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455	https://historysoa.com/items/show/455	The Author, Vol. 04 Issue 05 (October 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+05+%28October+1893%29"><em>The Author</em>, Vol. 04 Issue 05 (October 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>	1893-10-02-The-Author-4-5					149–188																		<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=1893-10-02">1893-10-02</a>							5			18931002	The Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 5.] OCTOBER 2, 1893. [Price SIxPENCE.<br /> CONTENTS.<br /> i PAGE | PAGE<br /> Warnings and Notices was Be ase tee eae hes see LOL Correspondence (continued)—<br /> Literary Property— 3.—Rash Conclusions ... ae es ace 5 ane So d0<br /> . —Transfer of Contracts ee . 153 4.—Publishers’ Work ... ‘ ae nee is seca:<br /> —Advances on Royalties ee ec Loe 5.—The Extension of our Language ace oer ae ae ded<br /> a Tribute Gee . . +. 153 6.—The Novelist as Topogrs apher os wee ee eee ces tL<br /> 4.—Their Charges me ee : .. 154 7.—Editorial Ethics .. 172<br /> 5.—The Lady and its Contributors sat : - 154 | 8.—‘ Free Lance” and Nature - 172<br /> 6.—The Law and the Press : : se LDA) 9.—Géorge Eliot and Respectability 173<br /> 7.—The Law of Libel ... : + 156 10.—James Defoe.. ae one ae ca wee te<br /> 8.—Norwegian Copyright L: aw ‘ -. 156 11.—Retention of MSS... oss oa oe ee ioe ee hie<br /> Zola on Anonymous Journalism . es + 156 oo Poetry 175<br /> Thackeray’s Women.. : «. 158 —Publishers’ Readers 175<br /> So-So Sociology ae we 15S 5 Books of 1892... eee 176<br /> Contributor versus Editor. “By a Contributor . 159 | What the Papers say—_<br /> Notes and News. By the Editor. : «« 161-4 1.—The Book that Failed (Punch) ... ae eee eee pe LEE<br /> Feuilleton— | 2.—A Literary Beginner (The Globe) ee avs Bee Seek:<br /> 1.—The Very Best Advice... ae. tee ve ae soe 168 2} 3.—On the Literary Life (The Asclepiad) ... bas a Lee.<br /> 2.—The Poet’s Choice .., eee ane ae ae ME obs 4 4.—Reading in the Workhouse (Westminster Gaz 12) 05 soe dee<br /> Correspondence— 5.—* Flavia” (Manchester G uardian) aes Ree ae oto.<br /> 1.—Delicate ana Subtle tos ae De en a wee 170 ‘* At the Sign of the Author’s Head”... a Sh Sas setae<br /> 2.—Reviewed Books .,. ei See oe saa vee tee gD Books Published ae ie se ae — vee 182<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> BLISS, SANDS. AND FOSTER. i, CRAVEN STREET,<br /> <br /> Dates of<br /> Publication.<br /> <br /> OCT. Ist.<br /> <br /> OCT. 6TH.<br /> <br /> OCT. 1st.<br /> <br /> OCT. 15TH.<br /> <br /> OCT. 157TH.<br /> <br /> OCT. 15TH.<br /> <br /> NOV. Isr.<br /> <br /> |<br /> <br /> LIBRARY. VOLUME TWO.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> ae A LIFE AWRY. By Percival Pickering.<br /> INS VOLS. DR. GREY’S PATIENT. By irs. G.S. Reaney.<br /> THE ART OF PLUCK. By SCRIBLERUS REDIVIVUS.<br /> <br /> New Edition, royal 1émo., cloth extra, gilt top, 2s. 6d.<br /> <br /> QUABBIN : The Story of a Small Town with Outlooks upon Puritan Life,<br /> <br /> By FRANCIS H. UNDERWOOD, LL.D., U.S. Consul at Edinburgh.<br /> <br /> Large crown 8vo. Numerous Illustrations, 7s. 6d.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE ATHENZAUM says: ‘His story is exceedingly well | OLIVER WENDELL HOLMES says in a letter to the<br /> written, and is extremely interesting. - . . Hehas written | Author: “I congratulate you on having made an admirable<br /> a most interesting book, in which there is not a superfluous | BLOTYs 2.3 the beautiful and thoroughly characteristic<br /> page.”<br /> <br /> illustrations which haye called forth my genuine admiration.’<br /> BY THE SAME AUTHOR.<br /> <br /> 220 POD ios MAN:<br /> <br /> RECOLLECTIONS AND APPRECIATIONS OF JAMES RUSSELL LOWELL.<br /> Feap. 8vo., artistically bound, gilt top, 4s. 6d.<br /> <br /> THE - VOLUME ONE.<br /> ™ LATTER DAY ROMANOR.<br /> <br /> MODERN By MRS. MURRAY HICKSON. .<br /> <br /> THE WORLD’S PLEASURES.<br /> <br /> By CLARA SAVILE-CLARKE.<br /> Paper, 1s. 6d. ; Cloth, 2s. OTHER VOLUMES ARE IN PREPARATION.<br /> <br /> Small crown 8vo.,<br /> <br /> <br /> <br /> eee we<br /> 150 ADVERTISEMENTS.<br /> The Society of Authors (Sncorporated).<br /> <br /> PRESIDENT.<br /> GHORGEH MEREDITH. i<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Str Epwin ARNOLD, K.C.1L.E., C.8.I. Tue Haru oF DESART. Lewis Morris.<br /> ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br /> J. M. Barrie. A. W. Dusoure. J. C. PARKINSON. :<br /> A. W. A BreckeTT. J. Eric Ericusen, F.B.S. Tur Eart oF PEMBROKE AND Mont- es<br /> Ropert BATEMAN. Pror. MicHart Foster, F.R.S. GOMERY. i<br /> Str Henry Berens, K.C.M.G. Richt Hon. HERBERT GARDNER, Sir FrepeRicK Poniock, Bart., LL.D.<br /> WALTER BESANT. M.P. Water HEerRRIES POLLOCK.<br /> AvUGUSTINE BrRRELL, M.P. RicHaRD GARNETT, LL.D. A. G. Ross.<br /> Rev. Pror. Bonney, F.RB.S. EpMuND GossE. GEoRGE AUGUSTUS SALA.<br /> Ricut Hon. Jamzs Bryce, M.-P. H. Riper HaGeaRD. W. BaprtisTE ScOONES.<br /> Hatt Oarne. Tuomas Harpy. G. R. Sirus.