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453	https://historysoa.com/items/show/453	The Author, Vol. 04 Issue 03 (August 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+03+%28August+1893%29"><em>The Author</em>, Vol. 04 Issue 03 (August 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>	1893-08-01-The-Author-4-3					73–108																		<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=1893-08-01">1893-08-01</a>							3			18930801	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 3.] AUGUST 1, 1893. [PRicE SIXPENCE.<br /> CONTENTS.<br /> <br /> PAGE | PAGE<br /> <br /> Warnings and Notices See es ee as oe ee age Guy de Maupassant ... ae oe ies a cas ae ise eae:<br /> <br /> Lterary Property— Feuilleton. ‘tA Method of Advertisement” ... ae os ae UE<br /> <br /> 1.—Editor and Contributor ... ies ee Ae gee Shean So-So Sociology aes ee a Sg ae Se oe en 206<br /> <br /> s ; 2.—Editorial Announcements ae ea er we wets A Bridesong of Britain Bs tbe tee aes ay oy yee OF<br /> <br /> 3.—The Ethics of Mutilation ... ‘ a oa eae Ses ke Correspondence—<br /> <br /> 4.—Authors and Editors See are see oe eae see oO 1.—Payment for Interviews... oe SS a wae ee 8<br /> <br /> A Hard Case. ‘The L. P. A. Limited” a es se 00 2.—Copyright in New Zealand i ne ise ane wee, C98<br /> Omnium Gatherum for August ... ees aes ae ae tee SOE What the Papers Say—<br /> <br /> American Notes and News. By the Editor ... acs ses Bee. | 1,.—The Preternatural Story... oe Ses ae fe sae 90<br /> <br /> The Congress of Authors ... cae ae te ace ee ce oe 2.—Withdrawn from Circulatien ... ay ar cue ces oo<br /> <br /> Notes and News te cae se aye nee eee oe Gow (ae At the Sign of the Author’s Head oe ae Lae Ses ne 99<br /> <br /> Notes from Paris... ne ag ots ee as sre ae 0 New Books and New Editions... BE ue ae oon wow LOT<br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> 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. Morris Coxxss, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br /> the Society. Is.<br /> <br /> <br /> <br /> 6. The Cost of Production. In this work specimens.are jiven of he most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs =, --- ‘xe more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Squrrz Sprices. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill, By J. M.Lrny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> 9, The Society of Authors. A Record of its Action from its Foundation. By Water Besant<br /> (Chairman of Committee, 1888—1892). 1s.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 74<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MBREDITHEH,.<br /> <br /> COUNCIL.<br /> <br /> Sir Epwin ARNOLD, K.C.LE., C.8.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BARRIE.<br /> <br /> A. W. A Beckett.<br /> <br /> RoseErt BATEMAN.<br /> <br /> Sir Henry Berens, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BuAcKMORE.<br /> <br /> Rev. Pror. Bonney, F.R.S.<br /> Rieut Hon. James Bryce, M.P.<br /> Hatt CAINE.<br /> <br /> EGERTON CASTLE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Cougs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin DoBson.<br /> A. W. Duzsoura.<br /> <br /> EpMuND GossE.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Lety.<br /> <br /> <br /> <br /> OswALD CRAWFURD, C.M.G.<br /> THE EARL or DEsaRT.<br /> <br /> J. Exic Exnicusen, F.R.S.<br /> <br /> Pror. MicHasEt Foster, F.R.S.<br /> Rieut Hon. HERBERT GARDNER, M.P.<br /> RICHARD GARNETT, LL.D.<br /> <br /> H. Riper HaGearp.<br /> <br /> JEROME K. JEROME.<br /> RupyYaRD KIpPuina.<br /> Pror. E. Ray Lanxestsr, F.R.S.<br /> <br /> Rev. W. J. Lortie, F.S.A.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> Herman C. MERIVALE.<br /> <br /> Rev. C. H. MippLETON- WAKE.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max MULLER.<br /> <br /> J.C. PARKINSON.<br /> <br /> Tue Ear. oF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sir FREDERICK PoLiock, Bart., LL.D.<br /> <br /> Wa.rerR HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> GEoRGE AUGUSTUS SALA.<br /> <br /> W. Baptiste Scoonzs.<br /> <br /> G. R. Sms.<br /> <br /> S. SqurrE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> WiuurAm Moy THOMAS.<br /> <br /> H. D. Traut, D.C.L.<br /> <br /> Baron HENRY DE WoRMS,<br /> F.RB.8.<br /> <br /> EpMuUND YATES.<br /> <br /> M.P.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Freu~p, Roscor, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—G. Herpert THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, Portugan StrEEet, Lincoin’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 BBW ERY JEN NiNGe.<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 /> Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> Apprnprx.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State from 1715 to<br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press<br /> <br /> ‘¢The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ’—Scotsman.<br /> <br /> ‘Tt is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.”—Globe.<br /> <br /> ‘“‘Tts advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> campaign, is incumparable.”—Sala’s Journal.<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.”—Kentish Observer.<br /> <br /> ‘We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—wNorthern Echo.<br /> <br /> ‘Here we have the whole company of Parliamentary ge siege<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 /> <br /> <br /> <br /> with edification.” —Liverpool Courier.<br /> <br /> <br /> <br /> = Orders may now be sent to HORACE COX “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> cuaaatal<br /> <br /> <br /> <br /> The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IV.—No. 3.]<br /> <br /> AUGUST 1, 1893.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responstble. 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 /> 1. 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 /> <br /> important communications within two days will write to him<br /> <br /> without delay. All remittances should be crossed Union<br /> <br /> Bank of London, Chancery-lane, or be sent by registered<br /> <br /> letter only.<br /> <br /> <br /> <br /> FP Oe<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> T is 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 /> <br /> carried out. Authors are strongly advised to exercise that<br /> <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 /> <br /> <br /> pe<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> EADERS 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. SeriaL Ricurs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> VOL. IV.<br /> <br /> 2. Stamp YouR 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 1T.—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. Lirerary AGENTS.—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 /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost oF PrRopucTion.-—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. CHoiIck or PuBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienved<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worxk.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royaury.—Neyer 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 /> g. PersonaL Risx.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. Resyectrep MSS.—Never, when a MS. has been re-<br /> <br /> fused by respectable houses, pay others, whatever promises<br /> <br /> they may put forward, for the production of the work.<br /> <br /> 11. AmeRicAN Riauts.—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 /> G2<br /> ti<br /> ti<br /> <br /> <br /> <br /> <br /> <br /> AES EE SSRIS<br /> <br /> 76 THE<br /> <br /> 12. CEssion oF CopyRigHT.—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’s Offices :—<br /> 4, PoRTUGAL STREET, Lincoun’s INN FIELDS.<br /> <br /> <br /> <br /> pec<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <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 frem<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 seruple<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 /> <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 /> <br /> <br /> 0<br /> <br /> AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <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 Syndi-<br /> cate, 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 mainly 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 /> In consequence of the immense number of MSS. received, it<br /> has become necessary to charge a small booking fee to<br /> cover postage and porterage expenses, in all cases where<br /> there is no current account.<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; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “ Register of Wants and Wanted ” has been opened. Terms<br /> on application to the Manager.<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 /> <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 /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<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 /> 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 /> andertake the publication of MSS.<br /> <br /> The Authors’ Club is now open 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&#039;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 /> eall it.<br /> <br /> Oe<br /> <br /> AUTHOR. 77<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> Epiror AND CONTRIBUTOR.<br /> <br /> HERE is one point touching literary pro-<br /> perty which is of great importance, and<br /> which has never been satisfactorily settled,<br /> <br /> namely, the return or non-return of rejected manu-<br /> scripts.<br /> <br /> On many occasions both parties are in the<br /> wrong.<br /> <br /> The editor screens himself behind a notice<br /> hidden away somewhere among the advertisement<br /> columns of his paper.<br /> <br /> The contributor is careless in sending up his<br /> name and address or the necessary stamped<br /> envelopes.<br /> <br /> In a properly organised business establishment<br /> there should be no difficulty.<br /> <br /> It seems to be entirely and absolutely unfair<br /> that a contributor should be bound by a notice<br /> that he has never seen. Many contributions are<br /> sent without any reference to the columns of the<br /> paper. Under these circumstances, is a contri-<br /> butor bound? It is to be hoped not.<br /> <br /> Tf a contribution is sent wittingly and with full<br /> information, there can be no doubt on whom the<br /> onus lies.<br /> <br /> Take, however, another not uncommon case.<br /> An editor writes, saying he would be glad to read<br /> any contribution forwarded from A. B.—this<br /> editor having a “ no-responsibility ” notice in his<br /> paper.—A. B. sends a contribution and does not<br /> get it returned. On repeated application, the<br /> editor retires behind the notice. Is he respon-<br /> sible ?<br /> <br /> This is the editor’s weakness. It is counter-<br /> balanced by the contributor’s carelessness.<br /> <br /> He forwards an MS. under a pen-name. He<br /> writes under his own. No stamped and ad-<br /> dressed envelope is inclosed. Worse still, the<br /> MS. is forwarded without name, without address,<br /> no stamped envelope is enclosed, and often no<br /> stamps.<br /> <br /> Under these circumstances, notice or no notice,<br /> the editor’s responsibility is enormously lessened,<br /> but is he not still liable as the most irresponsible<br /> of legal bailees, however such an individual may<br /> be defined ?<br /> <br /> The following is thrown out as a suggestion:<br /> <br /> All MSS. received by an editor with insufficient<br /> or no address should be carefully and orderly<br /> placed aside (not in the paper basket), and upon<br /> application being made by a faulty contributor,<br /> he should pay a search fee, say of 2s. 6d.,and the<br /> stamps for postage in addition, if the MS. is<br /> found.<br /> Seeeaenee eer<br /> <br /> i<br /> <br /> <br /> <br /> 18 THE AUTHOR.<br /> <br /> This fee would cover any expense the editor<br /> might be put to, and would save many and many<br /> miserable disputes as undignified on the part of<br /> the editor as they are irritating to the author.<br /> <br /> Another suggestion would be an MS. clearing<br /> house. This, however, requires combination, and,<br /> from a chemical point of view, editors and pub-<br /> <br /> lishers are not combinable.<br /> <br /> <br /> <br /> Il.<br /> Epirror1aL ANNOUNCEMENTS.<br /> It might be of some advantage to the readers<br /> of the Author to have a few of these notices placed<br /> <br /> before them.<br /> <br /> The subjoined are a promiscuous collection from<br /> all sorts and conditions of periodicals, and may<br /> therefore be of more use from their variety than<br /> if they had been more carefully gathered and<br /> <br /> assorted.<br /> <br /> It will be observed that some notices, while<br /> inviting the contributions, at the same time state<br /> that the Editor is not and will not hold himself<br /> <br /> responsible.<br /> <br /> Some papers will not be responsible for acci-<br /> dental loss. Others will not be responsible at all.<br /> Others only if certain conditions are regarded.<br /> <br /> There are a few that acknowledge MSS.—a<br /> courteous avowal.<br /> <br /> The reader is, however, left to judge for<br /> <br /> himself.<br /> The Times,<br /> <br /> To CoRRESPONDENTS.—No notice can be taken of anony-<br /> mous communications. Whatever is intended for insertion<br /> must be authenticated by the name and address of the<br /> writer, not necessarily for publication, but as a guarantee<br /> of good faith. We cannot undertake to return rejected<br /> communications. Advertisers are requested not to send<br /> stamps. Post-office orders to be made payable to Mr.<br /> George Edward Wright, at the Chief Office.<br /> <br /> The Lancet.<br /> <br /> Eprroriat Norice.—It is most important that com-<br /> munications relating to the Editorial business of the Lancet<br /> should be addressed exclusively “To the Editors,” and not<br /> in any case to any gentleman who may be supposed to be<br /> connected with the Editorial staff. It is urgently necessary<br /> that attention be given to this notice. It is especially<br /> requested that early intelligence of local events having a<br /> medical interest, or which it is desirable to bring under the<br /> notice of the profession, may be sent direct to this office.<br /> Lectures, original articles, and reports should be written on<br /> one side only of the paper. Letters, whether intended for<br /> insertion or for private information, must be authenticated<br /> by the names and addresses of their writers, not necessarily<br /> for publication. Local papers containing reports or news<br /> paragraphs should be marked and addressed “ To the Sub-<br /> Editor.’ We cannot undertake to return MSS. not used.<br /> <br /> Saturday Review.<br /> Noricz.— We beg leave to state that we cannot return<br /> rejected Communications ; and to this rule we can make no<br /> exception, even if stamps for return of M8. are sent. The<br /> <br /> Editor must also entirely decline to enter into correspon-<br /> dence with the writers of MSS. sent in and not acknow-<br /> ledged.<br /> <br /> The following note is now added to all proofs. ‘‘ Please<br /> note that the sending of the Proof does not carry with it<br /> any Contract that the Article will either be accepted or<br /> published.”<br /> <br /> Athenzeum.<br /> <br /> No notice can be taken of anonymous communications.<br /> <br /> Daily Graphic.<br /> <br /> Sketches have been received from J. S. N., Croydon ;<br /> F. D., Limerick; T. H. L., York; J. J., Newcastle ;<br /> W. Cc. M., Dublin; A. G. W., Barbadoes; A. D. MedJ.,<br /> Stirling; L. E. L., Greenock; H. S., Leeds; F. A. F.,<br /> London Wall, B.C.; R. J. C. T., Lancaster ; J. MeM., Bel-<br /> fast; A. E. H., Edinburgh ; R., Brighton; M., Bros.,,<br /> Cheapside, E.C.; J. M., New Bridge-street, E.C.; H. W.,<br /> Upper ,Norwood, 8.E.; E. C. M., Birmingham; P. O.,<br /> Bristol; M. D., Paris; M. I., Cowes; S. and Son, Read-<br /> ing; C. H. M. J., Cannes; E. A. §5., Blandford; C. R.,<br /> Gateshead; G. G., Tunbridge Wells; T. J. B., Ashbourne ;.<br /> F. W., Crouch End, N.<br /> <br /> Notice To ConrripuTors.—The Proprietors cannot:<br /> hold themselves responsible for loss of or damage to MSS.,<br /> sketches, or other contributions arising from any cause:<br /> whatever. A sufficiently stamped and directed envelope<br /> must accompany contributions where their return is.<br /> <br /> desired.<br /> The Strand Magazine has no notice.<br /> <br /> London Society.<br /> <br /> Notice To CoRRESPONDENTS.—MSS. sent to Editor<br /> should bear the name and address of the writer, and must<br /> be accompanied in all cases by a stamped directed envelope,<br /> for their return if unsuitable. Copies should be kept of all<br /> articles. Every care is taken of the papers forwarded by<br /> correspondents, but no responsibility is assumed in case of<br /> accident. The Editor cannot undertake to return rejected<br /> poems. All communications should be addressed to the<br /> Editor of London Society, to the care of<br /> <br /> Belgravia.<br /> <br /> To CoRRESPONDENTS.—All MSS. should be addressed,<br /> prepaid, to the Editor of Belgravia, 31, Southampton-street,<br /> Strand, W.C. Every MS. should bear the writer’s name<br /> and address, and be accompanied by postage stamps for<br /> its return if not accepted; but the Editor cannot hold<br /> himself responsible for any accidental loss The editor<br /> cannot undertake to return rejected poems.<br /> <br /> Answers.<br /> <br /> “Pur Monry IN THY PursE.”—One guineaacolumnispaid<br /> for original contributions to Answers. Short, bright articles,<br /> dealing with strange occupations and curious phases of life,<br /> are the most acceptable. No copied matter of any kind is.<br /> required. Payment is made immediately upon acceptance.<br /> MSS. are not read unless they are accompanied by a large<br /> fully stamped addressed envelope for return, and in no case<br /> are MSS. returned unless this rule is complied with. &lt;A de-<br /> claration of originality must be enclosed with every contri-<br /> bution. Contributors must write on one side of the paper<br /> only. The full name and address of the author must be<br /> written upon the MS. itself. Short contributions are much<br /> more frequently accepted than long ones. Articles must<br /> not exceed 1400 words in length. All contributions to be<br /> addressed to Answers, Manuscript Department, 108, Fleet-<br /> street, E.C.<br /> <br /> Wuy Don’r you ComprTs ?—One guinea is sent every<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 79<br /> <br /> week to the person who sends in the best “storyette,”<br /> written on a postcard. The anecdote may be original or<br /> selected ; but, if not original, the source from which the<br /> story is copied must be named. No religious anecdotes will<br /> be accepted. The name and address of the sender must be<br /> written plainly at the bottom of the postcard. Answers<br /> reserves the right to use any anecdote sent in.<br /> <br /> Westminster Gazette.<br /> <br /> Notice To Conrrisurors.—The Editor of the West-<br /> minster Gazetle cannot hold himself responsible in any case<br /> for the return of MS. or sketches. He will, however,<br /> always be glad to consider any contributions, literary or<br /> pictorial, which may be submitted to him; and when post-<br /> age stamps are enclosed every effort will be made to return<br /> rejected contributions promptly.<br /> <br /> Piccadilly.<br /> <br /> The Editor cannot be responsible for the safety or return<br /> of manuscripts forwarded for approval. Subscribers are<br /> particularly requested to forward all communications con-<br /> cerning changes of address or additional copies to the<br /> Publisher. All communications for the Editorial Depart-<br /> ment of Piccadilly should be addressed to the Editor, 248,<br /> Craven-street, Strand (end of Northumberland Avenue,<br /> opposite the Hotel Métropole).<br /> <br /> Black and White.<br /> <br /> Notice To ContriputTors.—The Editor of Black and<br /> White does not in any case hold himself responsible for the<br /> return of rejected contributions. He is, however, always<br /> glad to consider MSS. and sketches; and, where stamps are<br /> enclosed, every effort will be made to return rejected contri-<br /> butions promptly.<br /> <br /> Sala’s Journal.<br /> <br /> The Editor cannot undertake to return unsolicited contri-<br /> butions ; therefore all authors forwarding MSS. to Sala’s<br /> Journal are earnestly requested to keep copies thereof.<br /> <br /> The Idler.<br /> <br /> To Conrrisutors. — Contributions are invited, and<br /> receive immediate consideration. Stories and articles sub-<br /> mitted should be short. All MSS. (type-written preferred)<br /> should be addressed to the Editors, Talbot House, Arundel-<br /> street, London, W.C. Every MS. should bear the writer’s<br /> name and address, and be accompanied by stamped envelope<br /> for its return if not accepted. The Editors cannot hold<br /> themselves responsible for any accidental loss.<br /> <br /> The Builder.<br /> <br /> All statements of facts, lists of tenders, &amp;c., must be<br /> accompanied by the name and address of the sender, not<br /> necessarily for publication. We are compelled to decline<br /> pointing out books and giving addresses. Note. — The<br /> responsibility of signed articles, and papers read at public<br /> meetings, rests, of course, with the authors. We cannot<br /> undertake to return rejected communications. Letters or<br /> communications (beyond mere news-items) which have been<br /> duplicated for other journals, are not desired. All com-<br /> munications regarding literary and artistic matters should<br /> be addressed to the Editor; those relating to advertise-<br /> ments and other exclusively business matters should be<br /> addressed to the Publisher, and not to the Editor.