the gallery formerly—<br /> would it now? Would any young man now pre-<br /> tend that his hair was erect with astonishment at<br /> such words? In the name of Mr. Burchell,<br /> “Fudge!” But as an attempttowards the solution<br /> of this question, it would be well to inquire what<br /> is the present demand in libraries, compared with<br /> that twenty years ago, of the following writers :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> a<br /> =<br /> 4<br /> <br /> THE AUTHOR. 57<br /> <br /> Scott, Marryatt, Lytton, Dickens, Thackeray,<br /> Kingsley, Ainsworth, and George Eliot?<br /> <br /> <br /> <br /> Not many English readers know of Lucy<br /> Larcom, American poet. She died on the 17th<br /> of April last at the age of sixty-eight having<br /> been born in the year 1825. She was a native of<br /> Beverley, Mass., and began life as a mill hand at<br /> Lowell. It will be remembered that Charles<br /> Dickens spoke with admiration of the activity<br /> and courage of the Lowell girls, who, after a day<br /> of twelve hours in the mills, could sit down in<br /> the evening to study and to write. These girls<br /> ran a magazine of their own, to which Lucy<br /> Larcom contributed. The Lowell Offering con-<br /> tinued for many years. Charles Knight pub-<br /> lished a volume of selections from it called<br /> “ Mind among the Spindles.” Encouraged by<br /> Whittier the girl gave up the mill and taught in<br /> a school. Nota great writer, her verses are full<br /> of sweetness and delicacy. Here is an extract<br /> from “The Prairie Nest: ”<br /> <br /> Nature, so full of secrets coy,<br /> <br /> Wrote out the mystery of her joy<br /> <br /> On those broad swells of Ilinois.<br /> <br /> Her virgin heart to Heaven was true ;<br /> <br /> We trusted Heaven and her, and knew<br /> The grass was green, the skies were blue.<br /> And life was sweet! What find we more<br /> In wearying quest from shore to shore ?<br /> Ah, gracious memory! to restore<br /> <br /> Our golden West, its sun, it showers,<br /> And that gay little nest of our,<br /> <br /> Dropped down among the prairie flowers!<br /> <br /> —=&lt;=—=—<br /> <br /> The most valuable possession of publishers is<br /> the Past. All the old books belong to them.<br /> Their authors, from Homer down to Dickens,<br /> have no claim or rights in the property they have<br /> created. No jealousies are caused by their suc-<br /> cessful manipulation of dead and gone authors ;<br /> they are only rivals with each other in the exploita-<br /> tion of this property ; but the world takes no heed<br /> of trade rivalry ; all we are concerned with is the<br /> presentation of the property for sale. After<br /> this preliminary of commonplace, it is pleasant<br /> to recommend altogether the reproduction by J. M.<br /> Dent and Co. of “Some Famous Novelists<br /> of Bygone Years.” The works of Jane Austen<br /> and Thomas Love Peacock are already before the<br /> public. They are to be followed by those of the<br /> Brontés, Maria Edgeworth, Fielding, Fanny<br /> Burney, and Oliver Goldsmith.<br /> <br /> <br /> <br /> Miss Edgeworth tells us that her father’s most<br /> regular correspondence was with the late excel-<br /> lent Joseph Johnson, the bookseller—the man of<br /> <br /> whom the poet Cowper speaks so frequently in<br /> his letters with strong regard. It is worth while<br /> to quote a short paragraph from the letter of<br /> Johnson’s nephew, announcing his uncle’s death<br /> to Mr. Edgeworth: “A short time before he<br /> died, he dictated the following words, and soon<br /> after expired: My uncle is so afflicted with the<br /> spasms and asthma, that he has desired me to<br /> write to you, to say, that he should ill deserve<br /> your confidence, if he were rigidly to adhere to<br /> the contract, which he made for the last work ;<br /> the sale of which has enabled him to double the<br /> original purchase-money, and to place the sum to<br /> the credit of your account.” After Johnson’s<br /> death, his nephews sent Edgeworth a copy of<br /> his portrait, and Edgeworth wrote these lines<br /> under the print :<br /> ‘ Wretches there are, their lucky stars who bless<br /> <br /> Whene’er they find a genius in distress:<br /> <br /> Who starve the bard, and stunt his growing fame<br /> <br /> Lest they should pay the value for his name.<br /> <br /> But Johnson raised the drooping bard from earth.<br /> <br /> And fostered rising genius from its birth ;<br /> <br /> His liberal spirit a profession made<br /> <br /> Of what with vulgar souls, is vulgar trade.”<br /> <br /> <br /> <br /> IT have to thank Mr. Alfred F. Robbins for a<br /> copy of his article on the “ Writing of Local<br /> History,” contributed to the Western Antiquary.<br /> In another part of this paper (p. 48) will be<br /> found his concluding remarks. Local histories<br /> should be multiplied, if they can be written by<br /> scholars and antiquaries. Most local histories are<br /> perfectly usele-s for any antiquarian or historical<br /> purposes. Mr. Robbins points out that there<br /> are immense collections of documents hitherto<br /> almost untouched. Where they have been only<br /> partly examined, as by Prof. Freeman or by<br /> Ryley, the past becomes at once changed—<br /> changed and glorified. For instance, who has<br /> ever examined the Episcopal Registers, the<br /> Registers of the Consistory Courts, the wills<br /> deposited in the county towns, the Manor Court<br /> Rolls? Then there are the MSS. in the<br /> Bodleian, in the Record Office, the Domestic<br /> State Papers, the masses of private letters, and<br /> many other collections at present almost un-<br /> known. These all remain practically untouched ;<br /> and in them lies the real history of our country.