<br /> EGERTON CasTLs, F.S.A. JeRomE K. JEROME. S. Squire SPRIGGE.<br /> P. W. CLAYDEN. RupYARD KIPuine. J. J. STEVENSON.<br /> EDWARD CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br /> W. Morris Cougs. J. M. Levy. Wiiiiam Moy THomas.<br /> Hon. JoHN COLLIER. Rev. W. J. Lorrie, F.S.A. H. D. Trart, D.C.L.<br /> W. Martin Conway. Pror. J. M. D. MEIKLEJOHN. Baron HENRY DE Worms, M-P.,<br /> F. Marion CRAWFORD. HERMAN C. MERIVALE. FE.RS.<br /> OswaLD CRAWFURD, C.M.G. Rev. C. H. MippLETon- WAKE. Epmunp YATES.<br /> Hon. Counsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FrnLp, Rosco, and Co., Lincoln’s Inn Fields.<br /> Accountants—Messrs. OscAR BERRY and CARR, Monument-square, H.C. Secretary—G. Huppert THRING, B.A.<br /> <br /> OFEICES: 4, PortueaL STREET, Lincoun’s Inn Frexps, W.C.<br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> . The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> The Author, A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> . Literature and the Pension List. By W. Morris Couuzs, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 3s.<br /> <br /> 4<br /> 5. The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br /> 6<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> o ne<br /> <br /> the Society. Is.<br /> <br /> . The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Squrre 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. 33.<br /> <br /> . Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ent. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> . The Society of Authors. A Record of its Action from its Foundation. By Warter Busan<br /> (Chairman of Committee, 1888—1892). Is.<br /> <br /> co<br /> <br /> o<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> Che #Huthor.<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. 5.]<br /> <br /> OCTOBER 2, 1893.<br /> <br /> [PRicr SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> T= Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> es<br /> <br /> <br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> ie 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 /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> Doe.<br /> <br /> <br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> R are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> I. SERIAL RicutTs.—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 1IT.—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. Yow 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 or Propuction.-——Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE or Pusiisuers.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worxk.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royatry.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. PrERsonat Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. REJECTED MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work,<br /> <br /> 11. AMERICAN RiautTs.—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 /> n2<br /> 152<br /> <br /> 12. Cusston or CoprricHt.—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 /> <br /> 4, PORTUGAL STREET, Lincoun’s InN FIELDS.<br /> <br /> <br /> <br /> oes<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> K VERY member has a right to advice upon his<br /> agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> <br /> the administration of his property. If the advice sought<br /> <br /> is such as can be given best by a solicitor, the member has<br /> <br /> a right to an opinion from the Society’s solicitors. If the<br /> <br /> case is such that Counsel’s opinion is desirable, the Com-<br /> <br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> THE AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> EMBERS are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> <br /> the business of members of the Society. With, when<br /> <br /> necessary, the assistance of the legal advisers of the Syndi-<br /> <br /> cate, it concludes agreements, collects royalties, examines<br /> <br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> “9, That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> booking fee is charged to cover postage and porterage.<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 Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> _ g. That clients can only be seen by the Editor 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 /> 6. 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 /> 7. 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 /> 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.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with 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 /> <br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind members of the<br /> Ty Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write ?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now 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 ?<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 can be procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> call it.