<br /> <br /> The Hospital.<br /> <br /> Noricz To CoRRESPONDENTS.—AILl MS., letters, books<br /> for review, and other matters intended for the Editor should<br /> be addressed The Editor, The Lodge, Porchester-square,<br /> London, W. The Editor cannot undertake to return rejected<br /> MS., even when accompanied by stamped directed envelope.<br /> <br /> St. James’s Gazette.<br /> <br /> The Editor cannot undertake to hold himself responsible<br /> for the return of rejected contributions.<br /> <br /> The Rural World.<br /> <br /> Norice.—All communications of a literary character for<br /> publication in The Rural World should be written upon one<br /> side of the paper only ; be addressed to the Editor, 95,<br /> Colmore-row, Birmingham; be accompanied by the name<br /> and address of the writers, and reach that office not later<br /> than the first post on Wednesday.<br /> <br /> The Guardian.<br /> <br /> The Editor is not necessarily responsible for the opinions<br /> expressed in signed articles, or in articles marked ‘“ Com-<br /> municated ”’ or ‘‘ From a Correspondent.”<br /> <br /> Novice TO CoORRESPONDENTS.—The very frequent dis-<br /> regard of our rule about the return of MSS. compels us to<br /> restate it in a slightly different form:—No MS. can be<br /> returned unless a stamped and addressed envelope is sent in<br /> the same cover as that which contains the MS. Stamps<br /> alone, or a stamped and addressed envelope sent afterwards<br /> or in another cover, are not sufficient.<br /> <br /> ‘Health.<br /> <br /> Notice TO WRITERS OF ARTICLES.—AII articles sent to<br /> the Editor of Health must be accompanied by stamps to<br /> ensure their return in case of rejection. It must be dis-<br /> tinctly understood that the Editor and Proprietor do not<br /> hold themselves responsible for the loss of rejected commu-<br /> nications.<br /> <br /> <br /> <br /> ITI,<br /> Tur Eruics or Mvuriiation.<br /> <br /> An author, of the sex usually victimised in<br /> such cases, had a work accepted some years ago<br /> by a “religious sweating establishment,” and<br /> received for it the modest sum of £10. It sold<br /> well, which presumably benefited its publishers,<br /> though it made no difference to her; but, not<br /> content with their profits from its production m<br /> its original form, they have since republished it<br /> with a new title and in a totally different cover,<br /> the author not being either consulted or remune-<br /> rated further. We are not concerned with the<br /> position of a purchaser of the work in question<br /> who, already owning it, parts with his money<br /> under the impression that he is buying a new<br /> book, that is a matter which rests between him<br /> and the publisher. As to the position of the lady,<br /> we can only say that, if she has parted with the<br /> copyright of her book without securing any dis-<br /> tinct agreement as to the conditions under which<br /> it was to be published, she has acted in exact con-<br /> trariety to the advice which we unceasingly<br /> reiterate in these columns. It seems clear, from<br /> the judgment given in the case of Lea v.<br /> Gibbings, that an author thus circumstanced has<br /> only one remedy, and that is, damages in a libel<br /> action for detriment to reputation. If, however,<br /> the book is published anonymously, it would be<br /> very difficult to show direct damage. The conclu-<br />  <br /> <br /> sors secs<br /> <br /> 80 THE AUTHOR.<br /> <br /> sion must, it seems, be drawn, therefore, that,<br /> under the above circumstances, the writer has no<br /> redress.<br /> <br /> —<br /> <br /> IV.<br /> AvurHors AND EpITors.<br /> <br /> The late Auguste Barbier wrote a sort of ‘one<br /> book” (among several others) called ‘“‘ Iambes,”<br /> which was all the rage in Paris about 1830.<br /> chiefly, of course, for its political acridity of<br /> satire. Dentu was the publisher of these<br /> Tambics, and the poems were republished by him<br /> in 1837, 1864, 1872, and so on. But Dentu’s<br /> being defunct, the business was bought by Capel,<br /> Goupil, et Cie., who proceeded in ordinary<br /> course of trade to bring out another edition, on<br /> their own behalf, upon the occasion of Barbier’s<br /> death, which occurred not long since.<br /> <br /> But the poet’s heirs objected, and pleaded that,<br /> in default of any stipulation to the contrary, an<br /> agreement between author and editor has a<br /> character strictly personal to each of those par-<br /> ties thereto. This view has now been confirmed<br /> by the French commercial courts, and the con-<br /> tract of Barbier with Dentu is classed under the<br /> exceptions in Art. 1122 of the Civil Code ; one<br /> of the grounds of the judgment being that the<br /> author chooses his publisher, for his own personal<br /> reasons, aS a quasi-collaborator ; whereas the<br /> reputation and acts of any substituted publisher<br /> might be morally and materially damaging to the<br /> book and its success.<br /> <br /> Another equitable point laid down, is that it<br /> would be impossible to subject any author and<br /> his works to all the successive transfers to which<br /> the business of a publisher is commercially ex-<br /> posed. The court decided, therefore, that<br /> Auguste Barbier only treated intuitu persone<br /> with Edouard Dentu; and the latter’s successors<br /> are enjoined not to issue any new edition or any<br /> new print (tirage) of Barbier’s “Iambes”’ on<br /> penalty of £8 for every ascertained contra-<br /> vention.<br /> <br /> This is a most important decision, as bearing<br /> upon the often-canvassed case of a publisher’s<br /> bankruptcy. Until something definite be done<br /> here for the protection of the only property the<br /> law deserts, perhaps it would be well for each<br /> agreement to be made personal to A. B. and<br /> C. D., the author and his chosen publisher, sub-<br /> ject to the subsequent power of the author to<br /> continue the contract with the publisher’s suc-<br /> cessor. J. ON.<br /> <br /> A HARD CASE.<br /> <br /> <br /> <br /> «Tye L. P. A. Limrrep.”<br /> <br /> CERTAIN Literary Publishing Associa-<br /> A tion Limited is engaged in the production<br /> <br /> of a monthly journal. As the journal<br /> ig not of much interest to the public, it natu-<br /> rally does not pay, and is soon on the verge of<br /> failure.<br /> <br /> The L. P. A. Limited thereupon looks round<br /> on the gullible and irresponsible body of would-be<br /> authors, and with the view of choosing an editor<br /> for the paper, iuserts an advertisement in some<br /> well-known literary review.<br /> <br /> In a short time the answers come pouring in,<br /> and a young lady who has got a spare £100 to<br /> invest is duly elected to the position on a salary,<br /> provided she takes up 100 £1 shares. Young<br /> authors with £100 to spare are rarz aves. But<br /> there are not a few people who, fancying they<br /> have a literary tendency, and fascinated by a<br /> literary connection, will produce some spare cash<br /> for investment.<br /> <br /> The case is all the more probable when the<br /> investment is painted in glowing colours, and<br /> rich rewards in the shape of dividends and a<br /> salary are offered to the too easy dupe.<br /> <br /> The money is paid. The shares are subscribed<br /> for and allotted.<br /> <br /> Limited companies are delightfully irrespon-<br /> sible bodies; there is no vulnerable point im<br /> the armour; fighting with them is like fight-<br /> ing with thin air. You waste your own<br /> energy without any tangible result. As a con-<br /> sequence the young lady of literary aims and<br /> unbusinesslike qualifications, loses her £100,<br /> and never gets a farthing by way of salary or<br /> dividend.<br /> <br /> The Authors’ Society is implored for advice<br /> and assistance, but alas too late.<br /> <br /> The shares are allotted. The directors cannot<br /> pay a dividend if there are no profits. No<br /> fraudulent statement has been made, and the<br /> manager has perhaps drawn cheques for the £100<br /> as salary.<br /> <br /> An action is useless. It is an expensive luxury<br /> to go to law against an insolvent body.<br /> <br /> So the L. P. A. Limited “ drags its slow length<br /> along.’””<br /> <br /> No doubt when it wants another £50 or £100<br /> it will start another paper, or find another editor,<br /> or perhaps get a fresh director on the board.<br /> Who knows? Men must live, and there is no<br /> better method of facing the battle of life to the<br /> initiated than clad in the armour of a limited<br /> liability company.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> eh<br /> Lo<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 81<br /> <br /> OMNIUM GATHERUM FOR AUGUST.<br /> <br /> <br /> <br /> Subjects for Books or Articles.—The curious<br /> curse of the 18th Article; the Excesses of Des-<br /> criptive Reporting, with a few words on the use<br /> and abuse of the Interview; the Rivalries of<br /> Colleges, Schools, and Watering Places; Com-<br /> pulsory Swimming Lessons for Girls and Boys in<br /> Elementary Schools; Wedding Presents; One<br /> Parliament, One Session; August in Ireland.<br /> <br /> Publication by Subscription—This mode of<br /> publication was the rule and not the exception<br /> in the last century. Now it has become the<br /> exception and not the rule, but the exceptions<br /> seem to be on the increase in the case of county<br /> histories and the like, eg., Mr. Cranage’s<br /> “ Architectural Account of the Churches in<br /> Shropshire” is being brought out in parts, with<br /> a notification that it will be impossible to proceed<br /> with it “unless a certain number of names are<br /> guaranteed.’ Such a very safe mode of issue<br /> might perhaps be more widely tried.<br /> <br /> Illustrations. — Quality before quantity is<br /> wanted here more than in any branch of pro-<br /> duction in connection with literature. Really<br /> good illustrations, such as those of, I think,<br /> Turner to Roger’s “Italy,” are too rare, and instead<br /> of such we have far too frequently good letter-<br /> press choked by pictures little wanted.<br /> <br /> The Vacant Laureateship. — Mr. Gladstone<br /> has announced in the House of Commons, in<br /> answer to Mr. Cobb (see the morning papers of<br /> the 22nd July), that “there is no intention at<br /> present of making any appointment” to the<br /> vacant Poet-Laureateship. Lord Tennyson died<br /> on the 7th October last. The honorarium<br /> attached to the post is about £100 a year, the<br /> annual butt of sherry having been commuted on<br /> the death of Southey for an annual £27, or, as<br /> some say, £29, so that about £80 has been<br /> already saved. But does the appointment rest<br /> with the Sovereign or the Prime Minister? If<br /> with the Prime Minister, how is it that the late<br /> Prince Consort offered it to Rogers (who at the<br /> age of eighty-seven refused it) before its accept-<br /> ance by Tennyson.<br /> <br /> The Dead Languages.—The resurrection of the<br /> dead languages is nowhere better accomplished<br /> than by the representation of Latin plays, suchas<br /> the Westminster play, and Greek plays, such as<br /> that of “Andromache,” so finely given by the<br /> ladies of Queen’s College in Harley-street, nor, as<br /> I humbly think, can the languages themselves be<br /> more encouragingly taught.<br /> <br /> Copyright.—No less than three Consolidation<br /> Bills of importance, dealing with copyhold law,<br /> VOL. Iv.<br /> <br /> the law of the administration of estates, and the<br /> law of trustees, have been in this session sub-<br /> mitted to a joint committee of both Houses of<br /> Parliament. Would it not be possible for the<br /> Government to introduce, and submit to this<br /> joint committee, a Copyright Law Consolidation<br /> and Amendment Bill? The amendments of sub-<br /> stance would be few, though important, and the<br /> controverted points very few indeed. Or perhaps<br /> an amending Bill might come first, and a consoli-<br /> dating Bill afterwards, in the fashion of the<br /> Lunacy Acts of 1889 and 1890. However this<br /> may be, it is to be hoped that those in authority<br /> have read and marked the indignant denuncia-<br /> tions against the form of copyright law which<br /> were transcribed from a recent judgment of<br /> Mr. Justice Chitty in the St. James’s Gazette of<br /> the 21st of last month. Mr. Justice Chitty’s<br /> words were these :<br /> <br /> I could wish, if I am at liberty to express a wish, that the<br /> Legislature could devote some time to the consolidation and<br /> amendment of the mass and congeries of statutes which<br /> represent the result of the legislative mind in such a manner<br /> that it is difficult to understand their meaning. I think it a<br /> matter of great importance to all interested in international<br /> copyright that those statutes should receive attention, and<br /> the statutes placed before, I will not say the courts, but Her<br /> Majesty’s subjects in such a manner that an ordinary man<br /> could understand them.<br /> <br /> Handwriting. — Bad handwriting increases<br /> labour and cost of proofs, and decreases the<br /> chances of acceptance of MSS., besides its waste<br /> of the time and temper of editors and such like.<br /> I respectfully suggest that those of us who write<br /> badly should take lessons in handwriting, but if<br /> we can’t stomach this, we at least take the trouble<br /> (a) to dot our i’s, (6) to cross our t’s, (c) to loop<br /> our e’s, (d) to put in at least our full stops, and<br /> (e) to write our own names and the names of<br /> others with perfect legibility.<br /> <br /> Advertisement of Review Notices.—The plan<br /> (see, e.g., some of the advertisements of ‘ Dodo’’)<br /> which prints unfavourable as well as favourable<br /> notices is much to be commended. It is fair to<br /> the public, it checks careless reviewing, and I<br /> cannot help thinking that it greatly helps a book<br /> if really good. J. M. Lety.<br /> <br /> H<br /> SEE<br /> <br /> <br /> <br /> <br /> <br /> 82 THE AUTHOR.<br /> <br /> AMERICAN NOTES AND NEWS.<br /> <br /> Buffalo, July 2.<br /> a following remarks are for novelists<br /> <br /> alone.<br /> <br /> Tf the bookstall may be accepted as an<br /> indication of popularity, it will be useful to note<br /> the books offered for sale at the bookstall of a<br /> reat American hotel. Everybody knows that<br /> a bookstall forms part of that little world, com-<br /> plete in all its parts, known in American as a hotel.<br /> Moreover, if we consider that the hotel in ques-<br /> tion belongs to Boston, and is one of the best<br /> and largest of that intellectual centre, the works<br /> offered may be accepted as some indication of<br /> the taste of the higher average. The catering is,<br /> of course, only for a passing crowd: visitors at<br /> hotels are literary butterflies; they only hover ;<br /> only the lighter works are wanted by them ;<br /> help to pass an hour is all they ask of Literature<br /> Here, then, written in alphabetical order, is a<br /> list of the authors whose books are on the stall<br /> of the Brunswick Hotel, Boston. One or two<br /> foreign writers appear in translation.<br /> <br /> <br /> <br /> Grant Allen. John Harberton.<br /> Robert Appleton. Fergus Hume.<br /> Duke of Argyll. Rudyard Kipling.<br /> J. M. Barrie. H. O’Meara.<br /> Paul Bourget. J. MacAlpine.<br /> Rhoda Broughton. A. McLeod.<br /> <br /> Mrs. Campbell-Praed. Fitzgerald Molloy.<br /> Christabel Coleridge. Alan Muir.<br /> <br /> Marie Corelli. Mrs. Needell.<br /> Robert Drake. Gilbert Parker.<br /> Alex. Dumas. Albert Ross.<br /> <br /> A. Finlay. Clark Russell.<br /> A K. Grew. Paul Schobert.<br /> Gunton.<br /> <br /> <br /> <br /> This list contains, you will observe, eleven<br /> American, thirteen English, and three French<br /> writers. But it is a very short list. If we look<br /> into the long rows of books exposed at the stall of<br /> a great railway station, we shall find the propor-<br /> tion of native to foreign authors somewhat<br /> changed. There are a great many American<br /> novelists of popularity whose very names are un-<br /> known with us. One of them, Mr. Albert Ross,<br /> is represented in the above list. It is, however,<br /> difficult to form from the bookstalls any trust-<br /> worthy conclusion as to the popularity of an indi-<br /> vidual writer. For this reason, that books and<br /> authors offered for sale vary in the most remark-<br /> able and unexpected manner ; but of the thirteen<br /> English writers in the above list perhaps one<br /> alone—Kipling—or two—Barrie and Kipling—<br /> may be found on some other stall. These two<br /> <br /> writers seem to me the two British authors most<br /> popular this day in the States. At the same time,<br /> one may meet the books of Conan Doyle, Hardy,<br /> and others almost as often. So far as one can<br /> judge, and speaking generally, all those novelists<br /> who in Great Britain enjoy popularity, large or<br /> little, are in corresponding demand in America.<br /> <br /> <br /> <br /> As to the question of American rights and their<br /> value, novelists may take note (1) that serial<br /> form is very difficult to secure, for reasons which it<br /> would take too long to explain; (2) that, never-<br /> theless, they must most carefully reserve their<br /> American rights in their agreements; (3) that<br /> they must remember the blessedness of expecting<br /> nothing ; and (4) that American publishers, like<br /> their British brethren, are men of business—some<br /> of them, like some of our brave Britons, “ sharp,”<br /> which means—what we know. A Buffalo paper<br /> in a literary letter gives what professes to<br /> be the opinion ofa librarian. Now the opinion<br /> of a librarian can only be of value if he isa<br /> large librarian, and if he knows the demand.<br /> upon the works in other libraries. This opinion<br /> has a “journalistic” flavour, #.e., I rather believe<br /> thatthe writer invented his librarian. However,<br /> he places Hardy and Conan Doyle at the head<br /> of contemporary novelists in point of American<br /> popularity. It must be owned that the American<br /> public might do worse. Edna Lyall is very<br /> popular. Mary Wilkins, however, is the most<br /> popular of all the women novelists in America<br /> to-day. “Latterly there has been a revival of<br /> Mark Twain’s books.” Did Mark Twain, then,<br /> ever fall off in popularity? Of modern poets<br /> who are in the greatest demand? Tennyson,<br /> Swinburne, Browning, Shelley, Wordsworth ?<br /> Presumptuous islander! Eugene Field, Will<br /> Carleton, and James Whitcomb Riley; while<br /> Longfellow, Whittier, and Holmes are still in<br /> steady demand. Nothing is said about other<br /> branches of literature.<br /> <br /> <br /> <br /> We have already more than once spoken of the<br /> tradition or the prejudice that the British people<br /> do not buy books, while the Americans do. I do<br /> not believe that this belief has any basis whatever<br /> in fact. The Americans, from all that I can<br /> hear, do not buy more books than we do.<br /> Perhaps they buy the dime novels, from which<br /> will now be excluded all the best new books.<br /> But books to keep; books to put on shelves;<br /> books as friends and companions, they do not<br /> buy, I am quite convinced, in anything like the<br /> same proportion as our own people. There are<br /> sixty millions of them as against our thirty-six<br /> millions. Those who live in the towns are much<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 83<br /> <br /> richer in proportion than those who live in our<br /> towns. There ought to be a demand for books,<br /> considering the excess of numbers as well as of<br /> wealth, nearly double our own. Is there?<br /> Certainly not. You can see, down below, that an<br /> American publisher considers 5000 is a very large<br /> circulation of a popular book. Yet, with us, a very<br /> popular book at 6s, runs into tens of thousands.<br /> I think that cultivated Englishmen and women<br /> buy all the books they can afford. They<br /> cannot afford to buy allthey read; therefore cir-<br /> culating libraries must exist ; their shelves are not<br /> large enough to contain all that they would buy,<br /> but they buy all that they can affordto, They<br /> buy all that they can find room for, and, so far<br /> as I can learn, the Americans as a rule, do not.<br /> Yet, so far as my inquiries have led me, more books<br /> are read here than at home.