<br /> Of one thing we may be quite sure—that the<br /> most important branch of literature of the future,<br /> from my point of view, will be that of history,<br /> for the whole of history will be entirely re-written<br /> when these documents have been read,<br /> <br /> ——<br /> <br /> The New York Critic has been taking a vote<br /> on the ten best American books. The following is<br /> <br /> <br />  <br /> <br /> <br /> 58<br /> <br /> <br /> <br /> the list, with the number of votes which each<br /> book attained :<br /> <br /> <br /> <br /> Emerson’s Essays, 512 Irving’s Sketchbook, 307<br /> votes votes<br /> Hawthorne’s ‘“ Scarlet Lowell’s Poems, 269 votes<br /> Letter,” 493 votes Whittier’s Poems, 256 votes<br /> Longfellow’s Poems, 444 Wallace’s“ Ben Hur,” 250<br /> votes votes<br /> “Uncle Tom’s Cabin,” 434 Motley’s “Rise of the<br /> votes Dutch Republic,’ 246<br /> Holmes’s “ Autocrat,” 388 votes.<br /> votes<br /> — ret<br /> CORRESPONDENCE.<br /> I.<br /> <br /> Tur Srock-1n-TRADE OF CRITICS.<br /> <br /> | | NDER the heading, “‘ Attack and Defence,”<br /> in the issue of the Author for May,<br /> “©. L.” complains with truth of the<br /> careless fashion in which so-called reviewers<br /> accomplish their duties. In confirmation, he<br /> quotes examples of personal injustice which verify<br /> his contentions beyond dispute.<br /> <br /> I have at my elbow scores of notices—by no<br /> stretch of leniency can they be called criticisms<br /> or reviews—fully bearing out ‘“‘C. L.’s” expe-<br /> riences. Without being unduly sensitive, most<br /> scribes would, I apprehend, smart under such<br /> blows dealt across their long-suffering backs.<br /> My literary skin is somewhat tender after much<br /> of this anonymous chastisement. I am not, by<br /> nature, vindictive; but I do yearn for a tilt<br /> against these cruel assailants. Will you open<br /> your arena to me fora space? I promise that<br /> my thrusts shall be prompt—if possible, deadly.<br /> Should they only succeed in knocking up the<br /> visors of my opponents, the encounter will not<br /> have been without profit.<br /> <br /> Now, examiners of fiction persistently sneer at<br /> the stock-in-trade of us poor novelists. That is<br /> the very weapon I would seek to turn against<br /> themselves. Does it never occur to these irre-<br /> sponsible censors that their own range of style<br /> and vocabulary is not immaculate? But for<br /> their serious results, the exhibition of slipshod<br /> English, tautology, and attempted facetiousness,<br /> which trip each other up with quite rollicking<br /> inconsistency, would be distinctly humorous.<br /> As for cacophony, one’s teeth are set on edge by<br /> sentences which would disgrace the constructive<br /> abilities of a charwoman.<br /> <br /> Here are a few examples of the stock-in-trade<br /> of critics, taken at random, with which I throw<br /> down the gauntlet :—<br /> <br /> _ “Neither better nor worse than the majority of<br /> its competitors;” “A wholesale slaughter of<br /> adjectives ;” ‘ Perfectly innocuous;” “A novel<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> with a purpose;” “An insipid production ;”<br /> “Nothing, if not conventional ;” ‘Trash ;”’—<br /> what would the fault-finders do without that<br /> word !—* Padding ;” “ Lack of interest ;”” “‘ Most<br /> of the characters are too good to live;” “No<br /> concensus ef opinion ever did, or will, put down<br /> a good book;” “To gratify the author&#039;s vanity,”<br /> and so on ad nauseam. :<br /> <br /> The scorpion’s sting can scarcely be more<br /> venomous than this last unkindly gibe. Is not<br /> the “vanity” of wishing to see one’s work go<br /> forth pardonable when brains, time—alas! some-<br /> times money—have been expended in the, at<br /> least, praiseworthy endeavour to produce a read-<br /> able volume ? What if a novel pleases, Mes-<br /> sieurs Snarl? We are not all fashioned in the<br /> same mould of criticalacumen. Somebody once<br /> genially remarked of one of my efforts, that it<br /> might prove an acceptable book to read, though<br /> not to criticise. That is the sort of prophecy I<br /> like. The great, seldom-at-fault Public is, after<br /> all, the true discriminator.<br /> <br /> Permit me to give a parting lunge of a per-<br /> sonal character at an irritating mistake made by<br /> many critics. I happen to possess a Christian<br /> name which is occasionally, but most rarely, in this<br /> form of spelling, common to both sexes. Why,<br /> therefore, am I the victim of a foolish blunder which<br /> constantly attributes my work to female origin ?<br /> <br /> That seems to mea genuine author’s grievance<br /> which I trust your friendly columns will allow<br /> me to ventilate. Crecin CLARKE.<br /> <br /> Authors’ Club, Whitehall-court.<br /> <br /> May 17, 1893.<br /> <br /> <br /> <br /> Il.<br /> THREE CRITICISMS.<br /> <br /> The editor of a provincial paper writes: “T<br /> have successfully written stories for and con-<br /> ducted a paper which has become a property. A<br /> long story of mine was published in book form,<br /> and sold sufficiently well from a second-rate pub-<br /> lishing house to pay all expenses and leave a<br /> margin of profit during the first twelve months.<br /> Here are three specimens of the reviewer&#039;s art as<br /> published in four leading London papers:<br /> <br /> The story is garrulous and Here we have a story of<br /> <br /> jejwne. good rank. It is sufficiently<br /> sensational to sustain inte-<br /> Murder, madness, and rest, though the author has<br /> <br /> <br /> <br /> <br /> <br /> treachery of all kinds are<br /> rampant in the story, and if<br /> Mr. Blank would curtail his<br /> dialogue and story altogether<br /> by one-half, his readers<br /> would be more likely to<br /> reach the end.<br /> <br /> not fallen into the error of<br /> sacrificing literary and<br /> artistic dignity to a desire<br /> to be thrilling. The plot is<br /> good, the narrative uniformly<br /> pleasing and _ occasionally<br /> very admirable, and the<br /> <br /> sketches of character are in<br /> every case excellent.