<br /> <br /> <br /> <br /> Deo<br /> <br /> <br /> <br /> 153<br /> LITERARY PROPERTY.<br /> I.<br /> ATTEMPTED TRANSFER OF PUBLISHING<br /> ContTRACTS.<br /> <br /> AM glad to learn from the communication of<br /> “J. ON.” in the Author for August, p. 30,<br /> that a French court has unconsciously<br /> followed the good example set by the English<br /> Court of Chancery many years ago in a well-known<br /> case of Stevens v. Benning. Ever since that<br /> decision English authors have been safe enough<br /> on the point which “J. O’N.” appears to think<br /> unsettled. F. Pontocx.<br /> [The Secretary of the Society will prepare a<br /> resumé of this case for the next number of the<br /> Author.—Ep. |<br /> <br /> <br /> <br /> II.<br /> ADVANCES ON ROYALTIES.<br /> <br /> There is, perhaps, no point of detail which<br /> gives rise to so much disagreement between author<br /> and publisher as the amount of advance which the<br /> former is entitled to on royalties. It is now<br /> universally conceded that every author who has<br /> “ captured his public” is entitled to an advance<br /> which varies in amount directly with his popu-<br /> larity. Equally universally, however—or, to avoid<br /> being accused of exaggeration, as a general rule—<br /> author and publisher hold very different views as<br /> to the degree of popularity the former possesses.<br /> Hence sundry asperities on a question of commer-<br /> cial detail. I suggest as a meaus of obviating so<br /> invidious a difficulty, that royalties should be pay-<br /> able in cash on a day to be named on the number<br /> of “subscribed copies.” This is readily ascer-<br /> tained. It includes no ‘ returns.” It represents,<br /> I understand, cash to the publisher. Obviously,<br /> a considerable period must elapse before a pub-<br /> lisher can furnish an account of sales. Obviously,<br /> too, few authors are in a position to wait for the<br /> conclusion of that period before they can touch<br /> their money. W. Morris Coes.<br /> <br /> <br /> <br /> ITI.<br /> A TRIBUTE.<br /> <br /> The Society of Authors deserves credit for one<br /> very valuable quality, which has not, I think,<br /> received adequate recognition. Jt is eminently<br /> businesslike. I have had occasion to resort to its<br /> good offices once or twice this year, and nothing<br /> could exceed the promptitude and precision with<br /> which it has acted. For instance, after having<br /> been long trifled with by the editor, or rather the<br /> proprietor, of a certain journal to which I had<br /> been a contributor, I requested the Society to<br /> 154 THE<br /> <br /> apply for payment. I wrote, I think, on a<br /> Monday; the same evening I received a repl<br /> from the Secretary intimating that he had<br /> communicated with the delinquent; and the<br /> next evening (Tuesday) I received a cheque for<br /> the amount in default. With all due respect to<br /> the numerous legal establishments in the neigh-<br /> bourhood of Portugal-street, I very much doubt<br /> whether they would have achieved a similar<br /> result. An APPRECIATIVE MEMBER,<br /> <br /> <br /> <br /> IV.<br /> “THEIR CHARGES.”<br /> <br /> The following extract from a printed circular<br /> has been forwarded to a member of the Society<br /> by the Publishers whose names stand at the head<br /> of it:<br /> <br /> Messrs. A. and B.’s charges for printing, paper, stereo-<br /> typing, binding, advertising, insurance, and all expenses<br /> connected with the publication of the work are due and must<br /> be paid by the author on completion of the work and before<br /> publication.<br /> <br /> It will be observed that the publishers—<br /> whether they mean it or not—appear to claim<br /> the right of charging whatever they please<br /> for the “printing, paper, stereotyping, binding,<br /> advertising, insurance, and all expenses connected<br /> with the publication of the work.” ‘Their<br /> charges” have to be paid before the book is taken<br /> in hand. What are “their charges”? Are they the<br /> simple charges of printer, paper maker, binder,<br /> &amp;e.? If so, why not say so? Or are they some<br /> other charges? And, if so, what other charges ?<br /> We are by no means imputing the intention of<br /> anything at all dishonourable against this Firm.<br /> It must, however, be pointed out that the clause<br /> as it stands is one that leaves the door open to<br /> secret profits to any extent. Readers are there-<br /> fore advised either not to sign such an agreement,<br /> or, at least, to have an estimate for printing, &amp;c.<br /> —“their charges ’’—placed in their own hands<br /> and to get it properly examined before signing.<br /> <br /> Let us see what might be the effect of such a<br /> clause in dishonest hands:<br /> <br /> I.<br /> (As it should be.)<br /> <br /> True cost of a book : &amp; ad.<br /> Printing and binding, paper, advertising,<br /> <br /> 80055 BBV es ios ie ls peut cee gen a Cees 100 OO<br /> Publishers’ per centage, 15 per cent. on<br /> <br /> BalGe oases 19 139<br /> <br /> Author&#039;s profit (Gs eae Il 113<br /> <br /> £131 50<br /> <br /> £ sd.