<br /> <br /> <br /> <br /> A book-shop, whether in America or at home,<br /> may reveal many things and suggest points for<br /> reflection. I have seen two very good book-<br /> shops indeed—that of Little, Brown, and Co., in<br /> Boston, which I take to be one of the best book-<br /> shops—or stores—in the whole world, and that<br /> of Judd’s, in Newhaven, which is an admirable<br /> example of what a book-shop in a university<br /> town ought to be—that is, it reminds one exactly<br /> of Macmillan’s, of Cambridge. From these two<br /> shops one may understand the position of living<br /> English writers of the better sort in America. I<br /> have no hesitation whatever in saying that either<br /> the publishers, or the booksellers, or the public of<br /> America, possess wider sympathies, or greater<br /> intellectual curiosity, than our own. For here,<br /> side by side with the American authors, are all—<br /> actually all—whom we ourselves have selected for<br /> honour. Let us remember that there is a vast<br /> mass of American literature which never gets to us<br /> at all; that there is a period—1620-1775—when<br /> what is American is British also ; that the history<br /> of the colonial times, forgotten and neglected by<br /> ourselves, is full of human and of political interest ;<br /> that there are men belonging to that period whom<br /> we simply cannot afford to forget, if we are to<br /> maintain the continuity of our national life, and to<br /> understand our own development ; that since the<br /> Year of Independence there has been carried on<br /> an experiment—an example—in government and<br /> society unlike anything ever seen before in<br /> the world’s history, and productive of results<br /> which can only be understood, and that most<br /> imperfectly, on the spot; that the colonial his-<br /> tory, the national history, the ways and thoughts<br /> of this Republic of the present; the hopes and<br /> fears of its best men—because they are almost<br /> as full of fears as of hopes—are all to be read in<br /> <br /> VOL. Iv.<br /> <br /> its modern literature; that in such a place as<br /> Little, Brown, and Co.’s, one sees all the books in<br /> which these things are written; and that in no<br /> English publisher’s lists; in no English book-<br /> seller’s shop; in no Englishman’s house, can<br /> these books be found. Of course we get the<br /> novels and the poetry; but the graver books, the<br /> biographies, the histories, as a rule we do not<br /> get. It may be contended that all that is really<br /> best in American literature comes to us. Perhaps,<br /> best for purposes of opinion, of right under-<br /> standing, of forming a just conclusion of the<br /> nation. We want more than the really best; we<br /> want some of the second and third best. For<br /> the function of literature is not always to present<br /> reason, opinion, fact, and fancy, in its best and<br /> noblest form, but reason, opinion, fact, and fancy<br /> as they exist, and as they can be presented by the<br /> average writer. For example, in the reign of<br /> Queen Anne the opinions of the average citizen<br /> are far better illustrated by John Dunton—plain<br /> bourgeois—in his “Athenian Oracle” than by<br /> Addison ; and the present tendencies of America<br /> drift and opmion may be more fully revealed<br /> by the third-rate essayist, poet, or novelist, than<br /> by Lowell or Holmes.<br /> <br /> <br /> <br /> “ Then the talk drifted to the always fascinating topic of<br /> the profits of authors, and one of the company asked of a<br /> publisher present :<br /> <br /> “ What do you call a successful novel, nowadays? How<br /> many copies should be sold, and what does it mean to the<br /> author P”<br /> <br /> “‘ Well,” said the publisher, ‘“‘ a very successful novel will<br /> sell 5000 copies, but the average successful one means<br /> about 2000. A novel must sell the latter number before it<br /> pays either publisher or author. Of course, I speak now of<br /> a novel bound in cloth that sells for a dollar. Take a sale<br /> of 5000 copies of such a novel. The entire proceeds of<br /> such a book will fall considerably under 5000 dols., for it<br /> must be remembered that a dollar book is not always sold<br /> for 100 cents. A 12mo. novel contains about 250 pages, or<br /> 75,000 words. Ona rough estimate such a book will cost<br /> the publisher about 30 cents a copy. This includes<br /> composition, printing, and binding. The entire expenses,<br /> including a royalty of 10 per cent. to the author, the usual<br /> rate, and the advertising, will amount to 50 cents. For this<br /> book, which costs the publisher 50 cents, he gets from 60 to<br /> 65 cents, leaving him a profit of from 10 to 15 cents. This<br /> profit is generally increased somewhat by the retail sales of<br /> the publishing house. Publishers are bound—and this is<br /> for the protection of the bookstores—to sell a dollar book<br /> for a dollar. Enough books are sold by them at this price<br /> to bring up the average profit, say to 15 cents. Thusa<br /> publisher who sells 5000 copies of a novel will make about<br /> 750 dols. out of the transaction—not a very large profit for<br /> the capital invested and the risk involved. The profits of<br /> the author at 10 per cent. will amount to 500 dols., that is<br /> to say, his labour of writing and revising and his time, for<br /> which he is not certain of any return, not to mention the<br /> mental wear and tear, will bring about seven mills a word.<br /> Magnificent pay, and yet he is a successful author. Of<br /> course, there are some books, but they are very few, which<br /> make a phenomenal success, and these are the ones which<br /> <br /> mu 2<br /> eRe<br /> <br /> PD GR Re<br /> <br /> <br /> <br /> 84 THE AUTHOR.<br /> <br /> are read about from one end of the country to another.<br /> Most publishers say that it hardly pays in this present era<br /> of cheap paper-covered novels to publish the more expen-<br /> sive cloth-covered editions.” —Bufalo Courier.<br /> <br /> The above is interesting, as it affords some in-<br /> sight into the American cost of production. A<br /> book of 250 pp. @.e., 153 sheets, of 300 words to a<br /> page, costs, including advertising, 40 cents a<br /> copy. Remark that this means 500 dollars, or<br /> £100, spent in advertising the average book. Are<br /> the exchanges and “our own publications,” which<br /> cost nothing, inciuded in this estimate? In<br /> other words, the publisher’s initial liability on an<br /> average sale of 2000 copies is £160—less the<br /> minimum number of copies he knows he can<br /> place. The difference is the “risk,” which, as<br /> usual, is duly trotted out. If 5000 copies are<br /> sold, the author gets, at 10 per cent., £100; the<br /> publisher £150—“ not a very large profit for the<br /> capital invested and the risk.” But why the<br /> investment of the publisher should produce half<br /> as much again as the investment of the author is<br /> not stated. In England the publisher would<br /> invest in the case of a successful author just<br /> nothing at all, except, perhaps, some of the adver-<br /> tising charges, and there would be no risk.<br /> <br /> Niagara Falls, July 5.<br /> <br /> The stalls, both of the railways and the hotels—<br /> for in this country literature is not left to be<br /> found but is offered—show piles of American<br /> magazines—so do the railway stalls at home.<br /> But where are the English magazines? They do<br /> not exist; they are not apparent ; no one inquires<br /> for them. The “thoughtful” magazines — are<br /> there no thoughtful readers in the States?<br /> Apparently not, unless they are satisfied with<br /> their own thoughtfulness as illustrated by the<br /> Forum and the Arena and the Atlantic Monthly.<br /> But what does it mean that the American<br /> magazines have obtained so firm a hold in Great<br /> Britain, while our own wholly fail and are never<br /> seen on this side? It is a question admitting a<br /> great deal of explanation. Perhaps this may<br /> indicate the nature of the answer. An American<br /> magazine means business. It is provided with a<br /> highly-paid editor, and, in the case of successful<br /> magazines, a highly-paid staff of servants. The<br /> editor and his assistants are supposed to give<br /> their whole time, their thoughts, their strength, to<br /> the interests of the paper. They must be always<br /> thinking of it—providing material well ahead ;<br /> engaging writers at rates of pay which would<br /> make some (so called) first-class English magazine<br /> editors to jump ; they think of their readers, you<br /> see, and lay their lines and set their bait to<br /> attract and to catch them. Compare this with<br /> the casual editing of an English magazine.<br /> <br /> Where is there any thought for what is wanted ?<br /> Where do we find continuity of subject, serial<br /> papers (not serial fiction only)? Papers of the<br /> moment, papers of passing interest, there are in<br /> plenty. But these are not what the reader<br /> wants ; he gets them already in the daily papers ;<br /> he knows beforehand all that the writer in the<br /> monthly or the quarterly can tell him ; nor does<br /> he care twopence for the opinions of Lord A. and<br /> the Right Hon. B. about questions of the day<br /> which are decided for him every morning. It is<br /> not true, as some Americans say, that they have<br /> killed our magazines, but they are inflicting<br /> deadly injury upon them, and they will continue<br /> to do so until our people change their ways.<br /> <br /> <br /> <br /> The autograph hunter has hit upon a new and<br /> most creditable dodge. Audacious invention is,<br /> I find, called by the American Press “nerve.”<br /> This inventor, therefore, must be owned to have<br /> a wonderful nerve. He writes: “ May I trouble<br /> you, my dear Sir, to send me the present address<br /> of your aunt, Mrs. Maria Brown (sister to<br /> Thomas Carlyle), if she is still living? I might<br /> obtain her address elsewhere, but in order to<br /> save time I address you personally. Thanking<br /> you in advance, &amp;c.” Dear me! Is it possible that<br /> the world credits me with being the nephew of<br /> Thomas Carlyle, upon whose face, in the flesh,<br /> I have never gazed? Alas! the poor man is<br /> mistaken, he must be undeceived. Let me sit<br /> down and write a letter of explanation: “My<br /> dear Sir,—The lady whose address you ask, Mrs.<br /> Maria Brown, sister of Thomas Carlyle, is not<br /> my aunt, nor can I claim the honour of any<br /> kinship with that great man. Nor can I give<br /> you her address, or any information concerning<br /> her. I remain, &amp;.’’ Here follows the auto-<br /> graph. Oh! hunter of signatures—Nimrod of<br /> letters—wonderful is thy craft. Behold! the<br /> net is spread; the trap is set; and the silly<br /> fowl is caught.<br /> <br /> Albany, July 17.<br /> <br /> I have just learned from the New York Sun<br /> that Mr. Buchanan is having a “ quarrel” with<br /> me. It generally takes two to make a quarrel,<br /> and I am not one of the two, However, I hope<br /> that Mr. Buchanan is thoroughly enjoying him-<br /> self. When I get home I dare say I may find a<br /> few remarks to make. But that cannot be for<br /> some weeks to come—not, so far as the Author is<br /> concerned, until the September number. cman,<br /> <br /> Water BaEsant.<br /> <br /> <br /> <br /> pee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ¥<br /> t<br /> |<br /> &amp;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THE CONGRESS OF AUTHORS.<br /> <br /> <br /> <br /> T is hardly possible, at a date when the<br /> Literature Congresses have but just com-<br /> pleted their work to take anything like a<br /> <br /> a philosophical survey of the week s proceedings.<br /> We have. however, thought it best, even at the<br /> risk of offering our readers an incomplete and<br /> imperfectly {digested report, to summarize the<br /> series of events that have made the week just<br /> ended noteworthy in the intellectual history of<br /> Chicago. If we may not tell the whole story,<br /> and if our coign of vantage be too near the object<br /> for realisation of the proper perspective, our<br /> report may at least embody the salient features<br /> of the Congresses, and point a possible moral<br /> here and there. As has already been stated in<br /> these pages, Congresses to the number of five<br /> were planned for the week ending July 15, their<br /> subjects being Literature proper, Philology, Folk-<br /> lore, History, and Libraries. They have provided<br /> an intellectual repast, bewildering in variety, and<br /> quite beyond the assimilative powers of such rash<br /> mortals as may have attempted to partake of all<br /> the courses. They have been characterised by<br /> many notable contributions to both general and<br /> special culture, as well as by many of those dis-<br /> cussions and comparisons of diverse views from<br /> which a subject often receives more light than<br /> from some more formal method of treatment.<br /> <br /> The Congresses were happily opened on<br /> Monday evening, July 10, by a general recep-<br /> tion given to such of the participants in the<br /> week’s work as had at that time reached the city.<br /> The reception began with the usal introduction<br /> and handshakings, and ended with a few speeches<br /> of welcome by representatives of the World’s Con-<br /> gress Auxiliary. followed by responses from some<br /> of the more distinguished guests. Under the<br /> latter category come the remarks made by Mr.<br /> Charles Dudley Warner, Mr. Richard Watson<br /> Gilder, Mr. George W. Cable, Mr. Walter Besant,<br /> and Dr. Max Richter. In the course of Mr.<br /> Warner’s remarks, a tribute was paid to the<br /> beauties of the World’s Fair, and the speaker<br /> concluded with these words :<br /> <br /> I fear all the time that the Fair will disappear, and, as I<br /> say, I grudge every moment spent away from it, for it will<br /> go, like everything else that we have created by hand. And<br /> when it has gone these poor scribblers who have not<br /> money enough to create it, and many of them not imagina-<br /> tion enough to put it into poetry or into romance even—<br /> because I don’t know anybody, except St. John in the<br /> Apocalypse, who has hit it off at all so far—these poor<br /> scribblers will have to take up the task of perpetuating this<br /> creation of beauty and of splendour, and the next generation<br /> that wanders about Lake Michigan looking at the ruins of<br /> Chicago—the distant generation of course—will have to<br /> depend upon some wandering bard—who even then won&#039;t be<br /> <br /> 85<br /> <br /> half paid, I dare say—for the remembranee, for the descrip-<br /> tion of the great achievement of this city of Chicago in 1893.<br /> Mr. Gilder, in a few well-chosen words, contrasted<br /> the literary art with the arts of form and colour,<br /> pointing out that the very subtlety of the former<br /> makes its discussion difficult. Hence the speaker<br /> concluded that a Congress of Authors must of<br /> necessity for the most part deal with the physical<br /> side of literature, with “ the relation of that art to<br /> its presentation through books to the public.”<br /> Probably the most noteworthy incident of all this<br /> speech-making was to be found in the applause<br /> that interrupted Mr. Gilder when he said: “I,<br /> for one, would not have the countenance to stand<br /> up before a World’s Congress of Authors if<br /> within a short time we, as a nation had not wiped<br /> out the unbearable disgrace of international<br /> piracy.”<br /> <br /> The sentiment thus expressed by Mr. Gilder<br /> had many an echoin the subsequent proceedings<br /> of the Congress of Authors. The Tuesday<br /> session of this Congress was devoted to the<br /> general subject of Copyright, and it was pecu-<br /> larly fitting that Mr. George E. Adams should<br /> serve as the presiding officer. The enactment<br /> of the Copyright Law of 1891 was, as our<br /> readers will remember, largely due to the<br /> efforts of Mr. Adams, then a member of the<br /> House of Representatives. Major Kirkland,<br /> who introduced Mr. Adams to the audience,<br /> gracefully alluded to this fact, as did also Mr.<br /> Gilder, when his turn came to share in the<br /> general discussion. That the services of Mr.<br /> Adams had been appreciated, and were still re-<br /> membered by those present, appeared in the<br /> applause that followed every allusion made to<br /> them. The discussion was opened by the pre-<br /> siding officer himself, who read an admirable<br /> paper upon our copyright legislation, past and<br /> future. He took an eminently sane and practical<br /> view of the question, making clear the funda-<br /> mental distinction between a copyright and a<br /> patent (a distinction too often neglected), but<br /> still averring that our future legislation is sure to<br /> be based upon the broad considerations of public<br /> policy rather than upon purely theoretical<br /> grounds. “The question of the so-called moral<br /> right of an author in his book is not likely to<br /> arise in any future movement in this country for<br /> the enlargement of authors’ mghts by Congress.<br /> Such legislation will be supported on the ground<br /> of public policy rather than on the ground of<br /> just protection of property.” Dr. 8. S. Sprigge,<br /> late secretary of the London Society of Authors,<br /> followed Mr. Adams with a brief paper on “The<br /> International Copyright Union,” sent to the<br /> Congress by Sir Henry Bergne, the British<br /> Commissioner at the Berne Conference of 1886.<br />  <br /> <br /> 86<br /> <br /> <br /> <br /> Dr. Sprigge also read a paper of his own upon<br /> the present complicated condition of copyright<br /> legislation, English and international. The re-<br /> mainder of the session was given up to an<br /> informal discussion, among the participants<br /> being Mr. Gilder, Mr. George W. Cable, Mr.<br /> Charles Dudley Warner, Professor T. R. Louns-<br /> bury of Yale, President C. K. Adams of the<br /> University of Wisconsin, and General A. C.<br /> McClurg. There was general agreement among<br /> the speakers in deprecating the necessity of the<br /> “ manufacturing clause” of the Act of 1891, but<br /> there was an equally general agreement in the<br /> admission that the law, with all its defects, is vastly<br /> better than no law at all. Even Professor Louns-<br /> bury, who proclaimed himself one of the irrecon-<br /> cilables, admitted the justice of this view. The<br /> injury done to writers by the condition of simul-<br /> taneous publication also came up for discussion,<br /> as well as the inadequacy of the term at present<br /> provided. “Nearly all our great American<br /> authors have outlived their copyrights, which is<br /> a ridiculous perversion of justice,’ said Mr.<br /> Gilder; and Mr. Warner, echomg the opinion,<br /> allowed his wit to play upon the thought, greatly<br /> to the delight of h&#039;s hearers.<br /> <br /> The copyright question was again brought for-<br /> ward, at the Wednesday session. by Mr. R. R.<br /> Bowker, editor of the Publishers’ Weekly, who<br /> read a carefully prepared paper upon “ The Limi.<br /> tations of Copyright.” We may also mention in<br /> this connection, as an illustration of the interest<br /> taken by foreign countries in the work of the<br /> Congress, that a representative of the French<br /> Syndicat pour la Protection de la Propricté Litté-<br /> raire et Artistique, placed in the hands of the<br /> committee, for distribution among the members<br /> of the Congress, a pamphlet, ‘‘ Note sur l’Acte du<br /> 3 Mars 1891,” especially prepared and printed<br /> for the purpose. After congratulating the Copy-<br /> right League upon the successful outcome of its<br /> labours, the pamphlet adds: “Il ne saurait se<br /> présenter une occasion plus favourable que celle de<br /> la réunion du Congrés de 1893 pour exprimer les<br /> remerciements des intéressés &amp; tous ceux qui ont<br /> eu confiance en l’esprit de justice du peuple<br /> Américain.” The special subject of the Wednes-<br /> day session. “The Rights and Interests of<br /> Authors” was introduced by Mr. Walter<br /> Besant, who also presided over the ses-<br /> sion. Myr. Besant’s paper summarised the<br /> <br /> history of the London Society of Authors, ex-<br /> plaining also the reasons for its existence and the<br /> difficulties with which it has had to contend. A<br /> recent editorial in the Dial, upon the subject of<br /> the Society, gave the principal facts embodied in<br /> Mr. Besant’s statement, and it is unnecessary to<br /> repeat them here. To the majority of those who<br /> <br /> THE AUTHOR.<br /> <br /> heard them upon this occasion, they were doubt-<br /> less new, and, as presented by Mr. Besant, they<br /> were given the added force that always charac-<br /> terises a man’s spoken words upon some subject<br /> to which he has devoted years of active thought.<br /> The following is one of the passages of more<br /> general interest contained in Mr. Besant’s<br /> paper :—<br /> <br /> We have made a careful and prolonged inquiry into<br /> the very difficult subject of the present nature and extent<br /> of literary property. A writer of importance in our<br /> language may address an audience drawn from a hundred<br /> millions of English-speaking people. Remember that.<br /> never before in the history of the world has there<br /> been such an audience. There were doubtless more<br /> than a hundred millions under the Roman rule around<br /> the shores of the Mediterranean, but they spoke many<br /> different languages. We have now this enormous multi-<br /> tude, all, with very few exceptions, able to read, and all<br /> reading. Twenty years ago they read the weekly paper ;<br /> there are many who still read nothing more. Now that<br /> no longer satisfies the majority. Every day makes it<br /> plainer and clearer that we have arrived at a time when<br /> the whole of this multitude, which in fifty years’ time will<br /> be two hundred millions, will very soon be reading books.