<br /> <br /> <br /> <br /> <br /> <br /> <br /> Lt<br /> <br /> <br /> <br /> THE AUTHOR. 59<br /> <br /> By many papers the tale was so unmercifully<br /> slated that I wondered how I could keep an ex-<br /> pensive family for ten years upon money earned<br /> by my pen; buta larger number of reviewers<br /> praised the story, and so I was consoled. My<br /> next MS. was submitted to the unknown critic of<br /> our Society of Authors, and secured the “ slating”<br /> prior to publication, with a satisfactory result.<br /> That criticism, however, was only educational. I<br /> would suggest that the Society’s opinion as to the<br /> commercial value of a story should be given in<br /> cases where the educational criticism is fairly<br /> good. Writing with most of us is a business,<br /> and the council of the Society of Authors would<br /> do well to recognise this.”<br /> <br /> <br /> <br /> IIT.<br /> <br /> Macponatp v. “ Natrionan Review.”<br /> <br /> Some of the dailies, in commenting upon the<br /> recent suit of Author v. Editor—Macdonald v.<br /> New Review—prophesy that publishers will have<br /> to come to the American system of paying for<br /> manuscripts upon acceptance.<br /> <br /> Allow me to say, as a contributor to American<br /> periodicals, that this payment upon acceptance is<br /> by no means the invariable case. The American<br /> publishers who pay before publication are the<br /> very élite of their profession, and in high honour<br /> among contributors. The Century, Harper&#039;s,<br /> North American Review, Scribner&#039;s, the Indepen-<br /> dent, and Youths’ Companion, not only pay upon<br /> acceptance, but accept (or decline) within two<br /> months of receiving a MS. The Atlantic, New<br /> England) Magazine, Outing, Frank Leslie’s,<br /> Chantangnan, Home Maker, &amp;c., pay upon pub-<br /> lication.<br /> <br /> It is to be said, however, that even in America<br /> certain publications are a snare and a delusion<br /> to the inexperienced. A “religious” paper in<br /> New York accepts MSS., and never pays for<br /> them. A periodical in San Francisco, with<br /> every pretence of respectability, does not<br /> “accept” or yet decline S., but often publishes<br /> after many years, and pays—Heaven only knows<br /> when !<br /> <br /> As an offset to this, let me name the New<br /> York Art Interchange (edited and managed by<br /> a woman), which every Christmas sends its<br /> regular contributors a little “box” of ten<br /> dollars. Ishould like to know if there is another<br /> such periodical in the world? Certainly La<br /> Nouvelle Revue (also managed by a woman) is<br /> unlike it. Madame Adam pays five francs the<br /> page, and has no knowledge of Christmas-boxes.<br /> —Yours truly, Marearer B. Wriaur.<br /> <br /> <br /> <br /> IV.<br /> REVIEWING.<br /> <br /> Mr. Halcombe’s letter in the June number of<br /> the Author sets one a-thinking about criticism.<br /> Is there such a thing as a standard of criticism ?<br /> Mr. Halcombe’s experience is, I imagine, that of<br /> most authors. Some reviews are favourable,<br /> others the reverse. Is criticism a matter of taste<br /> or judgment—is it always exercised as a medium<br /> for a true opinion, or is it sometimes regarded as<br /> an occasion for sarcasm—for a flippant or a<br /> well-weighed verdict? Criticism, it appears to<br /> me, should be deemed a work of responsibility in<br /> which a just judgment should be pronounced,<br /> not only in the interests of the author and pub-<br /> lisher, but also in the interests of the reading<br /> public, It seems strange that if there be a true<br /> standard of criticism that a book should be<br /> noticed favourably by one critic and unfavourably<br /> by another—the favourable and the unfavourable<br /> criticism cannot both be in accordance with<br /> truth.<br /> <br /> I speak feelingly, for a volume of poems of<br /> mine recently published (“ Poems Old and New”’),<br /> reviewed at some length with appreciation in<br /> the Atheneum, the Record, and the Globe, &amp;e., 18<br /> very superficially, hastily, and curtly noticed in<br /> a late number of the British Weekly. “The<br /> poems are imitative,” says this latter publication,<br /> “but not unpleasant” (how flattering!), and<br /> in proof of his dictum the critic quotes one<br /> stanza from a poem called “ Hie.’ (Chis.<br /> he says, “is a reminiscence of ‘ Bertha in the<br /> Lane,’ the well-known poem by Mrs. Browning.”<br /> Now, the only resemblance between the two<br /> poems is in the metre. Mrs. Browning’s poem<br /> is the pathetic story of the sacrifice made<br /> by one sister to secure the happiness of another,<br /> told with all the power of the authoress,<br /> whereas “Effie” is simply the lament of a<br /> father on the death of a child. Can the adop-<br /> tion of a certain metre be called “imitative”?<br /> Then what poet may not be accused of “imita-<br /> tion”? Was Tennyson “imitative” when he<br /> used in “In Memoriam” the metre that Rosetti<br /> had employed before him in “My Sister’s Sleep”?<br /> Is such a criticism in the British Weekly fair or<br /> true, and is it not calculated to damage the book,<br /> which is thus almost contemptuously noticed, in<br /> the eyes of the reader? Hoping that you will<br /> permit me to give in the pages of the Author<br /> what Mr. Halcombe calls “a downright hearty<br /> growl.” CGuarues D, Brix, D.D.<br /> <br /> <br /> Vv.<br /> An EXPLANATION.<br /> <br /> I shall be glad to correct a misapprehension<br /> to which my letter in your last issue appears to<br /> lend itself. The question between Professor<br /> Sanday and myself is not, in its primary aspect,<br /> one of theology at all. It is simply one of law.<br /> The views which Professor Sanday champions,<br /> however generally held, confessedly leave the<br /> Gospels, so far as their historical authority is<br /> concerned, ‘‘ wounded and half dead.’ On<br /> behalf of the Gospels, it is urged that a hearing<br /> for the views by which they have been thus<br /> discredited, has only been gained by their advo-<br /> cates excluding from court the one witness<br /> capable of bearing overwhe’ming evidence in<br /> their favour. Thus the question is—not as to<br /> the character of the results which might follow<br /> from the admission of St. John’s evidence, but<br /> —whether what is alleged to be such over-<br /> whelmingly important evidence can be lawfully<br /> excluded, and whether in the meantime accusa-<br /> tions against the Gospels—nineteen out of twenty<br /> of which must, from the nature of the case, be<br /> erroneous—are entitled to the collective value<br /> which at present attaches to them. On this<br /> point I have no need to seek the appointment of<br /> a referee. Already, at length, and under their<br /> own names, four persons, as capable and inde-<br /> pendent as any referee who could be named,<br /> have recorded their verdict on the subject in the<br /> pages of one of the first critical journals of the<br /> day. I need hardly point out that this is pre-<br /> eminently a case in which the opinion of a single<br /> competent critic who has taken the trouble to go<br /> into the facts of the case, may well outweigh<br /> the opinions of a whole theatre of others, who<br /> have not cared to resist the vis inertie of a not<br /> unnatural incredulity. I submit, then, that<br /> whilst it is perfectly open to Professor Sanday<br /> to resign the position of a specially retained<br /> defender of the Gospels, it is not open to him to<br /> retain that position, and yet so to yield to his own<br /> theological pessimism as, in spite of all remon-<br /> strance, to refuse to them a measure of justice<br /> which the law of the land would compel him to<br /> accord to the humblest person living under its<br /> protection, J. J. Hatcomss,<br /> <br /> <br /> <br /> <br /> <br /> VI.<br /> “Tn Puan Fiauregs.”<br /> <br /> It would be of great convenience to those who<br /> purchase books if the price could be marked, as<br /> well as the publisher’s and author’s names; and<br /> especially to those part of whose duty it is to re-<br /> commend books. It is a matter of frequent<br /> <br /> THE AUTHOR.<br /> <br /> occurrence to read the review of a book, or even<br /> the book itself, and to have no idea of what the<br /> price is. It is not likely that booksellers will put<br /> up with frequent inquiries on the subject of<br /> prices without frequent purchases, succeeding as<br /> as agreeable corrective ; nor, in fact, can provin-<br /> cial booksellers always answer such inquiries. The<br /> method of resorting to postcards and impor-<br /> tuning the publishers is open to many objections.<br /> If “literary property resembles all other pro-<br /> perty,’”’ it has the best chance of a market when<br /> its price is put in plain figures. While on this<br /> subject, the question of discount is one that<br /> authors should enter into; at present it varies<br /> rather more than the bank-rate, and not with the<br /> market, but with the experience of the pur-<br /> chasers. How many who buy books know of dis-<br /> count; how many are told, “ We can’t give dis-<br /> count on this series’? Writing in one of the<br /> biggest libraries in England, established for nearly<br /> a century, I believe they still only get 2d. in 1s,<br /> discount. Cannot authors mark their books,<br /> “ Credit price, 2s.6d.; Discount price, 1s. 11d.” ?<br /> Where profits are cut so very fine, booksellers as<br /> well as publishers should be dealt with on busi-<br /> ness principles. Keneum D. Cores.<br /> <br /> <br /> <br /> VII.<br /> “ Art THE Epes Git, PLEASE.”<br /> <br /> The taste for claret, tobacco, olives, caviar—<br /> and it would appear for books with rough edges—<br /> has to be acquired. When ‘ London City” was<br /> published quite a number of letters, couched<br /> in language curiously alike, were received from<br /> indignant subscribers, complaining that the<br /> binding was unfinished, the top edge only being<br /> smooth and gilt, while the other edges were in a<br /> disgracefully rough state, in fact, quite un-<br /> finished.<br /> <br /> Thad almost forgotten this amusingly irritating<br /> correspondence until the other day, when the<br /> launching of the companion volume, ‘“ London<br /> City Suburbs,” brought in its wake similar<br /> complaints, involving elaborate explanations which<br /> I felt might be neither understood nor believed.<br /> <br /> The Leadenhall Press. ANDREW W. TUER.<br /> <br /> <br /> <br /> VIII.<br /> Tue Ricut oF TRANSLATION.<br /> <br /> I am much obliged to “H. G. B.” for his<br /> explanation of the discrepancy between Article V.<br /> of the Berne Convention and Clause 5 of the<br /> International Copyright Act, 1886, but am still in<br /> doubt and difficulty. The latter clause makes<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 100%<br /> <br /> Aah<br /> <br /> <br /> <br /> THE AUTHOR. 61<br /> <br /> the right of forbidding unauthorised translations<br /> co-extensive with copyright in the original work ;<br /> but the Order in Council (Nov. 28, 1887)<br /> provides that an author shall enjoy no longer<br /> term of copyright than he enjoys in the country<br /> in which the work is first produced, or in that<br /> one of the countries in which it is simultaneously<br /> produced wherein the term is shortest. I should<br /> be glad to know, under these circumstances, what<br /> the boon conferred by the Act in the matter of<br /> translations amountsto. Of course, our Act can-<br /> not confer on me rights abroad without the con-<br /> sent of foreign nations. If I publish an English<br /> book in England, have I the right, for at least<br /> forty-two years, to forbid the publication here, or<br /> <br /> - the importation into this country of any transla-<br /> <br /> tion? Is this right limited by the obligation to<br /> produce an authorised translation within ten<br /> years? If so, where must I produce it?