<br /> <br /> By sales, say, 750 copies at 3s. Od. ......... 131 50<br /> <br /> £131<br /> <br /> AUTHOR.<br /> <br /> IL.<br /> (As it should not be.)<br /> <br /> £4. da.<br /> Actual cost of book ............:ccccccssececosses 100 00<br /> <br /> Publishers’ charges (25 per cent. on the<br /> true Price) 2s acs ce ae 125 00<br /> Publishers’ commission ............:0ccseeeeees 19 13 9<br /> £144 13 9<br /> &amp; ad:<br /> Bales 665 sldccsiie us bee a ee 131 50<br /> Alleged loss on boOK............ceecec cee cee eeu ees 13 89<br /> £144 13 9<br /> <br /> Messrs. A. and B. will probably say that they<br /> do not intend to add 25 per cent., or anything at<br /> all per cent., to the cost. But the point is, that<br /> the clause in the agreement allows them to charge<br /> whatever they please.<br /> <br /> <br /> <br /> Vv.<br /> Tur “Lapy” AnD 1ts CONTRIBUTORS.<br /> <br /> [Copy of Agreement offered to contributors. |<br /> Address in full.<br /> Date 18<br /> <br /> Srr,—In reply to your letter relating to my manuscript<br /> entitled<br /> I request that you will retain that manuscript and will<br /> publish it in the Lady at any time and in any manner you<br /> deem fit. I undertake not to require any payment what-<br /> ever for this manuscript unless it is so published; I<br /> acknowledge that I neither have nor shall have any claim<br /> in respect thereof on the proprietor of the Lady until after<br /> it has been so published; and, in the event of its publica-<br /> tion, I accept payment for it at the rate usually paid by the<br /> proprietor of the Lady for similar matter.<br /> <br /> I fully understand that you may find it necessary<br /> to postpone the publication of this manuscript for a long<br /> period, and that you may even find it impossible to publish<br /> it at all; and it is on this understanding that I agree to<br /> leave the manuscript in your hands, without holding you to<br /> have assumed any responsibility whatever, either for its<br /> publication or for its safe custody.—Your obedient servant,<br /> <br /> (Signature)<br /> <br /> To the Editor of the Lady newspaper, London, W.C.<br /> <br /> The editor or proprietor is quite within his<br /> rights in making what stipulations he pleases.<br /> We are within our rights in advising our readers<br /> not to accept these stipulations. The agreemen<br /> is a printed form.<br /> <br /> VI.<br /> Tue Law anp THE PREss.<br /> <br /> At the late meeting of the British Association,<br /> Mr. J. A. Strahan, M.A., LL.B, barrister-<br /> at-law, read a paper on the Progress of the<br /> Newspaper Press, and the need of a consoli-<br /> dation and reform of the laws affecting news-<br /> papers. He said that, on the principle of calling<br /> an age by its most salient feature, the present<br /> times might be called the newspaper age. Not<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> only is the dominance of the newspaper their<br /> most notable characteristic, but to that domi-<br /> nance all the other characteristic phenomena of<br /> the age have not merely contributed, but are<br /> necessary. The advances in mechanical skill, in<br /> scientific discovery, in popular education, and in<br /> popular government have all worked together to<br /> put the newspaper of to-day in its present posi-<br /> tion. Statistics might be given to show the<br /> enormous progress of the Press within recent<br /> times. In 1695—the year of the lapse of the<br /> censorship of the Press---the first daily paper in<br /> England—the Postboy—was started. In 1712—<br /> the year when the stamp tax on newspapers was<br /> first imposed—the yearly circulation of news-<br /> papers in England was about 2,000,000. In 1755<br /> it was about 7,400,000 in 1767 about 11,300,000<br /> in 1801 about 16,000,000, in 1811 about 25,500,000,<br /> in 1820 about 29,500,000, in 1831 about 37,700,000,<br /> in 1836 about 39,400,000. In 1837 the stamp<br /> tax was reduced from 3}d. net to a penny, and<br /> the circulation that year rose to nearly 54,000,000.<br /> In 1841 it had increased to about 60,000,000.<br /> In 1854—the last year of the stamp tax—it stood<br /> at 122,000,000. Since 1854 estimates of circula-<br /> tion must be largely conjectural and approximate;<br /> but the great increase in the number of news-<br /> papers, from 493 in 1840 to 1817 in 1882, and to<br /> 2200 in 1893, and the even more marked increase<br /> in the number of persons connected with<br /> journalism, as shown by the census—for example,<br /> of “authors, editors, and writers,’ from 1528 in<br /> 1861 to 3434 in 1881, and of reporters from 636<br /> in 1861 to 2677 in 1881—show that newspaper<br /> production must have increased enormously.