<br /> What kind of books? All kinds, good and bad, but mostly<br /> good; we may be very sure that they will prefer good books<br /> to bad. Even now the direct road to popularity is by<br /> dramatic strength, clear vision, clear dialogue, whether a.<br /> man write a play, a poem, a history, or a novel. We see<br /> magazines suddenly achieving a circulation reckoned by<br /> hundreds of thousands, while our old magazines creep along<br /> with their old circulation of from two to ten thousands.<br /> Hundreds of thousands? How is this popularity achieved P<br /> Is it by pandering to the low, gross, coarse taste commonly<br /> attributed to the multitude? Not so. It is mainly<br /> accomplished by giving them dramatic work stories which<br /> hold and interest them—essays which speak clearly—work<br /> that somehow seems to have a message. If we want a<br /> formula or golden rule for arriving at popularity, I shoulé<br /> propose this: Let the work have a message. Let it have a<br /> thing to say, a story to tell, a living man or woman to<br /> present, a lesson to deliver, clear, strong, unmistakable. *<br /> <br /> The demand for reading is enormous, and it increases<br /> every day. I see plainly—as plainly as eyes can see—a<br /> time—it is even now already upon us—when the popular<br /> writer—the novelist, the poet, the dramatist, the historian,<br /> the physicist, the essayist—will command such an audience<br /> —so vast an audience—es he has never yet even conceived<br /> as possible. Such a writer as Dickens, if he were living<br /> now, would command an audience—all of whom would buy<br /> his works—of twenty millions at least. The world has<br /> never yet witnessed such a popularity—so wide spread—as<br /> awaits the successor of Dickens in the affections of the<br /> English speaking races. The consideration must surely<br /> encourage us to persevere in our endeavours after the<br /> independence and therefore the nobility of our calling,<br /> and therefore the nobility of our work. But you must<br /> not think that this enormous demand is for fiction alone.<br /> One of the things charged upon our Society is that we exist<br /> for novelists alone. That is because literary property is<br /> not understood at all. As a fact educational literature is a.<br /> much larger and more valuable branch than fiction. But<br /> for science, history—everything—except, perhaps, poetry—<br /> the demand is leaping forward year after year in a most<br /> surprising manner. Now, in order to meet this enormous<br /> demand, which has actually begun and will increase more<br /> and more—a demand which we alone can meet and satisfy—<br /> <br /> <br /> <br /> &amp;<br /> 4<br /> od<br /> 3<br /> 4<br /> <br /> i<br /> ;<br /> i]<br /> :<br /> )<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I say that we must claim and that we must havea readjust-<br /> ment of the old machinery—a reconsideration of the old<br /> oo new appeal to principles of equity and fair<br /> play.<br /> <br /> The remainder of this session was taken up by<br /> a paper on “ Syndicate Publishing,” sent by Mr.<br /> W. Morris Colles, of London, by ‘Some Con-<br /> siderations of Publishing,’ a paper sent by Sir<br /> Frederick Pollock, and by a discussion in which<br /> part was taken by Mr. Besant, Mr. Charles<br /> Carleton Coffin, Mrs. Mary Hartwell Catherwood,<br /> and Mrs. D. Lothrop.<br /> <br /> The general subject of ‘Criticism and Litera-<br /> ture” occupied the Thursday session of the Con-<br /> gress. Over this session Mr. Charles Dudley<br /> Warner presided, and read the opening paper,<br /> his subject being “The Function of Literary<br /> Criticism in the United States.’’ Mr. Warner’s<br /> paper is so sound and so suggestive that we feel<br /> justified in reproducing a somewhat lengthy<br /> extract :—<br /> <br /> There seems to be a general impression that in a new<br /> country like the United States, where everything grows<br /> freely, almost spontaneously, as by a new creative impulse,<br /> literature had better be left to develop itself without<br /> criticism, as practically it had been left—every tree to get<br /> as high as it can without reference to shape or character.<br /> I say, as practically it had been left. For while there has<br /> been some good criticism in this country of other literatures,<br /> an application of sound scholarship and wide comparison,<br /> there has been very little of this applied to American<br /> literature. There has been some fault-finding, some<br /> ridicule, a good deal of the slashing personality and the<br /> expression of individual prejudice and like or dislike, which<br /> characterised so much of the British review criticism of the<br /> beginning of this century—much of it utterly conventional<br /> and blind judgment—but almost no attempt to ascertain the<br /> essence and purport of our achievement and to arraign it at<br /> the bar of comparative excellence, both as to form and<br /> substance. I do not deny that there has been some<br /> ingenious and even just exploiting of our literature, with<br /> note of its defects and its excellences, but it will be scarcely<br /> claimed for even this that it is cosmopolitan. How little of<br /> the application of universal principles to specific produc-<br /> tions! We thought it bad taste when Matthew Arnold put<br /> his finger on Emerson as he would put his finger on<br /> Socrates or on Milton. His judgment may have been<br /> wrong, or it may have been right; matter of individual<br /> taste we would have been indifferent to; it seemed as if it<br /> were the universality of the test from which our national<br /> vanity shrank. We have our own standards; if we choose,<br /> a dollar is sixty-five cents., and we resent the commercial<br /> assertion that a dollar is one hundred cents.<br /> <br /> It seems to me that the thing the American literature<br /> needs just now, and needs more than any other literature in<br /> the world, is criticism. In the essay by Matthew Arnold<br /> to which I have referred, and in which, as you remember,<br /> he defines criticism to be “a disinterested endeavour to<br /> learn and propagate the best that is known a 1 thought in<br /> the world,” he would have had smooth sailing it he had not<br /> attempted to apply his principles of criticism to the current<br /> English literature. And this application made the essay<br /> largely an exposition of the British Philistine. The Philis-<br /> tine is, in his origin and character, a very respectable<br /> person, whether he is found in Parliament, or in Exeter<br /> Hall, or in a newspaper office; he is incased in tradition.<br /> <br /> 87<br /> <br /> The epithet, borrowed from the German, would not have<br /> stung as it did if Arnold had not further defined the person<br /> to be, what Ruskin found him also in England and Wagner<br /> in Germany, one inaccessible to new ideas.<br /> <br /> Now, we have not in the United States the Philistine, or<br /> Philistinism, at least not much of it, and for the reason<br /> that we have no tradition. We have thrown away, or tried<br /> to throw away, tradition. We are growing in the habit of<br /> being sufficient unto ourselves. We have not Philistinism,<br /> but we have something else. There has been no name<br /> for it yet invented. Some say it is satisfaction in<br /> superficiality, and they point to the common school<br /> and to Chautauqua; the French say that it is satis-<br /> faction in mediocrity. At any rate it is a satisfac-<br /> tion that has a large element of boastfulness in it,<br /> and boastfulness based upon a lack of enlightenment, in<br /> literature especially a want of discrimination, of fine dis-<br /> cernment of quality. It is a habit of looking at literature<br /> as we look at other things—literature in national life never<br /> stands alone—if we condone crookedness in politics and in<br /> business under the name of smartness, we appiy the same<br /> sort of test, that is the test of success, to literature. It is<br /> the test of the late Mr. Barnum. There is in it a disregard<br /> of moral as well as of artistic values and standards. You<br /> see it in the Press, in sermons even, the effort to attract<br /> attention, the lack of moderation, the striving to be sensa-<br /> tional in poetry, in the novel, to shock, to advertise the per-<br /> formance. Everythingisonastrain. No, this is not Philis-<br /> tinism. I am sure, also, that it is not the final expression<br /> of the American spirit, that which will represent its life or<br /> its literature. I trust itis a transient disease, which we<br /> may perhaps call by a transient name—Barnumism.<br /> <br /> Another paper of importance, sent by Mr.<br /> Hamilton W. Mabie (who was unfortunately<br /> absent), had for its subject ‘‘Criticism as an<br /> Educational Force,” Speaking of the change<br /> that has of late years come over the spirit of criti-<br /> cism, Mr. Mabie writes :<br /> <br /> It was not until criticism passed into the hands of men of<br /> insight and creative power that it discovered its chief func-<br /> tion to be that of comprehension, and its principal service<br /> that of interpretation. Not that it has surrendered its<br /> function of judging according to the highest standards,<br /> but that it has discovered that the forms of excel-<br /> lence change from time to time, and that the<br /> question with regard to a work of art is not whether<br /> it conforms to types of excellence already familiar, but<br /> whether it is an ultimate expression of beauty or power.<br /> In every case the artist creates the type and the critic<br /> proves his competency by recognising it; so that while the<br /> critic holds the artist to rigid standards of veracity and<br /> craftmanship it is the artist who lays down the law to the<br /> critic. As an applied art, based on induction and con-<br /> structing its canons apart from the material which literature<br /> furnishes, criticism was notable mainly for its fallibility.<br /> As an art based on deduction, and framing its laws in ac-<br /> cordance with the methods and principles illustrated in the<br /> best literature, it has advanced upon a secondary to a<br /> leading place among the literary forms now most widely<br /> employed and most widely influential.<br /> <br /> Mr. H. D. Traill, of Oxford, sent to the Con-<br /> gress a paper upon “ The Relations of Literature<br /> and Journalism,” from which we quote the open-<br /> ing paragraph :—<br /> <br /> There never was a more promising subject for people who<br /> are fond of a good discursive debate, not likely to be brought<br />  <br /> <br /> <br /> 88<br /> <br /> to an abrupt and disappointing close by a sudden agreement<br /> between the disputants, than the subject of the relations<br /> between Literature and Journalism. A discussion of it<br /> combines almost every possible attraction—ambiguity of<br /> terms, indefiniteness of area, uncertainty of aim—everything<br /> in short that the heart of the most ardent controversialist<br /> could desire. I have been privileged to hear many such<br /> discussions and to take part in some of them, and on no<br /> occasion can I remember to have met with any debater<br /> so pedantic as to ask for a definition either of Literature<br /> or Journalism, at any stage of the argument. A sound<br /> instinct seems to warn people that if they were to do that<br /> the particular debate engaged in would immediately branch<br /> off either into a prolonged and probably technical inquiry<br /> into the precise meaning and limits of the term Journalism<br /> or into an interminable and almost certainly violent dispute<br /> as to what constitutes Literature. The latter question in<br /> especial is full of “ excellent differences ” for those who care<br /> to discuss it, because, according to some theorists on the<br /> subject, there would seem to be scarcely any written or<br /> printed matter—when once you have risen above the Post<br /> Office Directory—which is not literature; while, with the<br /> very superfine class of critics, the difficulty is to find any-<br /> thing that is. Literature begins for the former almost<br /> where it began with Dogberry. Anyone who could have<br /> ‘pleaded his clergy” in the middle ages would, in their<br /> view, apparently have been a literary man. Between this<br /> estimate and that of the superfine critic who claims to<br /> confine the name of literature to some limited class of com-<br /> position which he happens himself to admire, or perhaps<br /> affect, the gap yawns enormous, and I for one have no<br /> intention of attempting to bridge it. The true definition of<br /> literature no doubt lies somewhere between them ; and will<br /> be fixed on that auspicious day when it is found possible to<br /> determine the exact proportions in which form and matter<br /> enter into the constitution of literary merit. In the mean-<br /> time we must content ourselves with admitting that form is<br /> certainly, if in an undefined degree, the more important of<br /> the two. It would be dangerous to admit any more than<br /> this in a day when so many m‘nor poets are abroad ; for a<br /> considerable number of these, while particularly careful of<br /> form, have reduced the value of their matter to a vanishing<br /> point, and any encouragement to them to carry the process<br /> yet further is to be strongly deprecated. Still, this much,<br /> as I have said, must be admitted: that it is primarily form<br /> rather than matter which constitutes literature.<br /> <br /> Among other papers presented at the Thursday<br /> session was that sent by Mr. Henry Arthur<br /> Jones, who took for his subject “The Future<br /> of the English Drama,” and forecast it with an<br /> optimism quite excusable in the writer of so<br /> many serious and successful plays. While this<br /> session was in progress, the subject of “ Litera-<br /> ture for Children’? was under consideration in<br /> another hall of the building, and papers were<br /> read by Mrs. D. Lothrop, Mrs. Elia W. Peattie,<br /> and Mr. Hezekiah Butterworth. In the after-<br /> noon, a programme of authors’ reading for chil-<br /> dren was carried out in the presence of a very<br /> large audience, composed mostly of young people.<br /> <br /> “ Aspects of Modern Fiction” was the general<br /> subject of the Friday session of the Congress.<br /> Mr. George W. Cable was asked to preside, and<br /> the choice was no less happy than that of the<br /> chairman for the three preceding sessions. Mr.<br /> <br /> THE AUTHOR.<br /> <br /> Cable followed the example of his predecessors<br /> in the chair, and read the opening paper, his sub-<br /> ject being: ‘‘The Uses and Methods of Fiction.”<br /> <br /> We extract a passage from the close of this<br /> paper :<br /> <br /> We live in a day unparalleled by any earlier time in its<br /> love and jealousy for truth. In no field of search after<br /> truth have we been more successful than in science. Our<br /> triumphs here have kindled in us such energy and earnest<br /> enthusiasm, we have been tempted, both readers and writers,<br /> to forget that facts are not the only vehicle of truth. In<br /> our almost daily triumphant search, through the simple<br /> study of facts as they are for the human race’s betterment,<br /> we have learned to yield our imaginations too subserviently<br /> to the rule and discipline of the fact-hunters, and a depiction<br /> of desirable but as yet unrealised conditions across a chasm<br /> of impracticability is often unduly and unwisely resented.<br /> <br /> The world will do well to let its story-tellers be as at<br /> their best they have ever been, ambassadors of hope. The<br /> fealty they owe is not a scientific adherence and confinement<br /> to facts and their photographic display, however benevo-<br /> lently such an attitude may be inspired, save in so far as<br /> they may help them the more delightfully to reveal the<br /> divine perfections of eternal truth and beauty.<br /> <br /> Yet if it is true that there is no more law to compel the<br /> fictionist to teach truth than there is to require the scientist<br /> to be a poet, there are reasons why in more or less degree,<br /> and in the great majority of cases, he will choose to teach.<br /> One of these reasons lies on the surface. It is that in<br /> fictional literature, at least, Truth, duly subordinated to<br /> Beauty as the queen of the realm, is her greatest possible<br /> auxiliary and ally. No page of fiction ought ever to contain<br /> a truth without which the page would be more beautiful<br /> than with it. As certainly when truth ignores beauty as<br /> when beauty ignores truth, a discountfalls upon the value<br /> of both in the economy of the universe. Yet, on the other<br /> hand, beauty in the story-teller’s art, while it may as really,<br /> can never so largely and nobly, minister to the soul’s delight<br /> without the inculcation of truth as with it.<br /> <br /> Hence it is that fiction’s peculiar ministry to the human<br /> soul is the prose depiction, through the lens of beauty, to<br /> the imagination and the emotions, of conflicts of human<br /> passions, wills, duties, and fates; a depiction unaccom-<br /> panied by any tax of intellectual labour, but consistent with<br /> all known truth, though without any necessary intervention<br /> of actual facts. Or, more briefly, it is the contemplation of<br /> the truths of human life as it ought to be, compared with<br /> the facts as they are.<br /> <br /> Tf this is the fictionist’s commission, is not his commis-<br /> sion his passport also in the economist’s world? It would<br /> be easy to follow out the radiations of this function and<br /> show their value by their simple enumeration. In the form<br /> of pure romance it fosters that spirit of adventure which<br /> seeks and finds new worlds and which cannot be lightly<br /> spoken of while we celebrate the discoveries of Columbus.<br /> In all its forms it helps to exercise, expand, and refresh<br /> those powers of the imagination whose decay is the hectic<br /> fever and night-sweat of all search for truth and beauty ; of<br /> science and invention, art, enterprise, and true religion.<br /> Often it gives to the soul otherwise imprisoned by the<br /> cramped walls of the commonplace, spiritual experiences of<br /> life refined from some of their deadliest risks, and cuts<br /> windows in the walls of cramped and commonplace environ-<br /> ments. At its best it elevates our conceptions of the heroic<br /> and opens our eyes to the presence, actuality, and value of a<br /> world of romance that is, and ought to be, in our own lives<br /> and fates.<br /> <br /> Mrs. Mary Hartwell Catherwood followed Mr.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> re<br /> <br /> <br /> <br /> THE<br /> <br /> ‘Cable with a paper on “ Form and Condensation<br /> <br /> in the Novel.” We print a portion of Mrs.<br /> Catherwood’s remarks, regretting that we have<br /> not space for them all.<br /> <br /> Whoever attempts a novel is supposed to have a story to<br /> tell ; and the manner of his telling it is almost as important<br /> <br /> _as the story itself. It is always—whatever variations the<br /> <br /> theme may take—the story of a man and a woman; often a<br /> sad, often an absurd story; but one which is as fresh<br /> with every generation as new grass with the spring.<br /> The dear little maid whom you now call the light of<br /> your house will soon reach her version of it. She tells<br /> you in confidence, and with a stammer on the long word,<br /> that she has a prejudice against boys, and you know<br /> what that prejudice in the course of a few years will do<br /> with the incipient men who are hanging May-baskets or<br /> doing sums for her.<br /> <br /> It seems to me the best form for this story is the dramatic<br /> form. We want intensified life. “It is the quality of the<br /> moment that imports,” says Emerson. Of what interest are<br /> our glacial periods, our slow transitions that change us we<br /> know not why? Everyone can look back on many differing<br /> persons he has been in his time. And everyone is conscious<br /> of undeveloped identities hampered yet within him. The<br /> <br /> sweetest and sincerest natures have repressions and conc eal-<br /> <br /> ments. Itis the result of these things which makes the<br /> story of life. You may put a microscope over a man and<br /> follow his trail day by day ; but, unless he reaches some<br /> stress of loving, suffering, doing, you soon lose interest in<br /> him. I delight in Jane Austen for the quality of her work.<br /> In the same way I enjoy the work of Mr. Howells. It is<br /> ‘their dramatic grasp on the commonplace which makes<br /> these realists great.<br /> <br /> The most dramatic treatment cannot wholly present the<br /> beauty of one human soul, and the sternest analysis cannot<br /> reach all its convolutions of evil. Shakespeare knew his<br /> human soul. When we are very young we complain that he<br /> pictures us unfairly ; but when we are older we know. He<br /> took the great moments that counted, and presented his<br /> men and women intensely alive.