<br /> Further, will my right after ten years to<br /> forbid a French translation depend on my having<br /> published a French translation? My right to<br /> forbid a Dutch translation on my having pub-<br /> lished a Dutch translation, and so on? And, if<br /> it does, what English author, I should like to<br /> know, ever desires, or ever will desire, to produce<br /> a translation of his work for circulation in<br /> England only? The whole thing seems nonsen-<br /> sical. It is astonishing that solemn legislative<br /> documents should be drawn so vaguely. F. T.<br /> <br /> eas<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> T the monthly meeting of the Association<br /> <br /> A of American Authors, held on May 10,<br /> <br /> the matter of holding a special meeting<br /> <br /> to welcome Mr. Walter Besant to America was<br /> <br /> considered, and was eventually left to the Board<br /> of Managers.<br /> <br /> On June 13 a new literary society was born; a<br /> society for the publication of manuscripts and<br /> rare old works relating to the navy. A provi-<br /> sional committee was appointed to consider what<br /> name should be given to the bantling, and to<br /> draw up rules for its conduct. They are to report<br /> to a general meeting at the Royal United Service<br /> Institution, on Tuesday, July 4,at5 p.m. The<br /> provisional secretary is Professor J. K. Laughton,<br /> who will be glad to give further information to<br /> anyone interested in our old naval literature.<br /> His address is Catesby House, Manor-road,<br /> Barnet.<br /> <br /> “Lyrics” is the title of a little volume of<br /> poems by J. A. Goodchild, which has just been<br /> <br /> published by Horace Cox. Dr. Goodchild’s<br /> verses are distinguished by fluency and grace<br /> beyond the majority of modern verses. His<br /> rhythms are very varied, and his rhymes ad-<br /> mirably accurate. Perhaps the thought is not<br /> always entirely worthy of the polished setting.<br /> But, now and again, the author strikes a note<br /> of strong and definite individuality, as in the<br /> following lampoon in the form of a sonnet, upon<br /> the vivisectionists :<br /> An age of doubt and cavil seeks a sign,<br /> Oh! toiler for mankind look back and see<br /> <br /> Where down the barren slopes of Galilee<br /> Soars black the shrieking cataract of swine.<br /> <br /> Forth from those summits shines the Man Divine,<br /> The healed demoniac crouches at his knee.<br /> This sign is given to thy day and thee,<br /> <br /> And Christ performed that duty which is thine.<br /> <br /> Also, thou hast thy further help ’gainst hate,<br /> And fear, andignorance. Watch still that scene.<br /> <br /> The swine and herds flee, the crowd pours from the gate.<br /> The man is naught beside their beasts unclean.<br /> <br /> Christ is thrust forth. Be not intimidate<br /> For any terror of the Gadarene.<br /> <br /> Another piece worthy of attention is ‘A<br /> Deathbed,” in which Dr. Goodchild dramatises a<br /> simple scene of unfailing human interest with<br /> much simple force.<br /> <br /> “The Prospects of Irish Literature for the<br /> People,” an address delivered before the Irish<br /> Literary Society of London, by the Hon. Sir<br /> Chas. Gavan Duffy, K.C., M.G., has been<br /> reprinted.<br /> <br /> Mrs. Trench Gascoigne, the author of “La<br /> Fenton,” has just completed a new three-volume<br /> story, which, under the title of “A Step Aside,”<br /> will shortly be published by Horace Cox.<br /> <br /> “Qyprian Cope,” the author of “Grey of<br /> Greysbury,” “ Mad,” “A Traveller’s Notes in the<br /> Salzkammersgut,” has written a new novel,<br /> which will bear the title of “ At Century’s Ebb,”<br /> and will also be published by Horace Cox.<br /> <br /> Mr. Poultney Bigelow, who has recently made<br /> a most successful voyage in his famous canoe,<br /> Caribée, down the Moldau, which he joined at<br /> Budweis, has been staying at Belleville for the<br /> last few weeks. He has proceeded to Gmunden,<br /> where he will make a stay of some months. Mr.<br /> Bigelow has undertaken to write a sketch of a<br /> canoe cruise about Berlin for the Pall Mall<br /> Magazine.<br /> <br /> “A Colony of Mercy; or, Social Christianity<br /> at Work,” has just been published by Hodder<br /> and Stoughton (crown 8vo., 6s., cloth). The<br /> authoress is Miss Julie Sutter. The book has<br /> been well received, having had some favourable<br /> criticisms in the daily papers. It deals with<br /> some of the burning questions of the day.<br />  <br /> <br /> 62<br /> <br /> “Mona Maclean, Medical Student,” by Graham<br /> Travers (Messrs. W. Blackwood and Son, Edin-<br /> burgh), is now in its sixth edition. It is a novel<br /> of distinct merit, and should appeal, not only to<br /> the ordinary novel reader, but to the thinking<br /> public generally. The heroine is a delight ful<br /> character, and a thorough gentlewoman.<br /> <br /> Mr. F. H. Cliffe has a play accepted which will<br /> be produced in the autumn at a West End<br /> theatre. Another play by the same author will<br /> shortly be touring in the provinces.<br /> <br /> A new volume of verse, by Mr. F. B. Doveton,<br /> is in the press, and will shortly be published by<br /> Horace Cox.<br /> <br /> We have to announce the publication at<br /> Cheltenham of the “ Portraits of the People,” by<br /> J.J. Nunn. The book is nicely printed on good<br /> paper, and is altogether a creditable perform-<br /> ance. The printer and publisher is Horace<br /> Edwards, of High-street, Cheltenham.