<br /> Other figures point the same way. There are<br /> now 29 daily papers—morning and evening—in<br /> London. Taking the average daily circulation<br /> of each as about 100,000 copies, the annual circu-<br /> lation of the London dailies alone must approach<br /> 1,000,000,000. The 170 provincial dailies must<br /> have at least an equal circulation. The yearly<br /> circulation of daily papers alone then must reach<br /> 2,000,000,000. It wasimpossible to form even a<br /> rough estimate of the circulation of the 2000<br /> weeklies. Some of these have circulations<br /> approaching a quarter of a million a week.<br /> Legislation affecting newspapers had _ been<br /> neglected. For 150 years after the first daily<br /> <br /> paper was started in London practically<br /> there was no special legislation for news-<br /> papers. During the last fifty years numerous<br /> <br /> statutes have been passed affecting them, some<br /> statutes specially applying to them. But the<br /> legislation had beeu largely haphazard and piece-<br /> meal and ill-considered. The time had come<br /> when it should be thoroughly recast and reformed<br /> and made a consistent system of law. The<br /> <br /> 159<br /> <br /> advantages which would result from codifying the<br /> law affecting newspapers are the following :—(a)<br /> The law would be made more intelligible. At<br /> present it is extraordinarily confused. The<br /> common law, and no less than thirty-one statutes<br /> altering and muddling it, now applies to news-<br /> papers. This the author considered a disgraceful<br /> thing, especially when it was remembered that<br /> newspaper law, as a rule, had to be applied by<br /> the editor commonly without time or opportunity<br /> of getting legal advice. (6) The law would be<br /> made more effective. At present the law fre-<br /> quently fails to carry out the intentions of the<br /> Legislature. For example, the Newspaper Libel<br /> and Registration Act, 1881, fails altogether to<br /> secure reliable registration of newspaper owners.<br /> It fails to secure journalists against vexatious and<br /> frivolous indictments for libel where the magis-<br /> trate has dismissed the charge against the jour-<br /> nalist. (c) It would preserve the liberty of the<br /> Press. Recently the Court of Chancery has<br /> begun to grant interim injunctions to restrain the<br /> publication of libels or what it holds to be libels.<br /> This is a very dangerous jurisdiction. If it is to<br /> be permitted to exist at all it should surely be<br /> limited and fixed by express statutory enactment.<br /> Consolidation of the law of the Press would pro-<br /> bably lead to reform of it too. The reforms most<br /> necessary at this moment were two. The first was<br /> with respect to vexatious actions for what are only<br /> technically libels, or for what are not libels at all,<br /> by persons who, when defeated, are unable to<br /> pay costs. Itis suggested that in these cases a<br /> judge in chambers should, on summons, decide<br /> whether the libel is serious or not, and if he<br /> believed it to be trivial he should have power to<br /> stay the action until the plaintiff gave security<br /> for costs. The second point on which reform is<br /> necessary is with regard to newspaper owners’<br /> sole liability for defamation appearing in accu-<br /> rate reports of speeches publicly delivered. It is<br /> suggested that where a speaker knew that re-<br /> porters were present to report his speech he<br /> should in any action for defamation contained in<br /> the report of the speech be joined with the news-<br /> paper proprietor as co-defendant, and the jury<br /> should have power to apportion the damages<br /> between them. Possibly, another result of con-<br /> solidating the Jaw would be to establish a legal<br /> profession of journalists, with a standard of pro-<br /> fessional culture and of professional honour. To<br /> do this it would only be necessary to enact that no<br /> newspaper could be published save under the<br /> editorship of a legally qualified journalist. The<br /> privilege of making rules of admission to the pro-<br /> fession might be conferred on the Institute of<br /> Journalists or some similar body, and a person<br /> once admitted to the profession should only be<br /> 156<br /> <br /> expelled from it by order of the Queen’s Bench on<br /> proof of conduct unbecoming his position.<br /> <br /> <br /> <br /> VII.<br /> Tue Law or Lipset.<br /> <br /> In a paper read before the Conference of the<br /> Institute of Journalists, Mr. Fisher found four<br /> special grievances. He objected to the distinction<br /> between oral and written libel, which enables the<br /> speaker of the slander to get off scot-free, while<br /> the newspaper which innocently publishes his<br /> remarks may be mulcted in a heavy penalty.<br /> Secondly, he complained that in matters con-<br /> cerning privilege of Parliament and contempt of<br /> court, the journalist is tried and condemned by<br /> the parties aggrieved. Thirdly, he was strongly<br /> against the recent practice of the Chancery<br /> Division in granting injunctions against the<br /> publication of libels alleged to be injurious to<br /> property, so that a society like the Liberator<br /> might altogether escape criticism. Lastly, he<br /> thought that the power of the Post-office officials<br /> to decide what is or is not “ news””—with a view<br /> to transmission under newspaper rates—‘‘a pre-<br /> posterous anachronism.”