<br /> <br /> I have heard there are authors who do not rewrite and<br /> condense, who set down at the first stroke the word they<br /> want to use; the word which creates. But I never abso-<br /> lutely laid hands on one. The growth of a story is usually<br /> slow, like the growth of most plants. It is labour and<br /> delight, pain and pleasure, despair and hope. You cannot<br /> escape a pang. You must absolutely live it through; and<br /> then try it by the test of ridicule of common standards, by<br /> the gauge of human nature. I heard a judge say when he<br /> was a college student he kicked all the bark off a log in the<br /> campus, and wore out the backs of a new pair of trousers,<br /> trying to write a poem; and he made up his mind he was<br /> no poet. If the spirit of art had really been in him, he<br /> would have recognised these agonies. It is not easy to<br /> speak the word—except when it is easy; when you<br /> have those moments of clear seeing and that condensing<br /> grasp of your material which sometimes pay for days of<br /> worthless labour.<br /> <br /> The remaimmg papers of the session were as<br /> follows: “The Short Story,’ by Miss Alice<br /> French; “The New Motive in Fiction,” by<br /> Mrs. Anna B. McMahan; “Local Colour in<br /> Fiction,” by Mr. Hamlin Garland; and “ Ebb-<br /> Tide in Realism,” by Mr. Joseph Kirkland. The<br /> Friday session of the Congress seemed to arouse<br /> a more general public interest than any of the<br /> others, and was distinguished from them by the<br /> VoL. Iv.<br /> <br /> AUTHOR. 89<br /> <br /> fact that all the papers presented upon this<br /> occasion were read by their authors.<br /> <br /> Our account has thus far dealt almost ex-<br /> clusively with the special subject of the Congress<br /> of Authors. When we consider the fact that this<br /> Congress has been the first of the sort to be held<br /> by writers in the English language, and the other<br /> fact that there existed in this country no definite<br /> association of literary workers to take charge of<br /> the arrangements, there is reason to congratulate<br /> the committees in charge upon the outcome of<br /> their enterprise. To the non-resident Committee<br /> of Co-operation, and particularly to its secretary,<br /> Professor George E. Woodberry, who laboured<br /> long and strenuously for the success of the work,<br /> a special and hearty word of recognition is due.<br /> It is true that there have been many disappoint-<br /> ments—that some who should have taken part in<br /> the work declined the invitation to do so, and<br /> that others who had promised their help aud<br /> their presence failed to come forward at the final<br /> moment—but, with allowance for all these mis-<br /> haps, it must be admitted that the Congress<br /> achieved a distinct success, that its sessions<br /> were dignified and thought-provoking, that it<br /> attracted the serious attention of a considerable<br /> and influential public, and that it has paved<br /> the way for a better organisation of authorship,<br /> and a better understanding of literature both in<br /> its commercial and its artistic aspects. The pro-<br /> ceedings of the Congress of Authors will have<br /> many echoes in the periodical literature of the<br /> coming weeks; and, if they shall be subsequently<br /> published, as is hoped, in permanent form, their<br /> effect will be felt far beyond the moment, and is<br /> likely to make itself apparent both in predicable<br /> and unpredicable ways.<br /> <br /> Of the four remaining Congresses of the week<br /> we have not, upon the present occasion, space to<br /> speak in detail. We must be content with say-<br /> ing that they brought to Chicago exceptionally<br /> large gatherings of the four classes of specialists<br /> to whom appeal was made, including many Euro-<br /> pean scholars of the first rank; that their pro-<br /> grammes covered a very wide range of original<br /> research; and that, in spite of the tropical<br /> temperature of the week, and the counter attrac-<br /> tions of the World’s Fair, they were attended by<br /> audiences commensurate with the interest and<br /> importance of what the proceedings had to offer.<br /> —From the Chicago Dial, July 16.<br />  <br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HE publication of the Author has been<br /> delayed, in order that the Report of the<br /> Chicago Conference should appear. Only<br /> <br /> a resumé can be published for this number.<br /> <br /> So<br /> <br /> There wasa pleasant gatbering at the Author’s<br /> Club on June 26 to welcome the Dutch writer,<br /> Mr. Maarten Maartens. Mr. Oswald Crawfurd<br /> C.M.G., was to have presided, but, being un-<br /> avoidably absent, Mr. Spielmann took the<br /> chair, surrounded by a company of about<br /> sixty authors and their friends, amongst whom<br /> were P. W. Claden, Barry Pain, J. E. Muddock,<br /> Dr. Todhunter, Sidney Lee, James Baker,<br /> Raymond Blathwayt, Moncure D. Conway,<br /> Fraser Rae, and Douglas Sladen. The toasts<br /> proposed were but two—‘ The Queen,” by Mr.<br /> Spielmann, and “ The Guest of the evening, Mr.<br /> Maartens,” by Mr. Douglas Sladen. In_pro-<br /> posing Mr. Maartens’s health, Mr. Sladen<br /> introduced the author by his real name, Van de<br /> Poorten Schwarz. Mr. Maartens, in rising to<br /> reply, said he should be afraid to make a speech<br /> to them, but, as he had always heard that authors<br /> were not good after-dinner speakers, that took<br /> away the one fear which might have dulled his<br /> joy at their kindly reception of him; a joy which<br /> was now as unclouded as their London sun—this<br /> summer. He felt that he had proved that<br /> English literary men were always heartily glad to<br /> w.leome those who tried to do their best; and, in<br /> concluding, he said he must commit what he had<br /> been told in England was an indiscretion—he<br /> must not only respond, but propose a toast,<br /> “ Suecess to the Authors’ Club,” which was drunk<br /> heartily by the guests present.<br /> <br /> <br /> <br /> No other pen than that of “the anonymous<br /> writer in the Azthor,’ who has so curiously<br /> moved Mr. Andrew Lang to wrath, can worthily<br /> reply to Mr. Lang’s strictures, but we venture<br /> to call the attention of members who have<br /> not seen Longman’s for July, to some of<br /> Mr. Lang’s facetie. ‘‘ When,” says Mr. Lang,<br /> ‘an author has written a book, he sends it to his<br /> friend the publisher. The publisher replies,<br /> ‘Dear Smith,—Thanks for your MS. We are<br /> prepared to produce it in such and such a shape,<br /> on such and such terms.’ Then the author either<br /> says ‘ All right,’ or he says ‘ You offer too much,<br /> Til take so and so,’ or he says he would rather<br /> have better terms, and the pair agree or disagree ;<br /> in the latter case the author tries somebody<br /> else.” Is there not something inimitable in<br /> that ‘ You offer too much” ?<br /> <br /> THE AUTHOR.<br /> <br /> It may, perhaps, be further permissible to point:<br /> out that Mr. Lang has, in the heat of the moment,.<br /> been betrayed into a slight inaccuracy. “ The<br /> critic in the Author,’ he says, “ decides that there<br /> is a prejudice against literary men “‘as a set of<br /> needy mendicants.” The critic in the Author<br /> decided nothing of the kind. His words were:<br /> “There is no doubt that some of the contempt<br /> which has been freely poured upon the calling of<br /> letters, and is still poured upon it is due to the<br /> prejudice which regards literary men as a set<br /> of needy mendicants.” It is not exactly<br /> fair to quote the contributor to the Author as<br /> responsible for a libel against which his remarks<br /> were a vigorous protest.<br /> <br /> <br /> <br /> The renovation of the grave of Dr. William<br /> Maginn in the churchyard of Walton-on-Thames<br /> —if it can be be identified, and Mr. Michael<br /> Macdonogh has thrown some doubt on this detail<br /> —is a cause which must commend itself to all<br /> those who are associated with the literary life.<br /> Maginn was not, perhaps, a great genius, but he<br /> was a genius, and few of the Fraserians achieved<br /> so many-sided a reputation. At once a poet, a<br /> satirist, a critic, and a scholar, Maginn deserves to<br /> have his memory kept alive in spite of his follies<br /> and foibles. If the spot where he lies buried<br /> cannot be placed beyond doubt, it is to be hoped<br /> that the movement which has been set on foot<br /> will not be allowed to rest until some memorial<br /> has been raised elsewhere.<br /> <br /> ee<br /> <br /> NOTES FROM PARIS.<br /> <br /> <br /> <br /> Paris, July 19, 1893.<br /> <br /> E were sitting on the terrace of the house<br /> <br /> that overlooks the park and the Seine<br /> <br /> beyond. It was after dinner and quite<br /> <br /> dark, just the time, over the cigarettes and the<br /> coffee, to listen to strange stories. And Daudet<br /> was telling them as he can tell them. I presume<br /> that there is no man less superstitious than<br /> Alphonse Daudet, or one who less believes in<br /> supernatural phenomena, yet he declared himself<br /> unable to explain what happened to him one<br /> night as he was walking out in the woods of<br /> Meudon with his friend Alfred Delvau. That<br /> night they were pursued for hours by a horrible<br /> laugh. Daudet imitated the laugh, and one of<br /> the men who were listening to the story said, “It<br /> must have been the laugh of a mad woman.”<br /> “ We first heard it,” said Daudet, “as we were<br /> walking along a hedge-side. It startled me,<br /> <br /> <br /> <br /> <br /> <br /> ;<br /> ;<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. gI<br /> <br /> coming in the silence of the night, and I asked<br /> Delvau if he had heard it too. Just then it came<br /> again. Delvau cried out to know who was there,<br /> but there was no answer. We walked on, and<br /> again and again we heard the laugh close to our<br /> ears, but coming us it were from the other side<br /> of the hedge. Unable to stand it any longer I<br /> dashed through the hedge cutting my face badly<br /> in so doing. But there was nobody to be seen,<br /> though I searched carefully for a long time. No<br /> sooner had I returned to my friend, and we had<br /> begun walking on again, when once more we<br /> heard the ghastly ‘“He-he-he-he-he.” Delvau<br /> reminded me that there was a lunatic asylum for<br /> females in the neighbourhood, but that explained<br /> nothing, as no woman was in sight nor to be<br /> foun’ by the most careful searching. And, though<br /> neither Delvau nor myself were at all supersti-<br /> tious, we got thoroughly frightened, and the end<br /> of it was, the laugh continuing, that we simply<br /> took to our heels and ran for miles as though a<br /> pack of evil spirits were at our heels. I have<br /> never been able to explain to myself whose laugh<br /> it was.”<br /> <br /> <br /> <br /> Daudet then told us of an adventure, which he<br /> had in Germany when on a foot excursion, with<br /> Delvau, along the banks of the Rhine, and how<br /> they happened into a murder-inn. Daudet had<br /> imprudently shown some hundred-frane gold<br /> pieces, the sight of which had excited the<br /> cupidity of the people of the house. After they<br /> had retired te their room, Daudet standing at<br /> the window overheard some people in the next<br /> room, who were also standing by the open window,<br /> talking together, and though he could not under-<br /> stand all they said, he heard enough to warn him<br /> that an attack was being planned. He acccrd-<br /> ingly awoke Delvau, who, by the way, always used<br /> to go to sleep directly after the evening meal, to<br /> noctambulist Daudet’s despair; a barricade was<br /> thrown up, and the hunting-knives unsheathed<br /> and held in readiness. When a few minutes later<br /> the thieves entered the room, the sight that met<br /> them so appalled them that they ran shrieking<br /> thence. “We did not go to.sleep again,” said<br /> Daudet, “as you may imagine, but left the inn,<br /> without being troubled for our score, as soon as<br /> day broke.”<br /> <br /> <br /> <br /> I was saying how rarely it is that nowadays<br /> romance, though earnestly pursued by many of<br /> us, ever comes our way, and how this had been a<br /> fortunate adventure, when one of the ladies, I<br /> think it was Jeanne Daudet, the granddaughter<br /> of Victor Hugo, came from the drawimg-room<br /> and said: “ De Maupassant is dead.” We had<br /> all been chatting merrily till then, but this piece<br /> <br /> of news thus proclaimed in the dark struck<br /> silence down upon us, and there was a long<br /> pause while we waited for Daudet to speak. But<br /> he said nothing, and it gradually impressed itself<br /> upon us—from this very silence of his—that,<br /> being an invalid himself, this shadow of death<br /> had chilled his heart. Someone at last broke the<br /> painful silence, saying: “It is perhaps a mercy.”<br /> Another said: “ One might almost say, ‘ What,<br /> again?’?”’ But we were all ill at ease, and we<br /> felt that this was a catastrophe on which no com-<br /> ment could be made. But then the New Jour-<br /> nalism broke in upon our reverence. An able<br /> editor on hearing the news had at once despatched<br /> a man down to Champ Rozay, and a letter was<br /> handed in, brought post haste from Paris, praying<br /> the dear and most honoured master to write an<br /> article on the man and on his death. I shall<br /> not forget Dandet’s face, as, by the light of<br /> vestas which we struck and held for him, he read<br /> the letter. Of course he refused. “I have<br /> nothing to say ; I can write nothing. What can<br /> be said ? Poor De Maupassant. Did we not bury<br /> him two years ago?”<br /> <br /> <br /> <br /> Emile Zola has been made an officer of the<br /> Legion of Honour. This distinction has pro-<br /> voked a great deal of spiteful attack against him.<br /> Rochefort, in the Jntransigeant, on the morrow<br /> of his promotion, “went for” him in true<br /> Rochefortian style. He said that it was shame-<br /> ful that a man of letters should accept such a<br /> decoration from the hands of the people who<br /> govern France, and he went on to criticise Zola’s<br /> work in no kindly spirit. He said, to begin with,<br /> that he would give every line that Zola ever<br /> wrote for Daudet’s one book ‘ Sappho,” an<br /> opinion shared, it may be mentioned, by many.<br /> He also said that Zola’s books had no heart in<br /> them, and resembled a gallery of lifeless wax-<br /> work figures. He then pointed out—and I<br /> thought it petty on his part, a Saturday Review<br /> process at the best—a number of mistakes which<br /> Zola has made in his books, as where he speaks,<br /> in the “Faute de VAbbé Mouret,’ of the<br /> “lizards hatching their eggs,” and similar little<br /> slips, which are all too pardonable.<br /> <br /> <br /> <br /> Edouard Drumont, the same day, attacked<br /> Zola most ferociously in his Jew-baiting paper,<br /> La Libre Parole, in a three-column article, headed<br /> “Zola, or the Reward of the Pornographer.”. I<br /> had not patience to read Drumont’s article, which<br /> smelt of hysteria, and I only mention it to show<br /> that there are in Paris many whom Zola’s hard-<br /> earned laurels vex.<br /> <br /> <br /> oe THE AUTHOR.<br /> <br /> I personally was very glad that Zola should<br /> te so distinguished, not that I attach any impor-<br /> tance to decorations, but because the public does,<br /> and because if ever a man deserved distinction<br /> it is Emile Zola. Leaving the literary merits of<br /> his books out of question, no one can fairly deny<br /> that there is a hero in this little man, who has<br /> fought successfully such a fight, and has come<br /> out victorious. Every man of letters should have<br /> Zola’s bust or his portrait in his study, even if<br /> his taste has banished Zola’s works from his<br /> bookshelves. His patience, his industry, his<br /> courage, are qualities which should be taken as<br /> examples, all the more so that they have brought<br /> him to so splendid a victory.<br /> <br /> <br /> <br /> Zola was created a Knight of the Legion of<br /> Honour in 1888, and was severely criticised for<br /> his acceptance of this honour by his so-called<br /> “school,” who drew up, and sent in to the<br /> master, a protestation. I saw him at the time,<br /> and asked him what he had to say about this<br /> protestation, which, if I remember rightly, was<br /> to the effect that it was treachery on the part of<br /> the head of a school of freelances, fighting<br /> against all recognised standards, to accept official<br /> patronage, this being tantamount to surrender.<br /> Zola told me that he had decided to take the red<br /> ribbon because it was a great triumph for the<br /> literary ideas he had fought for, ideas which had<br /> been reviled and persecuted from one end of<br /> Europe to the other. Personally he did not care a<br /> fig for any ribbon, red, blue, or yellow, but he was<br /> delighted to show the idiots in France (this with<br /> a growl), and the idiots out of France, that the<br /> Government appreciated the literary value of his<br /> work, As to the protestation of the school, he<br /> said: “I have no school. I never pretended to<br /> have any. Icannot help people imitating me. I<br /> am completely independent, and I intend to re-<br /> main so.” It was then that he first spoke of his<br /> contesting a seat at the Academy.<br /> <br /> <br /> <br /> Just ten years before that, at the mstance of<br /> Gustave Flaubert and of Alphonse Daudet, the<br /> red ribbon had been promised to Zola by a<br /> Minister named Bardoux. It was Daudet who,<br /> dining with Bardoux, and being consulted by the<br /> latter as to whom he should decorate, had pro-<br /> posed Zola’s name. Bardoux was delighted. with<br /> the suggestion, and said that the matter might<br /> be considered settled. Zola, in consequence, was<br /> invited to call upon Bardoux, and, after his call,<br /> everybody, himself included, expected to see his<br /> name figure on the honour-list of July 14. It<br /> did not, however, appear, nor on Jan. 1 following.<br /> Bardoux had probably been worked upon by<br /> <br /> Zola’s too numerous enemies, and so changed his<br /> mind. Zola used to say, when decorations were<br /> spoken about in his presence: “ I was very nearly<br /> decorated by Bardoux, and that suffices.” ‘To-<br /> day he is officer of the Legion of Honour. It<br /> ig true that Quesnay de Beaurepaire is com-<br /> mander.<br /> <br /> <br /> <br /> Here is a little story about Emile Zola which<br /> shows his kindness of heart Some weeks ago a<br /> young student named Zimmer was arrested and<br /> locked up in Mazas on the charge of trying to<br /> break into a room, the door of which had been<br /> sealed up by the Russian consul and a French<br /> magistrate, pending the settlement of a dispute<br /> as to whom the papers, left in that room by its<br /> former tenant, a Russian student, who had com-<br /> mitted suicide, should be handed. The papers<br /> were of a nature to gravely compromise a number<br /> of Socialists living in Paris and in Russia, and<br /> had been claimed by the Russian consul fora<br /> very obvious purpose. It was alleged by the<br /> authorities that a conspiracy had been formed<br /> amongst a certain number of students to get<br /> possession of these papers and to destroy them.<br /> Anyhow, Zimmer and another student named<br /> Julien were caught by the detectives set to watch<br /> the house, near the attic where the compromising<br /> papers were stored, and it was alleged that they<br /> had already broken one of the seals upon the<br /> door. It may be recorded that, thanks to the<br /> efforts of a very brilliant young barrister, Mr.<br /> Raymond Daly, who, by the way, has succeeded<br /> poor Child as Paris correspondent to the New<br /> York Sun, both Zimmer and Julien were<br /> acquitted. Well, whilst Zimmer was in_ his cell<br /> at Mazas, finding prison life very dull, and having<br /> nothing to read, he wrote to Emile Zola, and,<br /> telling him of his ennui, asked him to send him a<br /> copy or two of his books to help him while away<br /> the time. The next day a huge packet was<br /> delivered to Prisoner No. so-and-so, which was<br /> found to contain Zola’s complete works, together<br /> with a kind letter bidding the young man keep up<br /> heart. Zimmer told me this himself on the night<br /> of his liberation from Mazas, and I could not<br /> help wondering how many distinguished English<br /> novelists would have responded in the same way<br /> to a letter from an unknown person lying in<br /> durance in Holloway under a charge of burglary.<br /> <br /> <br /> <br /> I think it should be a point of etiquette in the<br /> literary world that no person engaged himself in<br /> the production of books should write criticisms<br /> on the works of others, and that editors of news-<br /> papers and reviews should not employ critics who<br /> are authors at the same time. What would be<br /> <br /> <br /> <br /> <br /> <br /> |<br /> i<br /> |<br /> i<br /> |<br /> i<br /> i<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 93<br /> <br /> thought of a man who, wanting to have an<br /> opinion on a parcel of tea put on the market by<br /> one importer should hand it for examination to<br /> another importer, who has no dearer wish at<br /> heart than to see his own packets of tea univer-<br /> sally accepted as the best and only valuable.<br /> The opinion of the critic, who is also an author,<br /> cannot but be biassed by his own interests, and<br /> it is quite natural that he should use the<br /> weapon wrongfully placed in his hands to destroy,<br /> as far as in his power lies,any and every competitor<br /> that may come his way. I know one or two<br /> gentlemen who eke out incomes derived from the<br /> production of literary wares by commenting on<br /> the literary wares of fellow authors, and I am<br /> sorry to say that in every case they show them-<br /> selves as ferocious as does a dog fighting for his<br /> Lone. Let there be critics certainly, but let<br /> these be critics only and not competitors of the<br /> people upon whose productions they pass judg-<br /> ment. It may be noted that in no other profes-<br /> sion but the literary profession is the critic the<br /> competitor of those whose works he criticises.