<br /> <br /> Annabel Gray has received the following<br /> from Mr. Balfour: “Mr. Balfour presents his<br /> compliments to Annabel Gray, and begs to thank<br /> her. for the article which she has been good<br /> enough to send him and which he has read with<br /> interest.” The article alluded to is the “ Genius<br /> of Wisdom,” which appeared in the Professional<br /> World for June.<br /> <br /> Florence Marryat’s new book, “ Parson<br /> Jones,” which Griffith, Farran, and Co. have<br /> just published, is the sixtieth work of fiction<br /> which she has written since she began in 1865<br /> —twenty-eight years ago. Considering the fact<br /> that, during these twenty-eight years, Miss<br /> Marryat has been on the stage and on the plat-<br /> form, both in England and America, and has<br /> done a great deal of work on the press, this is<br /> not a bad record of a busy life.<br /> <br /> Mr. C. Adley, the author of “ Lovely Homes,”<br /> &amp;c., has in the press a new poem, “The<br /> Einherjai,” which will shortly be published.<br /> <br /> Miss Jean Middlemass is bringing out a<br /> serial story, entitled “In the Shadow of Crime,”<br /> in a syndicate of press papers.<br /> <br /> Dick Donovan, of detective fame, has written<br /> a serial for George Newnes, Limited, entitled<br /> “Hugtne Vidocq: Tramp, Thief, Adventurer,<br /> Galley Slave, Detective.’ It deals with the life<br /> and sensational adventures of the notorious<br /> Frenchman, who, beginning his career as a thief,<br /> became one of the most noted detectives of his<br /> day. He subsequently turned lecturer, and there<br /> are those still living who will remember the<br /> sensation he caused at the London Cosmorama,<br /> where thousands flocked to see him. He died as<br /> <br /> THE AUTHOR.<br /> <br /> recently as 1857, at the age of eighty-two. We<br /> understand that Mr. Donovan has had access to<br /> special sources of information. The story will<br /> commence publication almost immediately in<br /> Tit-Bits, and will be subsequently issued in book<br /> form -by George Newnes in this country, and by<br /> Harper Bros. in America.<br /> <br /> Mr. J. E. Muddock is engaged on a new novel,<br /> entitled ‘“Hester’s Triumph,” the scenes of<br /> which are laid in India during the Mutiny, and<br /> deal with some of the most exciting episodes of<br /> that terrible period. The author writes from<br /> personal experience, as he was stationed in<br /> India as a cadet during the Mutiny years. The<br /> work will appear first of all in a number of<br /> weekly newspapers.<br /> <br /> Mrs. Stevenson has written a three-volume<br /> novel, entitled “Mrs. Elphinstone of Drum,”<br /> which has just been published in three-volume<br /> form by Messrs. Richard Bentley and Sons.<br /> <br /> Mr. William Tirebuck, the author of “ Dorrie,”<br /> has written a story entitled “ Sweetheart Gwen,”<br /> which has just been published by Messrs. Long-<br /> mans. “Sweetheart Gwen,” is a Welsh idyll in<br /> prose, highly delicate and graceful.<br /> <br /> Mrs. V. S.Simmons, who, under the pseudonym<br /> of V. Schallenberger, wrote the very successful<br /> story, “Green Tea,” has just published, through<br /> Messrs. Osgood, McIlvaine and Co., a new novel,<br /> entitled ‘‘Men and Men.”<br /> <br /> oct<br /> <br /> Errata.<br /> <br /> On page 442 in the Author for May the<br /> following errata occurred: No. 12, the helpful<br /> “live” for “love” in the present; No. 238,<br /> “mystical” for “mythical;” No. 28, ‘Silent ”<br /> for “silently; No. 32, Science “saves” for<br /> “ serves.”<br /> <br /> In the last line of stanza one of Mr. Doveton’s<br /> “The Theft” in the Author for May, the word<br /> “summer ” should have been deleted.<br /> <br /> oo<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Home devotions, or praise and<br /> Compiled by. Sunday<br /> <br /> Bartram, RIcHARD.<br /> <br /> Prayer for use in families.<br /> School Association. 2s.<br /> Benson, Rev. R. M. ‘The Final Passover: A series of<br /> <br /> Meditations upon the Passion, Resurrection, and Ascen*<br /> Vol. 4. The Life<br /> Longmans. 58.<br /> <br /> sion of our Lord Jesus Christ.<br /> Beyond the Grave. Fourth edition.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> dat<br /> 1<br /> <br /> <br /> <br /> <br /> <br /> git A<br /> wet<br /> <br /> <br /> <br /> epi cseeercnmristasai<br /> <br /> THE AUTHOR. 63<br /> <br /> Dr VereE, AUBREY. Religious Problems of the Nineteenth<br /> Century. Essays by. Edited by J. G. Wenham. St.<br /> Anselm’s Society, Agar-street, Charing-cross.<br /> <br /> Dunn, Rr. Rev. A. Hunter. Holy thoughts for<br /> Quief Moments. Second edition. R. Sutton and<br /> Co. 2%.<br /> <br /> EXELL, Rev. J. S. and Spence, DEAN.<br /> mentary, edited by. Kegan Paul.<br /> <br /> Eyton, Rospert. 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The Origin and Growth of the Healing<br /> Art. A popular history of medicine in all ages and<br /> countries. Swan Sonnenschein.<br /> <br /> Brzn Jounson, edited by Brinsley Nicholson, M.D., with<br /> an introduction by C. H. Herford. In three vols.,<br /> Vol. I. Fisher Unwin.<br /> <br /> *“Buack AND WuitTz” HAnpBookK TO THE RoyAL<br /> AcapEMY AND New Gauuery Pictures, 1893, with<br /> a brief history of the Royal Academy, and eighty<br /> portraits and biographies of eminent artists of the<br /> day not members of the Eoyal Academy. Black<br /> and White Office, Fleet-street, E.C. Paper covers,<br /> <br /> 18.<br /> <br /> Buack, W. G. What are Teinds? An account of the<br /> history of tithes in Scotland. Green and Sons, Rdin-<br /> burgh.<br /> <br /> Bovuterr, Demetrius, C. A short history of China, being<br /> an account for the general reader of an ancient<br /> empire and people. W.H. Allen. 12s. 6d.<br /> <br /> Brycxz, James. The American Commonwealth. Vol. I.—the<br /> National Government—the State Governments. Third<br /> edition, completely revised throughout. soth thousand.<br /> Macmillan. 128, 6d. - :<br /> <br /> CALENDAR OF Strate Papers. Domestic series of the<br /> reign of Uharles I., 1648-1649, preserved in H.M.