—Manchester Guardian.<br /> <br /> <br /> <br /> VIII.<br /> <br /> Norwecian Copyricut Law.<br /> [Translated by JULIAN CORBETT.]<br /> LAW OF JULY 4 CONCERNING LITERARY AND<br /> ARTISTIC COPYRIGHT.<br /> <br /> This law supersedes the laws of June 8, 1876,<br /> and May 12, 1877.<br /> <br /> An author has the sole right of publishing his<br /> writings, nor may any person read them in public<br /> provided the same is expressed to be forbidden<br /> upon the title-page or in the preface of the work.<br /> In the same manner an author has the sole right<br /> of publishing an oral lecture, &amp;c.<br /> <br /> With regard to translations, the law provides<br /> that without the author’s consent they may not<br /> be made from the original language into any of<br /> its dialects—Norwegian, Danish, and Swedish<br /> being considered in this behalf dialects of the<br /> same language—or from one foreign language<br /> into another, where an authorised translation is<br /> issued in the course of a year. On the expira-<br /> tion of ten years without any such lawful trans-<br /> lation appearing in the course of a year, the right<br /> of translation is free.<br /> <br /> Infringements of authors’ rights are punish-<br /> able by fines to the amount of 2000 kroner, and<br /> in certain cases damages and confiscation may be<br /> demanded. The law enumerates a class of cases<br /> which are not to be deemed infringement of<br /> copyright, and amongst these may be noted<br /> <br /> THE AUTHOR.<br /> <br /> the copying or translation in newspapers or<br /> periodicals of single articles or communications<br /> from other newspapers or periodicals, unless<br /> express reservation against piracy has been made.<br /> In every case the source from which the matter<br /> is taken must be duly given.<br /> <br /> Copyright runs for the author’s lifetime and<br /> fifty years after his death—in the case of anony-<br /> mous and pseudonymous works for fifty years<br /> from the date of publication. Public reading of<br /> a work—where the right has been reserved—is<br /> permitted after three years.<br /> <br /> The law comes into operation Jan. 1, 1894, and<br /> applies to all works of Norwegian subjects as<br /> well as to works of foreigners published through<br /> a Norwegian house. Upon the principle of<br /> reciprocity this law may be extended wholly or in<br /> part by Royal proclamation to the works of<br /> foreign subjects, even when they have not been<br /> published through a Norwegian house.<br /> <br /> An author has thus full proprietary rights<br /> (ejendomsret) in his labour. So long as it exists<br /> only in manuscript it cannot be published by the<br /> creditors either of himself or of his heirs. On<br /> the other hand, if the author has published it,<br /> it falls like any other piece of property into his<br /> assets, and at his death it becomes subject to the<br /> general rules of the law of succession. It should,<br /> however, be noted that the creditors upon the<br /> author’s death have priority in authorising a new<br /> edition of an already published work.<br /> <br /> When an author has assigned his right of pub-<br /> lication, the assignee, in the absence of any<br /> agreement to the contrary, is not entitled to pub-<br /> lish more than one edition, and that must not<br /> exceed 1000 copies, except in the case of news-<br /> papers. So long as an edition is not sold out, the<br /> author is not entitled to authorise the issue of a<br /> new edition.<br /> <br /> ec<br /> <br /> ZOLA ON ANONYMOUS JOURNALISM.<br /> <br /> <br /> <br /> g WISH to speak of anonymity in jour-<br /> nalism. This is a question by which I<br /> have been much struck: and if you con-<br /> <br /> sider an English newspaper, in which not a single<br /> <br /> article is signed, and a French newspaper, in<br /> which everything is signed—down to the miscel-<br /> laneous paragraph sometimes,—you will find<br /> yourself, I believe, confronted by the two races,<br /> with all that the national temperament, the<br /> manners, and the history of the last hundred<br /> years have made them. It is very certain that.<br /> the British Press owes to anonymity its power,<br /> <br /> its unquestionable authority. For the moment I<br /> <br /> will confine myself to the political articles, the<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 157<br /> <br /> portion of the journal embodying its policy.<br /> Thus viewed, a political newspaper in which the<br /> individual disappears, is nothing more than the<br /> expression of a party, the daily bread of a crowd.