<br /> <br /> Rosert H. SHERARD.<br /> <br /> GUY DE MAUPASSANT.<br /> <br /> —_—__—<br /> <br /> ()&#039; the many sad events which it has been<br /> <br /> <br /> <br /> one’s fate—in this world of sorrow—to<br /> <br /> see, I do not know of any more sad, more<br /> poignant than the long agony and most unhappy<br /> death of our dear and great master. These are a<br /> tragedy so appalling that to express its horror<br /> one should have the pen of Aeschylus or of<br /> Sophocles. Let Guy de Maupassant be conceived<br /> in these last bitter days. Let one remember how<br /> he, reluctant, was inexorably driven down, down,<br /> from a fair sun-lit pinnacle, into the valley of the<br /> shadow of death ; how, recoiling from the hideous<br /> spectacle of this valley of night, and knowing that<br /> he might never retrace his steps to the lofty,<br /> pleasant eminence from which he had come, he<br /> essayed with a sudden stroke—I refer to his<br /> attempt at suicide—to enfranchise himself, and<br /> with reason to abdicate life also.<br /> <br /> But it was not to be, and into the night he was<br /> plunged, and, away from our eyes, who, wandering<br /> on the borders of the pit, could only hope, and<br /> against hope, that he who was lost down there,<br /> might have no recollection of aught in the world<br /> above from which fate the Furies had hounded<br /> him. Oh, the pitiful groping of his in that<br /> shadow land, the dumb wonder that must have<br /> been his at his environment, the poor aching head<br /> <br /> throbbing to remember, to understand, the eyes<br /> straining to pierce the night.<br /> <br /> In God’s goodness in time the end came; the<br /> sounds of the pitiful struggle in the night became<br /> fainter and fainter, and the rest was silence. It<br /> was a long agony, but for the divine mercy it<br /> might have been prolonged and with it our un-<br /> availing sorrow.<br /> <br /> The night has closed in on him, but his work<br /> remains in luminous and splendid testimony of<br /> the master that he was. This aristocrat of<br /> letters will be remembered in the days of<br /> democracy to come. He will be looked back<br /> upon, when literature also has succumbed to trade,<br /> the typewriter having supplanted the quill, the<br /> noisy newspaper having, by bribing these and<br /> starving those, robbed the muse of the last of<br /> her sons, as we look back on the artificers in other<br /> walks, the workers in metal and glass and<br /> leather, the weavers, the carvers, and gold-<br /> smiths, and regret, in the shoddy in which we<br /> are set, that the cunning of commercial specula-<br /> tion has taken the place of the cunning of<br /> glorious hands. When vulgarity is everywhere,<br /> he will be remembered as one of the last<br /> in whom not anything was common. Just<br /> as we finger with admiration tinged with regret<br /> the brocade found in an old armoire, which, in<br /> the days of Louis the King, was worn &#039;y a great<br /> marquise, and compare it with the lewd passemen-<br /> terie of B.rmingham or of Leipzic-on-the-Elbe,<br /> so shall we admiringly turn over these pages of<br /> his, and sigh for the days when the man of letters had<br /> a lofty ideal of style and the consciousness—akin<br /> to heroism—to realise it. Not one sentence shall<br /> we find in which this ideal was forgotten; from<br /> first to last the work of de Maupassant is that of<br /> a master. This entire refinement of style, this<br /> utter loathing of vulgarity, explains his choice of<br /> subjects. This was a gentleman running tilt at<br /> the vices of a vulgar and an unchivalrous age.<br /> The cowardice, the cruelty, the meanness of men,<br /> the degradation of women, who have always been<br /> in harmony with their natural mates and influ-<br /> enced by them, so that in knightly days we had<br /> heroines, and in cunning days we have tricksters,<br /> are all the outcome of the substitution to the<br /> high ideals, first of physical force, of personal<br /> courage, of ambition, of glory, which charac-<br /> terised the days of aristocracy, of the low ideals<br /> of the days of democracy, of cunning and com-<br /> merce, and all the petty meannesses of the shop<br /> and the counting-house. There was something<br /> of the Don Quixote in de Maupassant’s attitude<br /> towards his contemporaries. He was a gentle-<br /> man, and he scourged the want of gentle quali-<br /> ties in an age where money has replaced honour.<br /> His habits might be described, and conversations<br />  <br /> <br /> <br /> <br /> 94<br /> <br /> quoted which would confirm this view of what<br /> prompted him in his choice of subjects, but for<br /> that space is wanting. And it is moreover—in<br /> the freshness of our sorrow—no pleasant task to<br /> dwell upon him, even in warmest eulogy.<br /> <br /> Paris, July 21. Rosert H. SHERARD.<br /> <br /> oc<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> A Meruop or ADVERTISEMENT.<br /> <br /> HEY were friends, and lived together in<br /> f3 dirty chambers, in a dirty Inn, and quar-<br /> relled o’ mornings, and o’ nights became<br /> confidential, and would sonorously narrate what<br /> they had done, and shrilly swear what they would<br /> do, and would rail at the timidity of editors, and<br /> the purblindness of the reading world. For<br /> they had literary designs, though as yet they had<br /> not found the road to public recognition. When,<br /> therefore, one of them, Mr. Joshua Jones (I refer<br /> to the now celebrated historian), burst in upon<br /> his companion, Mr. Robert Treves (for a brief<br /> period much be-paragraphed as Robin Trefusis,<br /> the minor poet), and exclaimed, “I saw my<br /> chance and took it,” he excited in his friend’s<br /> mind only a languid curiosity, much disappoint-<br /> ment having made the bard sceptical as to the<br /> value of any chances likely to fall to either of<br /> them.<br /> <br /> “Been to the club, and sneaked a new<br /> umbrella ?” he asked, looking wearily from the<br /> pages of a parchment-covered book, and twisting<br /> up the tip of his flaxen beard.<br /> <br /> “No,” replied Jones. ‘“ This is a real chance.”<br /> <br /> “Mr. Sims has given you a thousand pounds<br /> to write a melodrama without a baronet in it?<br /> No? Going to index a book about Rameses II.,<br /> or to catalogue the MSS. in a brewer’s library ?<br /> No? Hold on! Utknow your limits, and must<br /> guess it soon. It is literary—eh?”’<br /> <br /> “ Yes—I suppose so.”<br /> <br /> “Then you&#039;re going to do the historical serial<br /> for the Family Gazette—‘ Count Robert of Roc-<br /> Amadour’ or ‘Eugene, the Cavalier: a Tale of<br /> the Civil War’? No? Well, what?”<br /> <br /> “T’m going to do the poetical T’s for the New<br /> Literary Biographical Series. It looks like a<br /> long job. You&#039;ve no idea how instinctively<br /> people whose names begin with T drop into<br /> poetry or ”—noticing his friend’s bow’’—er—into<br /> maudlin slush. I’ve just ordered all the books that<br /> have ever been written about Tennyson, Thompson,<br /> Tupper, and similarly obvious people. But there’s<br /> a heap more of them, and I’ve got a free hand to<br /> <br /> THE AUTHOR.<br /> <br /> put in and leave out as I like. And T’ll tell you<br /> what—I’m going to give poor old Robinson<br /> Taylor a show. He shall have his say at last,<br /> poor dear old chap! I shall swear right out that<br /> he was a thundering fine poet. He really wasn’t<br /> bad, you know.”<br /> <br /> « Robinson Taylor! Why he couldn’t write a<br /> cent! He had a trick or two, and that sums him<br /> up. What can you say about him?”<br /> <br /> “T’m going to say something, anyhow. Poor<br /> old Taylor! I remember his first effusion. He<br /> was about fifteen, and very cherubic, all dimples<br /> and smiles. And he brought me a piece of black<br /> introspection beginning, ‘I am a man fulfilled of<br /> sin and shame.’ And we roared over it. No!<br /> He never got a show while he was alive, and Tm<br /> going to give him one now that he’s dead.”<br /> <br /> “Robinson Taylor! Well, you&#039;re a staunch<br /> friend. You&#039;re prepared to record a heap of lies<br /> in a standard work because you rather liked a<br /> mediocre man as a schoolboy. It’s a prize _per-<br /> formance in log-roling. I wish I was dead.<br /> Perhaps you’d boom me. It might be worth<br /> my while to commit suicide. Would you boom<br /> me, if 1 did? I’m as good as Robinson Taylor.”<br /> <br /> “Better, my dear chap. I can say that con-<br /> scientiously.”<br /> <br /> « And I’ve been waiting a dreadful long time.”<br /> <br /> “ But you’ve never done anything.”<br /> <br /> “ Why, that’s true,” assented the poet musingly.<br /> <br /> “There’s deuced little of me in print. But.<br /> doesn’t that make what there is more precious?<br /> This is a commercial age, and the scarcity of<br /> my wares should enhance their value. 1 have a.<br /> notion that that is what is called political<br /> economy. And I’ve got a book ready, you know.<br /> Tt’s not my fault that it has not yet been pub-<br /> lished. All that is wanted now is the common<br /> publisher to reimburse me for my risk, in giving<br /> up so much time to what is probably going to be<br /> an unremunerative task. And all that could be<br /> worked, if I died, and you boomed me.”<br /> <br /> “Yes, it could” (absently).<br /> <br /> “ My book, I say, would be printed and would<br /> go, if I died and you boomed me.”<br /> <br /> “ Yes, it would” (indifferently). ;<br /> <br /> “My book” (beginning again very slowly, and<br /> stopping as Jones at last looked attentively at<br /> him)<br /> <br /> “What do you mean? ”’ said Jones.<br /> <br /> “Nothing,” said the poet hastily. “ Nothing.<br /> I’m only a little mad.” And he burst into<br /> laughter as the full development of his idea<br /> became manifest to him.<br /> <br /> * * * * *<br /> <br /> Mr Rutherford, the famous publisher of small<br /> editions, was an enterprising man, and Treves<br /> entered to him, knowing that he need not scruple<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> i!<br /> 4<br /> ay<br /> {<br /> i<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> to lay bare his plan, because it was a flighty and<br /> irregular one, while he could show that the<br /> chances of practical success were fair. Mr.<br /> Rutherford listened politely, smoking slowly as<br /> his visitor talked, and then replied promptly—<br /> <br /> “Yes. It’s a goodish idea—quite a good idea<br /> in fact. But,I must not be mixed up in anything<br /> of that sort. Understand me there. I shall be<br /> innocent, brightly radiantly innocent. But the<br /> chance of selling sufficient copies to pay me for<br /> putting the book on the market is so good, if<br /> you can really secure an advertisement of that<br /> sort, that I am willing to print your poems.<br /> You’ll be reviewed everywhere. I do not offer<br /> you any money for them, for you are a new hand,<br /> and it would be absurd to do so. But I refrain<br /> from charging you anything. And if you like<br /> to tell any one that I gave you a hundred pounds<br /> or so, why do; I shall not contradict you. The<br /> statement would reflect great credit upon both of<br /> us. AndIJ’ll help you to work the fake, if you<br /> are quite sure that you will be discreet.”<br /> <br /> “Tm not likely to talk,” said the poet. ‘Tm<br /> ashamed of the dodge. But I’m going to do it,<br /> because J will be talked of.”<br /> <br /> “Do you tell your friend, the biographer? Or<br /> is he to genuinely mourn a deceased friend in<br /> <br /> our<br /> <br /> “Ql<br /> to.”<br /> <br /> “Yes. Well it would certainly be injudicious,<br /> to keep him in the dark. If he stands in with<br /> us, only pretending to think you dead, he will<br /> say nothing of you except the good. But if he<br /> thinks you are really out of the way, and that<br /> you can never reproach him for his virtue, he<br /> might be tempted to do his duty—to be exactly<br /> honest—and so on.”<br /> <br /> “‘That’s the man!” said Treves. ‘‘ He would<br /> swagger about his honesty, and would slate me<br /> right and left, and take credit to himself for the<br /> pain he was causing himself. I&#039;ll tell him.”<br /> <br /> And this is how it came about that Robert<br /> Treves’s book was published, and this is why<br /> some six months later the poet disappeared on to<br /> the Continent laughing, while the following para-<br /> graph appeared in the New Literary Biographical<br /> Series :<br /> <br /> “ Treves, Robert (Robin Trefusis). Born July,<br /> 1862, at Ovington Manor, Norfolk. Died May,<br /> 1893, at Davos Platz. By the premature death<br /> of this young singer, England has lost a poet<br /> who, as his voice grew stronger—more certain in<br /> execution and more extended in range—would<br /> have done her high honour. His youth, in as<br /> great a degree as his fastidiousness, accounts for<br /> the scantiness of the work he has left behind<br /> him; but by none of our recent verse-makers<br /> <br /> I shall tell him. It would be brutal not<br /> <br /> 95<br /> <br /> has his dexterity of treatment been excelled, and<br /> few have been inspired with loftier themes. The<br /> brevity of our notice has been dictated not by the<br /> obscurity of the poet, but by the fact that a<br /> biography can take cognizance only of perform-<br /> ance, and not at all of promise. But if the per-<br /> formance here has been small, it has been good,<br /> and the promise very great. No record of the<br /> poets of the Victorian era can be considered<br /> complete, without mention of the name of Robin<br /> Trefusis; and some of the more individual and<br /> characteristic portions of his one slender volume<br /> will be found to constitute a valid claim to his<br /> admission into this Series.”<br /> <br /> * * * * *<br /> <br /> “And now,” said Mr. Rutherford gleefully,<br /> ‘* it’s time for me to work the racket.”<br /> <br /> So he sent letters to all the literary papers<br /> explaining the fact that Mr. Treeves was still<br /> alive, and that his name had got into the bio-<br /> graphical series by a culpable error that was<br /> likely to give great pain, not only to Mr. Treves’s<br /> immediate friends, but to all lovers of English<br /> literature. Then the erring biographer was<br /> ordered by his employers to make an abject.<br /> apology in all those literary papers for’ his<br /> egregious carelessness, and he did so. And the<br /> incident furnished copy to journalists of all<br /> sorts for many days, while the book received<br /> serious attention from every review of note in the<br /> kingdom. So that it is not surprising that in the<br /> absence of Mr. Treeves his bed-maker was inter-<br /> viewed in a society paper, and the great British<br /> public were duly aroused to the fact that the<br /> new poet wore side-spring boots, read the Daily<br /> Telegraph, and threw cigarette ends all over the<br /> floor.<br /> <br /> “Tt’s working beyond my expectation,” said Mr.<br /> Rutherford, and he prepared a second edition,<br /> with a black cover to it. ‘I begin to wonder the<br /> chap does not come and ask for some money.”<br /> <br /> Then an omniscient and an indefatigable<br /> statesman, who was sparing time from the<br /> government of the Hmpire to deliver a lecture on<br /> the “ Evolution of Poesy” to the Asiatic Society,<br /> quoted from the book. Immediately two school-<br /> fellows of Robert’s wrote to the papers about<br /> him. One gave anecdotes to prove that he was a<br /> morose and stupid boy. The other described<br /> him as a perpetual ray of clever sunshine, the<br /> darling and despair of his tutors, the tyrant and<br /> idol of his companions. And thirteen requests<br /> for his autograph were sent to his chambers.<br /> And a parody of one of his poems appeared in<br /> Punch. And a man who knew him at Cambridge<br /> called to borrow a trifle. Briefly, Robert Treves<br /> was on the road to fame.<br /> <br /> “ Now Ido wonder he doesn’t turn up,” said<br />  <br /> <br /> <br /> 96<br /> <br /> Mr. Rutherford. “If he doesn’t want the bread,<br /> surely he would like the butter.” And he got a<br /> cheap edition in paper covers with the sub-title,<br /> “ From beyond the bar,” and an édition de luxe<br /> in white vellum, limited to two hundred and fifty<br /> impressions, with a copper-coloured etching of<br /> the poet as a frontispiece.<br /> <br /> And still there came no news.<br /> <br /> “ Where the deuce is he?” said Mr. Ruther-<br /> ford, at last, with a little irritation in his voice,<br /> addressing Mr. Joshua Jones. “ He can do me<br /> another book if he likes. He can’t really write<br /> very much—at least I don’t think so, and he<br /> would soon wear thin—but he’s a safe draw just<br /> now. Write to him, and ask him about it. Tell<br /> him I&#039;ll pay for the next one—and stretch a<br /> point and give him something on the old one<br /> too, if he likes. Where is he Te<br /> <br /> “&lt; FIe’s in Paris,” said Jones. “ He telegraphed<br /> this morning from there, saying that a letter<br /> wo 1d follow.”<br /> <br /> “Capital! Then there’s no bother about it at<br /> all. Write to him and tell him so. If he<br /> hasn’t got anything by him, let him set to work<br /> and translate some of those new French beggars<br /> —Sensitivistes and Hystériques—you know. And<br /> let him use the simplest and oldest ballad<br /> metres, particularly when the sentiment is com-<br /> plicated and new. He might take ‘ Old Mother<br /> Hubbard’ as a model. I can sell him. Tell<br /> him that. I can sell him. I know a man who<br /> draws vile clumsy things on the wood, with<br /> Durer’s perspective and Bouguerau’s faces, and<br /> he’ll illustrate the book, and we&#039;ll get the tail-<br /> pieces from tra ings at the British Museum.<br /> You write about it to him at once. There’s<br /> money in it just now. But he’s got to be quick.<br /> You write at once.”<br /> <br /> * * * * *<br /> <br /> Mr. Joshua Jones promised, but he never kept<br /> his promise. For that evening he received a<br /> letter from his friend.<br /> <br /> “My dear Jones,” it ran, “We have played a<br /> dirty trick, and I leave you to repent, for I<br /> always shirk a duty. I have read what you said<br /> of me, and also what all the critical people have<br /> said since. I know that Ihave run into editions,<br /> but I also know that I have written nothing par-<br /> ticularly good, and that I can never write any-<br /> thing so good again. J have decided therefore to<br /> restore you to your position as an accurate man<br /> by constituting myself a dead poet. Yes, when<br /> you read this I shall be a dead poet. You<br /> needn’t worry about me, I shouldn’t worry much<br /> about you.—Yours very sincerely,<br /> <br /> “ RoBert TREVES.<br /> <br /> “P.§,—Tell Rutherford I fancy he will see his<br /> <br /> THE AUTHOR.<br /> <br /> way to a new edition upon the strength of my<br /> furnishing this new advertisement.<br /> <br /> “ Second P.S.—I haven’t a relation in the world<br /> nearer than the cousin who black-balled me for<br /> the Blenheim. Have my things sold, pay your-<br /> self for your trouble, don’t pay my debts, give<br /> our admirable Mrs. Thompson a fiver for the<br /> article which appeared in ‘‘ The Smart Review ”<br /> about me—I am sure the editor has not troubled<br /> to do so—and send the balance, with my dog, to<br /> the Dog’s Home. Good-bye.” O. J.<br /> <br /> ee<br /> <br /> $0-SO SOCIOLOGY.<br /> <br /> <br /> <br /> 1. Philosophy helps Man to be serene ; science,<br /> to be sure ; religion, to be sane; and misfortune,<br /> to be strong.<br /> <br /> 2. Everyone was born, and will die, in debt to<br /> human society.<br /> <br /> 3. There are two main kinds of history—the<br /> popular and the precise.<br /> <br /> 4. Who learns only on authority, believes only<br /> by memory.<br /> <br /> 5. The greatest are those who can, if they<br /> must, best stand alone.<br /> <br /> 6. The rare is equally liable to reverence and to<br /> ridicule. :<br /> <br /> 7. Without pain, no progress; without pleasure,<br /> no permanence.<br /> <br /> 8. Self-conceit differs from self-confidence, as<br /> dreams from deeds.<br /> <br /> g. Contempt is a common compliment from the<br /> contemptible.<br /> <br /> 10 The present seems degenerate to the degene-<br /> rating.<br /> <br /> 11. Who thinks too little of social opinion is a<br /> cynic : too much, a slave.<br /> <br /> 12. Candour is virtue or vice, according to<br /> motive.<br /> <br /> 13. Absence of heart is no sure sign or proof<br /> of presence of head.<br /> <br /> 14. Right religion and sure science are twin<br /> phases of true truth.<br /> <br /> 15. Only the useful ever deserves to be.<br /> <br /> 16. The highest use of beauty is not to please,<br /> but to raise.<br /> <br /> 17. Nature may often seem hard, but can never<br /> be unjust.<br /> <br /> 18. No one ever broke a natural law; it<br /> simply broke him, when unwise enough to try.<br /> <br /> 19. Nature’s chief function is to grow ; Man’s,<br /> to adjust.<br /> <br /> 20. Who knows character and understands<br /> circumstance may foretell conduct.