<br /> Record Office. Edited by William Douglas Hamilton,<br /> F.S.A. Eyre and Spottiswoode.<br /> <br /> CALENDAR OF THE PATENT Rotts PRESERVED IN THE<br /> Pusiic RecorpD Orricre. Prepared under the Superin-<br /> tendence of the Deputy-Keeper of the Records.<br /> Edward J., a.p. 1281-1292. Eyre and Spottiswoode.<br /> <br /> Casze, THomas, M.A. St. Mary’s Clusters. An historical<br /> inquiry concerning the pinnacled steeple of the Uni-<br /> versity Church, Oxford. Parker and Co., Southampton-<br /> street, Strand.<br /> <br /> CuEYNE, T. R. Founders of Old Testament Criticism,<br /> biographical, descriptive, and critical studies. Methuen.<br /> 75.00.<br /> <br /> CurrkE, Aanes M. A Popular History of Astronomy<br /> during the nineteenth century. Third edition. A.andC.<br /> Black. 12s. 6d.<br /> <br /> CouLins, JoHN CHuURTON. Jonathan Swift, a biographical<br /> and critical study. Chatto and Windus. 8s.<br /> <br /> CRAIK, HENRY. Swift: Selections from his Works.<br /> Edited, with life, introduction, and notes. In 2 vols.<br /> Vol. II. Oxford, at the Clarendou Press; London<br /> Henry Frowde. 7s. 6d.<br /> <br /> CRUTHWELL, C. T. A Literary History of Early<br /> Christianity, including the Fathers and the chief<br /> heretical writers of the Anti-Nicene period, for the use<br /> of students and general readers. 2 vols. ©. Griffin<br /> and Co., Exeter-street, Strand. 21s.<br /> <br /> DROYSEN, JOHANN G. Outline of the Principles of<br /> History (Grundriss der Historik), with a biographical<br /> sketch of the author. Translated by E. Benjamin<br /> Andrews. Ginn and Co., Boston. (London: Edward<br /> Arnold.) 3s. 6d.<br /> <br /> Earty History or New ZEALAND, from earliest times to<br /> 1840, by R. A. A. Sherrin—from 1840 to 1845. By<br /> J. H. Wallace. Edited by Thomson W. Leys. Brett’s<br /> Historical Series. Truslove and Hanson, Oxford-street.<br /> <br /> Ernst, W. Memoirs of the Life of Philip Dormer, Fourth<br /> Earl of Chesterfield. With numerous letters now first<br /> published from the Newcastle papers. Swan Sonnen-<br /> schein.<br /> <br /> Finox, H. T. Wagner and his Works.<br /> H. Grevel and Co., London.<br /> <br /> FITzGERALD, Percy, M.A. Henry Irving: A Record of<br /> Twenty Years at the Lyceum. Chapman and Hall. 14s.<br /> <br /> Foster, JosepH. Oxford Men and their Colleges, illus-<br /> trated with portraits and views, with the matriculation<br /> register 1880-92, arranged and annotated by. Parker<br /> and Co., Southampton-street, W.C. .<br /> <br /> Freeman, Epwarp A. History of Federal Government in<br /> Greece and Italy. Edited by J. B. Bury, M.A. Second<br /> edition. Macmillan. 12s. 6d.<br /> <br /> Gasquet, Francis A. Henry VIII. and the English<br /> Monasteries: an attempt to illustrate the history of<br /> their suppression. Vol. I., fifth edition. John Hodges,<br /> Agar-street, Charing-cross.<br /> <br /> Goutp, F. J. A Concise History of Religion. Vol. I.,<br /> comprising sketches of the chief religions of the world,<br /> with the exception of Judaism, Christianity, and<br /> Mahomedanism. Issued for the Rationalist Press<br /> Committee. Watts and Co., Dr. Johnson’s-court,<br /> Fleet-street. 2s. 6d.<br /> <br /> Gray-Bircu, WALTER DE, F.S.A. Liber Vite, register and<br /> martyrology of New Minster and Hyde Abbey,<br /> <br /> 2 VOR, “21 1s,<br /> <br /> Winchester. Edited by. Simpkin and Co., Stationer’s<br /> Hall-court.<br /> Groves, Linut.-Cout. Percy. History of the Second<br /> <br /> Dragoons—the Royal Scots Greys, 1678-1893. Illustrated<br /> by Harry Payne. W.and A. K. Johnston. 3s. net.<br />  <br /> <br /> <br /> 64<br /> <br /> Hawes, Rev. H.R. Sir Morell Mackenzie, Physician and<br /> Operator. A memoir, compiled and edited from private<br /> papers and personal reminiscences. W. H. Allen and<br /> Co. 128. 6d.<br /> <br /> Jacoss, JosePH. The Jews of Angevin England. “ English<br /> History by Contemporary Writers” Series. David<br /> Nutt.<br /> <br /> Jounson, ©. An Account of the Trials and Execution of<br /> the Ely and Littleport Rioters in 1816. Published by<br /> the author at Ely. Paper covers, Is.<br /> <br /> JuauaR, CLement. A Brief History of Panics and their<br /> Periodical Occurrence in the United States. Englished<br /> and edited with an essay setting forth the indications<br /> of approaching panic, by De Courcey W. Thom. G.P.<br /> Putnam’s Sons. 4s.<br /> <br /> Lire anp Lerrers oF JoHN Martin, Tus, with sketches<br /> of T. D. Reilly, Father John Kenyon, and other<br /> “ Young Irelanders.” By the author of “Life of John<br /> Mitchel.” James Duffy and Co., Dublin.<br /> <br /> Lopez, Rev. Samus. Scrivelsby, the Home of the<br /> Champions, with some account of the Marmion and<br /> Dymoke families, illustrated. Elliot Stock.<br /> <br /> Manan, Carr. A. T. Admiral Farragut. With portrait<br /> and maps. “Great Commander” series. Sampson<br /> Low.<br /> <br /> Marr, Ropert A. Musical History as shown in the<br /> International Exhibition of Music and the Drama,<br /> Vienna, 1892. William Reeves, London.<br /> <br /> Memories or DEAN Hoxie, Toe. New edition. Edward<br /> Arnold. 6s.<br /> <br /> Mitts, J. Travis. John Bright. E. Hicks, jun. Bishops-<br /> gate Without. Paper covers, Is.<br /> <br /> Morssz, Jonn T. Abraham Lincoln. 2 vols. 12s.<br /> <br /> OLIPHANT, Mrs. Thomas Chalmers, Preacher, Philosopher,<br /> and Statesman. Methuen. 5s.<br /> <br /> Poor, STANLEY Lanz. Aurangzib, and the Decay of the<br /> Mughal Empire, with portrait. (Rulers of India<br /> series, edited by Sir W. W. Hunter.) Oxford, at the<br /> Clarendon Press; London, Henry Frowde. 2s. 6d.<br /> <br /> Porn, Rev. G. U., D.D. Little Raja’s Primer of Indian<br /> History. Longmans. 1s.<br /> <br /> Rusurorta, G. M. N. Latin Historical Inscriptions,<br /> illustrating the history of the Early Empire. Oxford,<br /> at the Clarendon Press; London, Henry Frowde. 10s.<br /> net.