<br /> It gains in power what it loses in personality,<br /> for it has no object but to satisfy an opinion, to<br /> be the exact representation of that opinion. It<br /> follows that for such a newspaper to meet a<br /> social want it must have behind it a devoted<br /> public, reading it alone, and perfectly contented<br /> so long as it sees reproduced in print every morn-<br /> ing its own ideas, ideas which it expected to see.<br /> Observe that it is just this public which, in your<br /> country, has made the Press what it is—a public<br /> that has not been broken up into fragments by<br /> revolutions, that is still divided into only two<br /> great parties very nearly equal in importance, a<br /> public that has no feverish desire when it gets<br /> up in the morning to go through ten or a dozen<br /> newspapers, but of whom every reader sticks to<br /> his own paper, which he reads from beginning to<br /> end, asking nothing more than that it shall<br /> think as he himself thinks. Under such condi-<br /> tions anonymity is necessary. It is no longer<br /> this or that leader writer that matters; it is the<br /> opinion of the newspaper as a whole. It may<br /> even be said that the unequal value of the<br /> writers, their personality, if they signed their<br /> articles, would destroy the unity of the whole.<br /> In France, as you are aware, a different state of<br /> things prevails. We have had anonymity in the<br /> case of political articles, and certain of our<br /> journals, like the Débats and the Temps, still<br /> appear without any signature on their front page.<br /> But these are the old-fashioned habits of<br /> venerable sheets which, in spite of themselves,<br /> are constrained to make some small sacrifice<br /> every day to the new requirements of our public;<br /> they grow young again, publish signed articles on<br /> current topics, and sacrifice to the lighter forms<br /> of humour. The truth is that we are a turbulent<br /> nation, and that the ancient soil of our monarchy<br /> has been in one century broken and turned up<br /> incessantly by revolutions. If anonymity is<br /> disappearing from our political press, it is because<br /> our nation will have nothing more to do with it,<br /> because new wants are springing up. After so<br /> many shocks, parties, naturally, have crumbled<br /> away—we have now no great parties, distinct and<br /> definite ; this explains why our newspapers have<br /> a smaller circulation than yours, and why in our<br /> country new journals swarm, ephemeral, born in<br /> the morning to expire ere night. As soon as<br /> individuality overflows, triumphs to such a point<br /> as this, it is evident that anonymity in journalism<br /> isatanend. Signing secures success, so articles<br /> are signed. It may be that you see the whole<br /> race here, in this craving to fight in the front<br /> VOL. Iv.<br /> <br /> rank, the face uncovered, and in the glory that its<br /> therefore to be won by hurling one’s name into<br /> the midst of the conflict. I am well aware of all<br /> that may be said against the political press that<br /> signed articles have given us. It has lost its<br /> authority; it has completed the destruction of<br /> parties; it is as often as not a mere brawl, in<br /> which the great interests of the community are lost<br /> sight of amid abominable personal squabbles. The<br /> spectacle, truly, is at times heartrending ; it must<br /> convey a frightful impression on us abroad; and<br /> you would not have to press me hard to force me to<br /> the conclusion that anonymity alone would restore<br /> honesty and disinterestedness to our political<br /> newspapers. Anonymity constitutes the power<br /> and authority of the British Press, and the<br /> British Press will be extremely wise to preserve<br /> it. I do not think, moreover, that it is depen-<br /> dent upon the will of individuals; the Press is<br /> only what the nation desires it to be. At the<br /> same time, I confess that if I recognise the neces-<br /> sity for anonymity in political matters, I am none<br /> the less surprised that it can exist in literary<br /> matters. Here I entirely fail to grasp the situa-<br /> tion. I refer especially to articles of criticism,<br /> judgments pronounced upon the play, the book,<br /> the work of art. Can there be such a thing as<br /> the literature, the art of a party? That disci-<br /> pline, average opinion, should prevail in politics<br /> is certainly wise. But that a literary or artistic<br /> production should be adapted to suit the views of<br /> a whole party, that a scythe should be used to cut<br /> down everybody to the same level, that all should<br /> be mixed up ina common herd, in order to politely<br /> please your public, this Iconsider to be dangerous<br /> to the intellectual vitality of a nation. This sort of<br /> regimental criticism, speaking in the name of a<br /> majority, can only end in producing a mediocre,<br /> colourless literature. Moreover, if the critic does<br /> not sign his articles does he not renounce all his<br /> personality, as well as all his responsibity? He<br /> is the voice crying