<br /> <br /> 21. In life, as in light, focus makes for force.<br /> <br /> i<br /> .<br /> Vs<br /> iS<br /> i<br /> i<br /> H<br /> .<br /> i<br /> i<br /> i<br /> ]<br /> i<br /> q<br /> 3<br /> i<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> We<br /> <br /> <br /> <br /> THE<br /> <br /> 22. Cleanliness, as much as courage, is a<br /> phase of brain-power.<br /> <br /> 23. Creed is much more a matter of chance<br /> than of choice.<br /> <br /> 24. Shallowness is as readily mistaken for<br /> optimism, as pessimism for poetry.<br /> <br /> PHINLAY GLENELG.<br /> <br /> ——— rr<br /> <br /> A BRIDESONG OF BRITAIN.<br /> <br /> <br /> <br /> Sunny of soul is Britain. This day does her heart behold<br /> <br /> A world spread wide for her goings upon ways by her seers<br /> foretold.<br /> <br /> Faces thereon and thereover shine back on her throne from<br /> afar,—<br /> <br /> Faces of children made bright in the light of her rising Star.<br /> <br /> Up from their eyes it ascends towards its zenith of hope,<br /> and its goal<br /> <br /> In that Sabbath of kindreds and kingdoms foretold unto<br /> man by his soul.<br /> <br /> One blood, of one speech, one purpose, to her loyalty of<br /> purpose fast,<br /> <br /> Her babes eat fruit of her sowing; yet the stores of her<br /> storied past<br /> <br /> Wane, and are small accounted, by wealth which her sons<br /> shall bring,<br /> <br /> Tilth of the wastes, and tribute of ocean, and garnering<br /> <br /> Freewill gifts of the soul, all the broad Earth’s hidden store<br /> <br /> Hoarded of time and chaos from the spoilers who spoiled<br /> before.<br /> <br /> Oh, Crown of the one great kindred, wax mighty! let Earth<br /> resound<br /> <br /> Thy praises, our Island Mother, by thy young lions guarded<br /> round<br /> <br /> In the gates of thy seawalled fortress! Therefrom shall the<br /> nations seek<br /> <br /> Ensample of freedom, wisdom in counsel, aid for the weak<br /> <br /> *Neath the shield of the ‘‘ Peace of Britain,’ man’s armour<br /> of breast and brow,<br /> <br /> Wherefrom in spray shall the swords be splintered, where-<br /> through no blow<br /> <br /> May shatter the orb she upholds to the sun, or avail to<br /> break<br /> <br /> Her spirit’s purpose, or hinder the thing that her hand<br /> would make.<br /> <br /> To the teeming promise of time heart-awakened by<br /> marriage bells,<br /> <br /> An answer of praise and rejoicing in the bosom of Britain<br /> <br /> swells :<br /> <br /> Music above and about her is one with a psalm in her<br /> breast<br /> <br /> Rising on high, carried wide on all winds of the Hast and<br /> the West,<br /> <br /> And of North and of South by her offspring. Oh, hymn of<br /> the loyal and free,<br /> <br /> Oh psalm of our love and our longing, ring ever by land and<br /> by sea<br /> <br /> Increasing in prophecy, valiant, victorious, a song of desire ;<br /> <br /> Ring proud over palace and city, ring blythe over home-<br /> stead and byre.<br /> <br /> Strong swordsong, attempered of Saxon, of Norman, of<br /> Celt and of Dane,<br /> <br /> Where ploughshares are forged of the swordblades our<br /> smithying wakes thee again.<br /> <br /> AUTHOR. 97<br /> <br /> This day thou art thundered by cannon, rung out by the<br /> jubilant bells,<br /> <br /> Our lovesong, our bridesong, our birthsong, a song that<br /> forestalls and foretells.<br /> <br /> In the ends of the earth, and those gates of the foe which<br /> are ours, let it rise.<br /> <br /> Ring it north, ring it south, oh ye bells.<br /> ring forth to the skies.<br /> <br /> Hope of Britain,<br /> <br /> Tall city belfry, hidden hamlet spire,<br /> Ring out, ring out your loudest, proudest chime :<br /> Ring hope at dawn, ring joy at eventime ;<br /> Ring round your cadences of crowned desire.<br /> Land and sea are listening<br /> To your merry marriage madness ;<br /> Quiring to the chimes ye ring<br /> Choruses of loving gladness.<br /> Ring for Britain and her Queen,<br /> For the world-spread commonweal<br /> Basing one far-sheltering throne,<br /> Fullest hope the years have seen,<br /> Kindliest longings men may feel,<br /> Widest bond the world hath known,<br /> In kinship, kingship, all our own.<br /> Ring; Ring Britain’s marriage peal.<br /> Britain calls to this day’s feast<br /> Her first and foremost, last and least.<br /> On her breast this marriage night<br /> Shall her gems outshine the sky,<br /> Every hill be tipped with light,<br /> Every happy home be bright<br /> With a realm’s festivity.<br /> Not upon her sleeve is worn<br /> Britain’s heart. Her smile and tear,<br /> Every hope which she holds dear,<br /> Consecrate this marriage morn<br /> Of sailor Prince and English Maid,<br /> On whom her love and trust are stayed,<br /> To all her children yet unborn.<br /> Oh, happy bridal pair,<br /> To whom all hearts are gathered as ye stand<br /> This day to plight your lives, your native land<br /> Crowns you with love and prayer.<br /> Give back untarnished into Britain’s hand<br /> These crowns which all may share ;<br /> So, from the unnumbered loyal breasts<br /> Whereon our Greater Britian rests,<br /> Win ceaseless increase of your love and prayer, as she,<br /> Our Queen, hath harvest of our prayer and love<br /> From seed of lovingkindness, purity,<br /> Womanly wealth of sympathy above,<br /> Past record amongst rulers of mankind,<br /> And, best resource in need,<br /> That Light whereby to find<br /> High hope and righteous deed.<br /> <br /> Such gifts she gives us. Make her gifts your own,<br /> That so these buttressed bases of the throne<br /> May stand; which through Victoria’s reign have grown<br /> To golden strength, beyond each ’dizened story,<br /> On warrior-builded tombs where sleeps an empire’s glory.<br /> Great is your vantage to have been<br /> Our own from birth, and dear to England’s Queen,<br /> Beloved in girlhood, wifehood, widowhood,<br /> Revered for love of him we name “the Good” ;<br /> Mother of Princes whose fair courtesy<br /> Is timely helpful to our empire’s wants,<br /> Princesses whose nice-fingered charity<br /> Lays welcome usury on the gift it grants.<br />  <br /> <br /> <br /> 98 THE AUTHOR.<br /> <br /> <br /> <br /> With these, with you, with her rejoice, IL.<br /> <br /> Prince and peasant. Britain’s voice<br /> Pours forth her blessings at this festival, Copyricut in New ZEALAND.<br /> <br /> In faith, in hope, in love, in joy for all. It may interest readers of the Author to know<br /> : _ that there is no provision for registering copy-<br /> Fly, fly Bridesong of Britain. Flash from her bosom in right of books in New Zealand ; therefore that<br /> <br /> ares of fire. ae g : f<br /> Wing, wing till thy world-girt ring shall cling deep-linked P9 tion of the Act of 1886 which provides that<br /> <br /> .,<br /> |.<br /> <br /> with her sons’ desire. registration in a colony is sufficient to secure<br /> Go where the Sunlands, go where the Norlands greet thee, copyright throughout the British dominions is<br /> meet thee with mirth again. strangely inoperative as regards the colony afore-<br /> <br /> Gather all greetings of Sunland and Norland ; twist them<br /> as strands of thy marriage strain.<br /> Brood and ’bide upon bridegroom and bride ; ’bide in bless-<br /> <br /> said.<br /> The ‘ Copyright Ordinance,’ 1842 (N.Z.),<br /> <br /> ing and brood in love ; reads thus :—<br /> Sing them a mirth-song; bring them a birth-song ; hold Whereas it is desirable that the copyright of books<br /> them and help with thy hymns above. should be secured by law to the authors thereof: Be it<br /> Evermore, over sea and shore, bid thy glad hope soar with enacted by the Governor of New Zealand, with the advice<br /> her bright wings spread. and consent of the Legislative Council, as follows :—<br /> Speed thine own towards the Great White Throne, with the 1. The author of any book which shall hereafter be<br /> Psalm of Life which awakes the dead. printed and published, and his assignees, shall have the<br /> From the farthest height of thy path of flight let thy light ole liberty of printing and reprinting such book for the<br /> be bright unto distant lands. full term of twenty-eight years, to commence from the day<br /> Take meet reward as seer and bard in meed of the deed thy of first publishing the same, and also, if the author shall be<br /> faith demands. living at the end of that period, for the residue of his<br /> Loud be thy song in the strongholds of wrong, yea, loud natural life.<br /> and long for the right’s increase, 2. If any person shall during the period or periods<br /> Zealous and leal to the whole wor\d’s weal, till the last blast aforesaid print, reprint, or import, or cause to be printed,<br /> peal from thy lips in peace. reprinted, or imported, any such book without the consent in<br /> Fly, fly Bridesong of Britain, speak with her sons from clime writing of any author or assignee of the copyright thereof,<br /> to clime. or shall, knowing the same to have been so printed, reprinted,<br /> Warmth of the Sunland, strength of the Norland, blend or imported, without such consent as aforesaid, sell, publish,<br /> them, bind them with chime and rhyme. or expose for sale, or cuuse to be sold, published, or exposed<br /> Byer to echo, ever to eddy, ever to throb in the breast of for sale, or have in his possession for sale, any such books<br /> time. J. A. GoODCHILD. without such consent as aforesaid, every such person shall<br /> <br /> be liable to an action at the suit of the author or assignee,<br /> in which action double costs of suit shall be allowed, and<br /> shall also, upon a verdict being given against him in such<br /> <br /> action as aforesaid, forfeit and pay the sum of fifty pounds<br /> CORRESPONDENCE. to the use of Her Majesty, her heirs and successors, for the<br /> public uses of the Colony, and the support of the Govern-<br /> ment thereof.<br /> <br /> <br /> <br /> <br /> <br /> es<br /> <br /> <br /> <br /> <br /> <br /> L<br /> <br /> The following is an extract from a letter<br /> PayMENT FOR INTERVIEWS.<br /> <br /> : ‘ : : received by me from the Registrar of Copyrights,<br /> Sir,—The interview nuisance has assumed pro- Wellington, dated March 2, 1893 :—<br /> <br /> portions that seem to call for drastic measures on In reply to your letter of the 27th ult., I beg to say that<br /> the part of the interviewed. Not only is every there is no provision for registration in the colony under<br /> popular writer expected to grant interviews to the Ordinance of 1842 (quoted), neither is there any Act<br /> representatives of all and sundry journals, but under which ordinary letterpress books can be registered<br /> a practice is springing up of forwardig an in New Zealand.<br /> <br /> examination paper in advance of this ordeal. If It may be asked, “Then why doesn’t the New<br /> the practice is to continue, I wish to suggest that Zealand Parliament make provision for regis-<br /> the least the editors and proprietors of periodicals tering?” That is the point ce Why?<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> can do when they solicit a favour of this character B. R. F. 1.<br /> is to intimate the terms they are prepared to pay ————09Oq.&lt;<br /> for the privilege. It should be made a matter of i<br /> business. This would take away any sense of WHAT THE PAPERS SAY.<br /> <br /> ungraciousness from a refusal. As it is, one is<br /> <br /> under a sort of compulsion to comply. Specu- I<br /> <br /> lative interviewers, too, threaten to become a a : s<br /> <br /> serious plague to busy writers. XY 2 Tur PRrEerernaturat Story.<br /> <br /> © HERE is an article in this month’s<br /> Author,” the Poet went on, after a pause, E<br /> “on the preternatural story, which<br /> <br /> seemed to me to be full of knowledge and obser-<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 99<br /> <br /> vation. In it there is quoted the remark of a well-<br /> known London publisher, that nowadays people<br /> cared for nothing but fairy-tales.”<br /> <br /> “T should think,’ the Ordinary Man said,<br /> “that they must be much harder to write. The<br /> limits of the preternatural are much narrower<br /> than those of the natural.”<br /> <br /> He was here told, almost unanimously, that he<br /> was talking nonsense,<br /> <br /> “JT don’t think so,” he cortinued. ‘“ As long<br /> as you are dealing with the natural, you may<br /> repeat yourself freely and make as many varia-<br /> tions as you like on a common theme—the ordi-<br /> nary human love-story is an instance. But when<br /> we come to the preternatural, repetition is not so<br /> easy; it always suggests plagiarism. I have<br /> never read a story—since ‘Dr. Jekyll and Mr.<br /> Hyde’—that dealt with a divided personality<br /> without thinking that the author was indebted<br /> to Stevenson.”<br /> <br /> “That,” the Poet said, “ would be an argu-<br /> ment in favour of the fairy tale—the story of the<br /> preternatural. If it is more difficult, it is more<br /> desirable. And I don’t want the ghost story to<br /> die out.”<br /> <br /> “Yes,” the Mere Boy said; “tell me not in<br /> Christmas numbers ghosts are but an empty<br /> dream. But why are we all getting so literary ?<br /> I started by talking about the hangman.”<br /> <br /> “But surely,” said the Poet, “you couldn’t<br /> wish all the rest of us to end with him ?”—<br /> Barry Parn, in Black and White.<br /> <br /> <br /> <br /> Il.<br /> WITHDRAWN FROM CIRCULATION.<br /> <br /> The relatives of Claude Bernard, the French<br /> author, are engaged at the present moment in<br /> buying up copies of a book of poems which they<br /> think is below the reputation of the celebrated<br /> physiologist. This is not the first instance of an<br /> author’s works being withdrawn from publication.<br /> M. Alexandre Dumas, fils, once published a book<br /> called (very appropriately) “‘ Péchés de Jeunesse.”<br /> It was in verse of poor quality. M. Dumas never<br /> loses an opportunity of buying up a copy. M. de<br /> Mazade and Wilkie Collins have done the same<br /> thing. So have Feydeau and Sainte-Beuve.<br /> Victor Hugo published a satire in 1819 entitled<br /> the “ Télégraphe,” which he subsequently sought<br /> to suppress. Many works have been practically<br /> withdrawn from circulation because their authors<br /> subsequently changed their political opinions,<br /> and on one occasion the Rothschilds contributed<br /> greatly to the success of a book by Toussenel<br /> called the “ Juifs rois de Epoque” by buying it<br /> up. &lt;A recent edition of the same work passed<br /> unnoticed. Louis Napoléon was the providence<br /> <br /> of publishers. He tried in 1834 to suppress the<br /> ‘‘ Révision de la Carte d’Europe,” by himself, as<br /> well as many other publications. In more recent<br /> days the books of M. Turpin, the inventor of<br /> mélinite, and of Maitre Cléry, the eminent Paris<br /> barrister, have been suppressed for political reasons.<br /> The task of exterminating a book which has once<br /> been printed is, however, by no means an easy<br /> one. It recalls the Biblical massacres in which<br /> one warrior, the sole survivor, always escapes to<br /> tell the tale—Pall Mall Gazette.<br /> <br /> <br /> <br /> Pec<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> R. WALTER BESANT has prepared for<br /> <br /> the August number of the Contemporary<br /> <br /> Review a revise of his presidential address<br /> <br /> at the opening of the Hoxton Library and Insti-<br /> <br /> tute. It will bear the title ‘The Associated<br /> <br /> Life.”<br /> <br /> “ Round the Red House Farm ”’ is the title of<br /> <br /> a lengthy sketch of Warwickshire country life<br /> <br /> which Mr. George Morley has written for the<br /> <br /> Queen. It deals with the natural history of the<br /> <br /> landscape lying between two farms near Offchurch<br /> <br /> Bury, the seat of the Dowager-Countess of Ayles-<br /> <br /> ford. The Record Press are publishing a book by<br /> <br /> Mr. Morley, entitled “Rambles in Shakespeare’s<br /> <br /> Land.” The same writer has written a paper on<br /> <br /> “Shakespeare Commemorations,’ and also one<br /> <br /> entitled ‘Literary Islington,’ both for early<br /> publication in London Society.<br /> <br /> Dr. Karl Leutzner, the well-known author, was<br /> elected a Fellow of the Royal Society of Literature<br /> of the United Kingdom, at a meeting held in<br /> London on the 28th of June.<br /> <br /> Mr. Frankfort Moore’s novel, “I Forbid the<br /> Bans,” is being translated into German by Miss<br /> Adele Berger, and Baron Tauchnitz has already<br /> added it to his Continental Library. Messrs.<br /> Hutchinson have a cheap edition in the press,<br /> which will be ready immediately. The large<br /> demand for Annie 8. Swan’s new book, “ Home-<br /> spun,” will delay the publication until early in<br /> July.<br /> <br /> The Briar Rose, the organ of the Rose Club,<br /> a literary society for women, has just been<br /> issued. It is edited by Miss Mary A. Woods,<br /> and is a publication which appeals to literary<br /> beginners.<br /> <br /> “Dust and Laurels” is the title of a study in<br /> nineteenth century womanhood, by Mary L.<br /> Pendered, to be published shortly, in one volume,<br /> by Messrs. Griffith, Farran and Co.<br />  <br /> <br /> 100<br /> <br /> A new serial by Mrs. R. S. de C. Laffan,<br /> entitled “Through the Ranks,” will commence<br /> in an early number of All the Year Round.<br /> Messrs. Jarrold and Jarrold, publishers, Nor-<br /> wich, are about to issue a complete uniform<br /> edition of the same writer’s works, “ Lewis<br /> Draycott” and «Bonnie Kate” being now in<br /> the press. Other novels will follow in due course,<br /> each work costing three and sixpence. The<br /> serial story for boys, now running in the Strat-<br /> fordian, will ultimately be published in volume<br /> form, illustrated.<br /> <br /> Miss Amy Reade, the author of the circus<br /> story, “ Ruby,” which attracted a good deal of<br /> attention a few years ago, and of “ Slaves of the<br /> Sawdust,” is engaged upon a new novel, to be<br /> entitled “Zerma,” Miss Reade has for collabo-<br /> rator, Mr, Alfred T. Story, author of “The Old<br /> Corner Shop,” and other novels.<br /> <br /> Many Inventions, by Rudyard Kipling (Mac-<br /> millan&#039;and Co.). It is pleasant to welcome<br /> a fresh volume from the hand of the master<br /> writer of short stories. No reader will be dis-<br /> appointed with the new volume as a whole or<br /> will see any falling off from the author’s crisp-<br /> ness of expression, vigour of narration, and<br /> keenness of observation. He is a true artist.<br /> He studies his subject; masters the detail and<br /> places it before the reader, so that the veriest<br /> dullard can follow him and almost fancy himself<br /> as keen an observer as the author. Perhaps the<br /> best story in the book, if it is possible to make<br /> a choice, is “The Record of Badalia Herods-<br /> foot.” Its lurid realism is wonderful, and yet<br /> how artistic and pathetic. Again, as in Mr.<br /> Kipling’s former volumes of short stories, the<br /> variety of subject, apart from the literary and<br /> artistic merit, would save the volume from the<br /> paper basket. There is no monotony of the oft<br /> repeated sentimental love story, or of the as<br /> wearisome tale of hair breadth escape. The book<br /> is thoroughly true to humanity, though drawn<br /> from so many varied sources; as such it is a work<br /> of the highest art, and will appeal to the widest<br /> public.<br /> <br /> Songs, Measures, and Metrical Lines, by J. C.<br /> Graham (Kegan Paul, Trench, and Co., Limited),<br /> is a pleasant little book of verse. Some of the<br /> lines about the country and the flowers are<br /> particularly fresh. “Summer” has a distinct<br /> poetic thought well expressed.<br /> <br /> Lieut.-Gen. Sir George Chesney, K.C.B., M.P.,<br /> the author of “The Battle of Dorking,” “The<br /> Private Secretary,” “A Dilemma,” &amp;c., has just<br /> completed a new novel, which, under the title of<br /> “The Lesters,’”’ will be published in the autumn<br /> by Messrs. Smith, Elder, and Co.<br /> <br /> THE AUTHOR.<br /> <br /> “Dan’l’s Delight,” by Archie Armstrong, which<br /> has been running at St. George’s Hall since<br /> Easter, was withdrawn on July 8 to make way<br /> for a new piece.<br /> <br /> Mr. Arthur Dillon is reissuing his book of<br /> poems, “ River Songs and other Poems,” with<br /> Messrs. Eden, Remington. The volume will<br /> appear shortly.<br /> <br /> “Church and Dissent” is the title of a new<br /> book by the Rev. Richard Free, B.D., author of<br /> “The Decay of Nonconformity,” “ Lux Benigna,”<br /> &amp;c., consisting of a series of lectures which will<br /> shortly be published in one volume.<br /> <br /> Miss Peard’s new novel, ‘“‘The Swing of the<br /> Pendulum,” will be published this autumn by<br /> Messrs. Bentley and Sons. The characters are<br /> English, but the scene is chiefly laid in Norway.<br /> <br /> The Publisher&#039;s Circular announces that a<br /> Civil List pension of £200 has been granted to<br /> Mr. John G. Evans, to enable him to continue his<br /> researches in Welsh literature. A pension of<br /> £75 has also been granted to Mrs. Minto, widow<br /> of Professor Minto, and one of £50 to Mrs.<br /> Frances E. Trollope, widow of Mr. Thos. A.<br /> Trollope.<br /> <br /> Mrs. Waugh has translated with marked<br /> dexterity ‘The Two Countesses ” of the Baroness<br /> von Ebner Eschenbach. The volume has been<br /> published by T. Fisher Unwin in his Pseudonym<br /> Library.