<br /> <br /> Ry.ey, Gzoraz BucHaNnan. Scotland’s Free Church, a<br /> historical retrospect and memorial of the disruption.<br /> With a summary of Pree Church progress and finance,<br /> 1843-1893. By John M. M‘Candlish, F.R.S.E., late<br /> president of the Faculty of Actuaries. A. Constable<br /> and Co., Parliament-street,S.W. 10s. 6d.<br /> <br /> Sizaz or LoNDONDERRY IN 1689, Tux, as set forth in<br /> the literary remains of Colonel the Rev. George Walker,<br /> poe edited by the Rey. Phillip Dwyer. A.M. Elliott<br /> <br /> tock.<br /> <br /> Srrvenson, Rosert L. A Footnote to History. Hight<br /> age of Trouble in Samoa. Thirdthousand. Cassell.<br /> <br /> 8.<br /> <br /> Trempiz, Sik RicHarp, M.P. James Thomason and the<br /> British Settlement of North-Western India. With<br /> Portrait. Supplementary volume to the Rulers of India<br /> series. Oxford, at the Clarendon Press; London,<br /> Henry Frowde. 3s. 6d.<br /> <br /> Woosnam, Ricuarp. Tithes, Church Revenues, and Old<br /> Age Pensions; their history from Abraham to Queen<br /> Victoria, with suggestions for their future national use<br /> in an old age pension scheme for the industrious poor.<br /> Alexander and Shepheard, Furnival-street, Holborn.<br /> Paper covers. 6d.<br /> <br /> THE AUTHOR.<br /> <br /> WIsHART, Rev. GzoracE. The Memoirs of James, Marquis<br /> of Montrose, 1639-1650. Translated, with introduction,<br /> notes, appendices, and the original Latin (Part ii. now<br /> first published), by the Rev. 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Fourth edition revised, with a new<br /> preface. Cassell. 6d. 3<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 71<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> NOW READY,<br /> <br /> At all the Libraries, Booksellers’, and Bookstalls, in 2 vols., crown 8vo.,<br /> cloth extra, price 21s.<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> me ga vVaSs PAY Nh.<br /> <br /> <br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> <br /> ‘Mr. James Payn’s pleasant story contains a startling<br /> novelty. The 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 in<br /> recognising this snug refuge of the ‘ploughed.’ . . .<br /> An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. . The uxorious<br /> master of St. Neot’s is charmingly conceived. If onlyfor<br /> his reminiscences of his deceased wives, ‘A Stumble on<br /> the Threshold’ deserves to be treasured. . . . We<br /> turn over Mr. Payn’s delightful pages, so full of surprises<br /> and whimsical dialogue. . . .”<br /> <br /> Daly NEws:<br /> <br /> “The dramatic story is told with 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 /> 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 /> <br /> DAILY GRAPHIC.<br /> <br /> ‘ . , . The dramatic unity of time, place, and cir-<br /> cumstance has never had a more novel setting. . . .”<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> “A very interesting story, and one that excels in clever<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 /> “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 /> <br /> ‘© |, , Ingenious and Original. Mr. Payn knows<br /> how to invent and lead up to a mystery.”<br /> <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 /> GLaAsGgow HERALD:<br /> <br /> “, . , . Mr. Payn’s latest invention in sensational<br /> episode; but 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 /> BATLEY REPORTER:<br /> “, , . . Is most attractive reading.”<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 /> which penned it.”<br /> <br /> THE OBSERVER:<br /> <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 /> London: HORACE COX, Windsor House,<br /> <br /> Bream’s Buildings, H.C.<br /> ESR<br /> <br /> |<br /> i<br /> a<br /> :<br /> i<br /> <br /> <br /> <br /> jopiecanecor arn<br /> <br /> 1<br /> <br /> 72 ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> Authors’ MSS. carefully and expeditiously copied, from<br /> <br /> Is. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> <br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapenuatt Press Lrp., H.C.)<br /> <br /> ee<br /> <br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> <br /> Siepence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> MIss R. V. GILE,<br /> <br /> TYPE-WRITING OFFICES,<br /> <br /> 6, Adam-street, Strand, W.C.<br /> $$$» es ———__—_<br /> <br /> Authors’ and dramatists’ Work a Speciality. All kinds<br /> of MSS. copied with care. Extra attention given to difficult<br /> hand-writing and to papers or lectures on scientific subjects.<br /> Type-writing from dictation. Shorthand Notes taken<br /> and transcribed.<br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MRS. GiLegE,<br /> TYPE-WRITING OFFICE,<br /> <br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> <br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;c., 1s. 8d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d, and 8d. 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 /> Hire- Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> <br /> <br /> TICKPHAST-<br /> <br /> BUY, BEG, }<br /> PASTE. 6d. and 1s.<br /> <br /> BORROW, or STEAL.<br /> <br /> <br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> AREFULLY REVISED and CORRECTED on Mode-<br /> rate Terms by the Author of ‘‘ The Queen’s English<br /> <br /> up to Date” (see Press Opinions), price 2s.<br /> Address ‘“ Anglophil,’ Literary Revision Office, 342,<br /> Strand, W.C.<br /> <br /> <br /> <br /> TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD&#039;S CLERICAL DIRECTORY<br /> <br /> E&#039;OFe<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 /> 1893.<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 /> Byr THE DATS MR. SHRIBANT COX.<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND). PRICE 7s. 6d.<br /> <br /> <br /> <br /> <br /> <br /> LONDON: HORACE COX, ‘LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/452/1893-07-01-The-Author-4-2.pdf	publications, The Author