<br /> <br /> “Gearing and the Economical Transmission of<br /> Power,” by M. Powis Bale, A.M.LC.E., has just<br /> been published as No. 1 of their Technical Series<br /> by Messrs. Wm. Rider and Son Limited.<br /> <br /> “The Index to Periodical Literature of the<br /> World,” covering the year 1892, which has just<br /> been issued from the office of the Review of<br /> Reviews, is a monument of industry and enter-<br /> prise. Not only does it give the contents of the<br /> <br /> principal periodicals of the world for the year<br /> <br /> under review, but it gives a classified table of<br /> magazines with their editors, addresses, and<br /> some extremely useful remarks. Issued at a<br /> merely nominal price of 5s., the publication<br /> deserves the support of every man and woman of<br /> letters, and it would be impossible to find for<br /> them a better investment.<br /> <br /> In spite of the “ bad times,” of which we have<br /> heard so much, yet another firm of publishers has<br /> commenced business—Messrs. Bliss, Sands, and<br /> Foster, of 19, Craven-street, Strand.<br /> <br /> Mr, Grant Allen has written a new story for<br /> Messrs. Raphael Tuck and Co., entitled “An<br /> Army Doctor’s Romance,” which will appear<br /> in the Breezy Library.<br /> <br /> <br /> <br /> <br /> <br /> i<br /> 1<br /> it<br /> FS<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “ A Man of Mystery,” a novel by Mrs. Har-<br /> court Roe, will shortly be published by Messrs. J.<br /> Blackwood and Co., price 6s.<br /> <br /> “ A Splendid Cousin,” the successful story in<br /> the Pseudonym Library, by Mrs. Andrew Dean,<br /> is to be translated into French, and will appear<br /> in the columns of the Débats.<br /> <br /> <br /> <br /> Erratum.<br /> <br /> The title of Mr. Mackenzie Bell’s forthcoming<br /> volume of poems is “ Spring’s Immortality and<br /> Other Poems,” xot ‘Spring, Immortality, and<br /> Other Poems” as announced in our June number.<br /> <br /> =&gt;<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> CLIFFORD, Dr. Jonn. The Christian Certainties: Dis-<br /> courses and Addresses in Exposition and Defence of<br /> the Christian Faith. Isbister and Co. 3s. 6d.<br /> <br /> Hatcu, Epwin, D.D., and Reppatu, H. A. A Concord-<br /> ance to the Septuagint, and the other Greek Versions<br /> of the Old Testament (including the Apocryphal<br /> Books). PartII. &#039;—Ezavos. Oxford, at the Clarendon<br /> Press ; Henry Frowde. Card covers, 21s.<br /> <br /> Howe, Epwarp. Gleaning in Many Fields. Notes on<br /> the New Testament. Collected by the late Thomas<br /> <br /> Hornby, M.A. In2 vols. Liverpool. Simpkin, Mar-<br /> shall.<br /> Juxes, ANDREW. The Order and Connection of the<br /> <br /> Church’s Teaching. Longmans. 2s. 6d.<br /> <br /> KINGsLaAnp, Wm. The Esoteric Basis of Christianity, or<br /> Theosophy and Christian Doctrine. Part II. Genesis.<br /> Theosophical Publishing Company.<br /> <br /> Matz, Rev. Epwarp. St. Thomas Aquinas on the Lord’s<br /> Prayer. Translated from the Latin. Skeffington and<br /> Son.<br /> <br /> Miter, Rev. J. R.,D.D. Come ye Apart; daily readings<br /> in the life of Christ. Author’s edition. Sunday School<br /> Union. 3s. 6d.<br /> <br /> Miunez, Rev. J. R. Considerations of Eucharistic Wor-<br /> ship ; or, True and False Doctrine of the Eucharistic<br /> Sacrifice. Skeffington.<br /> <br /> Money, Acnes L. Thoughts for the Sick (with prayers<br /> and hymns). With a preface by M. E. Townsend.<br /> Second edition. Wells Gardner. ts. 6d.<br /> <br /> Move, Rev. H. C. J. The Cambridge Bible for Schools<br /> and Colleges. The Epistles to the Colossians and to<br /> Philemon. With introduction and notes. Cambridge<br /> University Press.<br /> <br /> Swetz, H. B. D.D. The Akhmim Fragment of the<br /> Apocryphal Gospel of St. Peter, edited, with an intro-<br /> duction, notes, and indices. Macmillan. 5s. net.<br /> <br /> Texts AND Strupies. Contributions to Biblical and<br /> patristic literature, edited by J. Armitage Robinson,<br /> B.D., vol. Il., No. 3; Apocrypha Anecdota, by Montagu<br /> Rhodes James, M.A., paper covers, 6s.; the Philocalia<br /> of Origen, the text revised, with a critical introduction<br /> by J. Armitage Robinson. Cambridge, at the Univer-<br /> sity Press. C.J. Clay and Sons.<br /> <br /> IOI<br /> <br /> History and Biography.<br /> <br /> Aanew, Srr ANDREW.—The Hereditary Sheriffs of Gallo-<br /> way: Their “Forbears” and Friends, their Courts,<br /> and Customs of their Times. With notes of the early<br /> history, ecclesiastical legends, the Baronage, and place<br /> names of the province. In 2 vols. David Douglas.<br /> Edinburgh: Simpkin, Marshall.<br /> <br /> BELLAsIs, Epwarp. Memorials of Mr. Serjeant Bellasis.<br /> Burn and Oates. 10s. 6d.<br /> <br /> Bickrorp-SmirH, A. H. Greece under King George.<br /> Richard Bentley and Son.<br /> <br /> BrsHor, CorTLanpT F., Pu.D. Studies in History, Eco-<br /> nomics, and Public Law. Vol. 3, No. 1. History of<br /> elections in the American Colonies. Columbia College,<br /> New York.<br /> <br /> Brapury, A. G. and Cuampney, A. C. A History of<br /> Marlborough College, during fifty years, from its foun-<br /> dation to the present time. Illustrated. John<br /> Murray, 7s. 6d.<br /> <br /> Burton, IsaBEL.—The Life of Captain Sir Richard F.<br /> Burton. With numerous portraits, illustrations, and<br /> maps. In 2vols. Chapman and Hall. 42s.<br /> <br /> ByGons WARWICKSHIRE. Edited by William Andrews,<br /> F.R.H.S. Hull, W. Andrews; London, Simpkin<br /> Marshall.<br /> <br /> CHUNDER BHOLANAUTH. Raja Digambar Mitra, C.S.L<br /> His life and career. Hare Press, Calcutta.<br /> <br /> Epear, Joun. History of Early Scottish Education.<br /> James Thin, Edinburgh; Simpkin, Marshall.<br /> <br /> FELBERMANN, Louis. The Ancestors of Our Fature Queen,<br /> Griffith, Farran.<br /> <br /> GARDINER, SAMuEL R. History of the Great Civil War,<br /> 1642-1649, in 4 volumes, vol. 1., 1642-1644. New edi-<br /> 6s. Longmans.<br /> <br /> Hopper Epwin. The Life and Work of the Seventh Earl<br /> of Shaftesbury, K.G. Popular edition. 3s. 6d.<br /> Cassell.<br /> <br /> Joyce, P.W. A Short History of Ireland from the Earliest<br /> Times to 1608. Map. Longmans. Ios. 6d.<br /> <br /> Lex, Srpney. Dictionary of National Biography. Edited<br /> by. Vol. 35. MacCarwell—Maltby. Smith, Elder,<br /> and Co.<br /> <br /> Locxwoop, Epwarp. ‘The Early Days of Marlborough<br /> College ; or, Public School Life forty and fifty years<br /> ago. Illustrated. Simpkin, Marshall. tos. 6d.<br /> <br /> Low, W. H. The English Language, Its History and<br /> Structure. Second edition. University Correspond-<br /> ence College Press. W.B.Clive. 3s. 6d.<br /> <br /> Rivizre, Juures. My Musical Life and Recollections.<br /> Sampson Low.<br /> <br /> ScnHeLtine, Ferrx E. George Gascoigne, the Life and<br /> Writings of, with three Poems heretofore not re-<br /> printed. Publications of the University of Pennsyl-<br /> vania. Ginn and Co., Boston. Edward Arnold, Lon-<br /> don. 4s. 6d.<br /> <br /> Sir Francis Ronaups, F.R.S., and his work in connection<br /> with Electric Telegraphy in 1816. Simpkin, Marshall.<br /> Paper covers, Is.<br /> <br /> StoanE, Wittram M. The French War and the Revolu-<br /> tion, with maps. Sampson Low.<br /> <br /> Trorrer, Capt. L. J. The Earl of Auckland. Rulers of<br /> India Series. Oxford, at the Clarendon Press. Henry<br /> Frowde. 2s. 6d.<br /> <br /> TuckwELL, Rev. W. The Ancient Ways: Winchester<br /> Fifty Years ago. Macmillan. 4s. 6d.<br /> <br /> UnpErwoop, Francis H., LL.D. The Poet and the Man.<br /> Recollections and Appreciations of James Russell<br /> Lowell. Lee and Shepard, Boston, U.S.A. 1 dollar,<br />  <br /> <br /> General Literature,<br /> <br /> AccouNT OF THE FrrE INSURANCE COMPANIES, Associa-<br /> tions, Institutions, Projects, and Schemes established<br /> and projected in Great Britain and Treland during the<br /> seventeenth and eighteenth centuries, including the<br /> Sun Fire Office; and also of Charles Povey, the pro-<br /> jector of that office, his writings, and schemes. Com-<br /> piled by Francis Boyer Kelton. Swan Sonnenschein.<br /> <br /> Anppurt, Mrs. Harry. Hints to Horsewomen. Horace<br /> Cox. 1s. 6d.<br /> <br /> Aut THE WORLD AT THE Farr, being representatives of<br /> thirty-seven nationalities in gala costume. Designed<br /> and engraved by Hare and Co., Limited, 30, Catherine-<br /> street, Strand. Paper covers. Is.<br /> <br /> Annvat Summaries, reprinted from the Times. Vol. 2,<br /> 1876-92. Macmillan. 3s. 6d.<br /> <br /> ARCHmOLOGICAL SURVEY oF InpDIA: THE BowER Manv-<br /> script. Facsimile leaves, Nagari transcript, Roman-<br /> ized transliteration, and English translation, with<br /> notes. Edited by A. F. Rudolf Hoernle, Principal,<br /> Calcutta Madrasah. Calcutta, Office of the Superinten-<br /> dent of Government Printing, India.<br /> <br /> BarLEy-SaunpERS, T. The Maxims and Reflections of<br /> <br /> of Goethe, translated with a preface. Macmillans.<br /> <br /> 8.<br /> ee C.R. B. Barrett’s Ilustrated Guides : Yarmouth<br /> and Caister, 6d.; Caister Castle, 3d.; Colchester and<br /> Lexden, 6d. Paper covers. Lawrence and Bullen.<br /> BartHotomew, J. G. The Tourist’s Atlas Guide to the<br /> Continent of Europe, a series of section maps and<br /> plans, with notes for travellers. George Philip. 58.<br /> Beas, Sopura. Churches of Paris, from Clovis to Charles<br /> X. ITlustrated. W.H. Allen and Co. 7s. 6d.<br /> <br /> Boor, Jostan. Everybody’s Guide to Music. Vol. VI.<br /> of Saxon and Co.’s “ Everybody’s Books.” Saxonand<br /> Co. 6d.<br /> <br /> Brapury, F.H. Appearance and Reality: A Metaphy-<br /> <br /> sical Essay. Glasgow. Swan Sonnenschein.<br /> <br /> Burton, Capt. Sir Ricwarp. Personal Narrative of a<br /> Pilgrimage to Al-Madinah and Mecca. Edited by his<br /> wife, Isabel Burton. Memorial edition, 2 vols.<br /> Tylston and Edwards. 12s. net.<br /> <br /> Cawston, ARTHUR. A Comprehensive Scheme for Street<br /> Improvements in London, accompanied by Maps and<br /> Sketches. Stanford. £1 1s.<br /> <br /> CHapman, ALFRED. Income Tax, and how to get it<br /> refunded. Practical instructions for assessment,<br /> appeal, and return of tax. Wilson’s Useful Handy<br /> Books Series. Ninth and revised edition. Effingham<br /> Wilson and Co. ts. 6d.<br /> <br /> Crry or BrruincHam, General and Detailed Financial<br /> Statement, 1892-93, together with Estimates, 1893-4.<br /> Treasurer’s Department, Council House, Birming-<br /> ham.<br /> <br /> CuarK, Joun, M.A. Manual of Linguistics. A concise<br /> account of general and English phonology, with sup-<br /> plementary chapters on kindred topics. James Thin,<br /> Edinburgh. Simpkin, Marshall. 7s. 6d.<br /> <br /> CuarKkz, J. Epwarp. Education in the Industrial and<br /> Fine Arts in the United States. Part II. (Industrial<br /> and Manual Training in Public Schools) and Part II.<br /> Appendices and Index. Washington, Government<br /> Printing Office.<br /> <br /> CocHuan, T. A. The Wealth and Progress of New South<br /> Wales, 1892. Sixth issue. Charles Potter, Sydney.<br /> <br /> CorquHouNn Dixt, T. R.: Transfer of Land by Registra-<br /> tion of Title. Cassell and Co. 6d.<br /> <br /> Cootipean, W. A. B. The Adula Alps. Conway and<br /> Coolidge’s Climbers’ Guides. Fisher Unwin. 10s.<br /> <br /> THE ._AUTHOR.<br /> <br /> Dannatrt, Atice. How to become a Hospital Nurse.<br /> Second edition. The Record Press. 1s. 6d.<br /> <br /> EcciEsrast1oaL FEES: Report of a joint committee of the<br /> two Houses of Convocation of the Province of Canter-<br /> bury. National Society’s Depository. 4d.<br /> <br /> ExcavaTIONS IN MuGaLopouis, 1890-1891, by Ernest<br /> Arthur Gardner, William Loring, G. C. Richards,<br /> W. J. Woodhonse, with an architectural description by<br /> Robert Weir Schultz. Macmillan. 25s.<br /> <br /> Fercuson, Joun. Ceylon in 1893: Describing the<br /> Progress of the Island since 1803, its present agri-<br /> cultural and Commercial Enterprises, and its un-<br /> equalled Attractions to Visitors, with useful Statistical<br /> Information, specially prepared Map, and upwards of<br /> 100 lustrations. A. M. and J. Ferguson, Observer<br /> Press, Colombo ; John Haddon and Co.<br /> <br /> Fraser, Joun. Episcopacy: historically, doctrinally, and<br /> legally considered. James Clark and Co.<br /> <br /> Gatton, Francis. Decipherment of Blurred Finger<br /> Prints, &amp;c. Supplementary Chapter to “ Finger<br /> Prints.” Macmillan. 2s. 6d.<br /> <br /> Gas, WaTER, AND Exxcrric LicHTING CoMPANIES<br /> DirectoRY, 1893, THE; GaASWwORKS STATISTICS ;<br /> WATERWORKS STATISTICS. Hazell. 10s.<br /> <br /> GEOGRAPHICAL JOURNAL, THE, including the proceedings<br /> of the Royal Geographical Society. Vol.I. January<br /> to June, 1893. Royal Geographical Society, 1, Savile-<br /> row.<br /> <br /> Great NortH Roap Map, Tus. From London to Edin-<br /> burgh. Compiled by H. R. G. Inglis. Galland Inglis. 2s.<br /> <br /> Gorpon, Wiiuiam. Physical Drill made easy in accor-<br /> dance with the new drill. Gale and Polden. 9d.<br /> <br /> Gorpon, E. A. “Clear Round,” or Seeds of Story from<br /> other Countries: being a Chronicle of Links and<br /> Rivets in this World’s Girdle. Sampson Low.<br /> <br /> Goutp, Nar. Banker and Broker. Picture boards.<br /> Routledge. ;<br /> <br /> Grey, Henry M. Lloyd’s Yesterday and To-day. Tilus-<br /> trated by W. D. Almond. John Haddon and Co. 5s.<br /> <br /> GrursHaw, T. WricLEy. Facts and Figures about Ire-<br /> land. Part II. Hodges, Figgis, and Co., Dublin.<br /> Simpkin, Marshall. Paper covers, Is.<br /> <br /> GuIDE FOR CHURCHMEN AS TO THE CHARACTER OF THE<br /> CuuRcH SERVICES AT THE SEASIDE RESORTS OF ENG-<br /> LAND AND Watss, A. Church Association, Bucking-<br /> ham-street, Strand. Is.<br /> <br /> Harper, Herman. The Steam Engine. A Handbook,<br /> with especial reference to small and medium-sized<br /> engines. English edition. By H. H. P. Powles.<br /> Crosby Lockwood and Son.<br /> <br /> Hatzs, Joun W. Folia Litteraria. Essays and notes on<br /> English literature. Seeley and Co.<br /> <br /> Hayes, M. Horace. The Points of the Horse. A<br /> familiar treatise on equine conformation. Illustrated,<br /> chiefly by J. H. Oswald Brown. W. Thacker and Co.<br /> <br /> Hayter, H. H. Victorian Year Book, 1892. Vol. 2.<br /> Tribner.<br /> <br /> Hxriuprin, ANGELO. The Arctic Problem and Narrative of<br /> the Peary Relief Expedition of the Academy of Natural<br /> Sciences of Philadelphia. Contemporary Publishing<br /> Company, Philadelphia.<br /> <br /> Hox, James. National Railways, an argument for State:<br /> purchase. Cassell. 4s.<br /> <br /> Hoprxins, Mason F. Pownt. Fishing Experiences of<br /> Half a Century . With Instructions in the use of the<br /> Fast Reel. Illustrated. Longmans. 6s.<br /> <br /> Hopes, JoHn Pace. Deatha Delusion. With an account<br /> of some personal experiences on the borderland between<br /> sense and soul, Swan Sonnenschein and Co. Is.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> ILLUSTRATED GUIDE TO CROMER AND NEIGHBOURHOOD.<br /> New edition. Revised by Mark Knights. Thirty-<br /> ninth thousand. Jarrold and Sons, Warwick-lane,<br /> E.C. Paper covers, 6d.<br /> <br /> InpDEX TO THE ENGLISH CATALOGUE OF Books, compiled<br /> on the plan of the late Sampson Low. Vol. 4, January,<br /> 1881, to December, 1889. Sampson Low.<br /> <br /> INDEX TO THE PERIODICAL LITERATURE OF THE WORLD,<br /> covering the year 1892. Office of the Review of<br /> Reviews. 58.<br /> <br /> INSTITUTE OF CHARTERED ACCOUNTANTS IN ENGLAND<br /> AND WALES, Charter of Incorporation, Bye-laws, and<br /> list of members. Gee and Co. 2s.<br /> <br /> JARROLD’s ILLUSTRATED GUIDE TO THE RIVERS AND<br /> BRoADS OF NORFOLK AND SUFFOLK. By G. Christopher<br /> Davies. Jarrold and Sons. Paper covers. 6d.<br /> <br /> JARROLD’s ILLUSTRATED GUIDE TO SOUTHEND-ON-SEA<br /> AND NEIGHBOURHOOD. By Mackenzie Macbride.<br /> Paper covers. London: Jarrold and Sons. 6d.<br /> <br /> JARROLD’s ILLUSTRATED GUIDES: SOUTHWOLD AND<br /> NEIGHBOURHOOD and FELIXSTOWE AND NEIGHBOUR-<br /> HOOD. Jarrold and Sons. Paper covers. 6d. each.<br /> <br /> Jones, Davip. The Welsh Churchand Welsh Nationality.<br /> Simpkin, Marshall. 1s.<br /> <br /> Kertziy’s DrRECTORY OF THE MANUFACTURERS OF TEXTILE<br /> Fasrics, 1893 (30s.); Kenuy’s Directory oF CHE-<br /> MISTS AND Druaaists, 1893 (20s.). Kelly and Co.<br /> <br /> Lreroy-Brautiev, ANATOLE. The Empire of the Tsars,<br /> and the Russians. Translated from the third edi-<br /> tion, with annotations by Zenaide A. Ragozin, Part 1,<br /> the country and its inhabitants. G. P. Putnam’s Sons.<br /> <br /> Leyton, Frank. Skeleton Leaves. Second edition. 6s.<br /> Longmans.<br /> <br /> Lortiz, W. J. Tourist’s Guide Round About London<br /> Historical, archeological, architectural, and picturesque<br /> notes, with a circle of twelve miles, to which are added<br /> specimens of short walking excursions and visits to<br /> Hatfield, Knole, St. Albans,and Windsor. Sixth edition.<br /> Revised and partly re-written. Edward Stanford.<br /> <br /> Maainnis, A.J. The Atlantic Ferry. . Whittaker and Co.<br /> Boards, 2s. 6d.<br /> <br /> Maxine or A NEwsPAPER, THE. Experiences of certain<br /> representative American journalists, related by them-<br /> selves. Edited by Melville Phillips. G. P. Putnam’s<br /> Sons. 3s. 6d.<br /> <br /> Mansrrep, R. B. School Life at Winchester College ; or,<br /> Reminiscences of a Winchester Junior under the old<br /> régime, 1835-40. Third Edition. D. Nutt. 6s.<br /> <br /> Map or Pustic Foorpatus NorTH AND WEST OF LONDON.<br /> Prepared by the Northern Heights Footpath Association.<br /> Second Edition. Edward Stanford. Paper covers, 6d.<br /> <br /> Mitner, Grorer. Country Pleasures: The Chronicle of a<br /> Year, chiefly in a Garden. New edition. Silver Library<br /> Series. Longmans. 3s. 6d.<br /> <br /> Monrarane. The Essays of Montaigne, done into English<br /> by John Florio, 1603, with an introduction by George<br /> Saintsbury. The third book. D. Nutt. 15s.<br /> <br /> Moorz, Haroup E. Back to the Land. “Social Ques-<br /> tions of To-day’ Series. Methuen. 2s. 6d.<br /> <br /> Miiizr, Pastor E. Spiez and the Kanderthal in the<br /> Bernese Oberland. Illustrated. Orell Fiiosli, Ziirich.<br /> <br /> Murpocu, Wu. L. Cricket. With illustrations. The<br /> “Oval” Series of Games. Edited by C. W. Alcock.<br /> Routledge. Canvas covers, Is.<br /> <br /> Murray’s HANDBOOK FOR TRAVELLERS IN SWITZERLAND.<br /> Part I. Switzerland without the Pennine Alps. Part II.<br /> The Alps of Savoy and Piedmont, the Italian Lakes,<br /> and part of the Dauphiné. With maps. Highteenth<br /> edition. John Murray, 10s.<br /> <br /> 103<br /> <br /> New In.ustratep SHILLING GUIDE TO WINCHESTER,.<br /> Tux. Twenty-five illustrations and two maps. Paper<br /> covers. Simpkin and Co. ; Winchester, Warren, and Son.<br /> <br /> NewsHoutmg, ArtHUR. The Brighton Life Table. King,<br /> Thorne, and Stace, 4, Jubilee-street, Brighton.<br /> <br /> O’Neruy, Jonn. The Night of the Gods: An Inquiry into<br /> Cosmic and Cosmogonic Mythology and Symbolism.<br /> Vol. I. Bernard Quaritch.<br /> <br /> Panton, J. E. Within Four Walls: A Handbook for<br /> Invalids. 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Blackie<br /> and Son. 28.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> secant<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 107<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> AT ALL THE LIBRARIES, BOOKSELLERS’,<br /> AND BOOKSTALLS.<br /> <br /> In 2 vols., crown 8vo., cloth extra, price 21s.<br /> <br /> A STUMBLE ON<br /> <br /> By<br /> <br /> THE THRESHOLD,<br /> <br /> ett esos rFPAYN.<br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> ‘*Mr. James Payn’s pleasant story contains a startling<br /> novelty. . . . The leading actors are a group of<br /> <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 only for<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. eet<br /> <br /> DAILY 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 /> <br /> ages of analysis. Needham, Fellow of St.<br /> <br /> eot’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 GRAPHIO,<br /> ‘ . . . The dramatic unity of time, place, and cir-<br /> -cumstance has never had a more novel setting. o<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> <br /> ‘A very interesting story, and one that excels in clever<br /> contrast of character and close study of individualism.<br /> <br /> ; The characters make the impression of reality on<br /> the reader. i Extremely pleasant are the sketches<br /> of University life.”<br /> <br /> THE WORLD:<br /> <br /> “The most sensational story which the author has<br /> written since his capital novel, ‘By Proxy.’ :<br /> Never flags for a moment.”<br /> <br /> BLACK AND WHITE.<br /> <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 /> GLASGOW HERALD:<br /> <br /> ‘s., . . 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, Bream’s Buildings, E.C,<br />  <br /> <br /> <br /> <br /> 108<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> 1s. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapennatt Press Lrp., E.C.) -<br /> ee<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MIss R. V. 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GOODCHILD<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> Spy THE Late MR. SHRIBANT CO<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND).<br /> <br /> PRICE 7s. 6d.<br /> <br /> <br /> <br /> LONDON: HORACE COX, “LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM&#039;’S BUILDINGS, E.C.<br /> <br /> Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/453/1893-08-01-The-Author-4-3.pdf	publications, The Author