out in the crowd when no face<br /> can be distinguished. He chronicles and sum-<br /> marises. He loses all boldness, all passion, all<br /> power even. In the field of letters and arts you<br /> must admit that talent is individual and free,<br /> and I cannot imagine an impersonal, anonymous<br /> critic sitting in judgment upon original and<br /> living productions. What adds to my surprise<br /> in considering this anonymity in your news-<br /> paper criticism is that there is certainly not in<br /> the wide world a literature that has been more<br /> proudly free, that has displayed more dashing<br /> and unbridled originality, than English litera-<br /> ture. Your history comprises an admirable<br /> series of superb works, in which the genius of<br /> your writers has asserted itself in a superlative<br /> manner. I know of hardly any finer fruition of<br /> QO<br /> 158 THE AUTHOR.<br /> <br /> free human personality. How comes it, then,<br /> that you still adhere to this anonymous news-<br /> paper criticism, which, to me, is one of the symp-<br /> toms of the regimental system in letters, indi-<br /> cating the want of a middle literature, yood for<br /> the masses—* for the million”—very honourable,<br /> no doubt, but intolerant of bold and out-of-the-<br /> way productions? There is evidently here a<br /> social point which I cannot discuss now. I con-<br /> fine myself to the subject before me, and, natu-<br /> rally, if I am astonished at your anonymity in<br /> matters of criticism, I am still more surprised<br /> when I come across in your newspapers a descrip-<br /> tive sketch or a study of manners or history<br /> without a signature.”—From the report in the<br /> Manchester Guardian.<br /> <br /> re<br /> <br /> THACKERAY’S WOMEN.<br /> <br /> <br /> <br /> ET me make one thing plain at the outset.<br /> 7 Thackeray is to me the great master in<br /> fiction. He can interpret, as no other,<br /> the tenderest and profoundest experiences of our<br /> human nature. Were I condemned, by some<br /> despot, to read only one novelist for the rest of<br /> my life, Thackeray would be my choice. Yet,<br /> loving this great author as I do, I am going to<br /> quarrel with him.<br /> <br /> Tamawoman. Thackeray has said the most<br /> chivalrous things of us women. But he has not<br /> understood us. Was it the fault of his day,<br /> with its restrictions and conventionalisms; or<br /> was he unfortunate in his experience of women?<br /> Anyhow, his women are narrow, unreasonable<br /> beings; very different, I hope, from the living<br /> article. Justice and generosity are always denied<br /> them. They are angels of kindness, affection,<br /> constancy (except when they ‘are quite the<br /> reverse); but to think calmly and dispas-<br /> sionately on a subject seems beyond them.<br /> Take for instance, Amelia Sedley’s attachment to<br /> George. In its commencement this is admirable,<br /> and we love her for it. She is young, and blind<br /> faith in her idol seems only natural at her years.<br /> But surely time, to say nothing of the slights of<br /> the honeymoon, would have roused her far sooner<br /> from that worship of a shadow than Thackeray<br /> permits? In real life I have known women who,<br /> like Amelia, gave their hearts away unworthily.<br /> They were loving, faithful, but not blind.<br /> <br /> Lady Castlewood is, I suppose, the most care-<br /> fully worked-out of the good heroines. But<br /> with all her grace and charm she is, to me at<br /> least, not lovable. Her jealousy of both her<br /> daughters is unnatural and repellent. She is<br /> <br /> hard to her blundering husband; unjust for<br /> years to Esmond, As to her dislike to have<br /> pretty faces near her, I should like to quote a<br /> truer saying from a modern novel, “ Comin’ thro’<br /> the Rye:” “ One really beautiful woman is never<br /> jealous of another.”<br /> <br /> Why does Thackeray lavish all the talent on<br /> his bad heroines—the Beckey Sharps and Blanche<br /> Amorys? Clever women are as often sweet and<br /> lovable as not. Why could he not give us a<br /> feminine counterpart of Major Dobbin, tender,<br /> true, and just and sensible? But perhaps no<br /> one else will be found to agree with my sentiments<br /> towards these dear, familiar friends of ours. I<br /> should like very much to hear some one else’s<br /> opinion on the subject. NINGUNA.<br /> <br /> EE ———<br /> <br /> $0-SO0 SOCIOLOGY.<br /> <br /> (Continued from p. 137.)<br /> <br /> 62. LATTERY easily passes for sympathy.<br /> K 63. Patience is virtue or vice, ac-<br /> cording to manner and motive.<br /> <br /> 64. Uncertainty is as characteristic of hope as<br /> of anxiety.<br /> <br /> 65. Chivalry, like duty or necessity, can show<br /> no cruelty.<br /> <br /> 66. Wit may be due to wantonness, wickedness,<br /> wisdom, or wine.<br /> <br /> 67. Recklessness of manner often passes for<br /> robustness of mind.<br /> <br /> 68. Personal venom sometimes poses as public<br /> virtue.<br /> <br /> 69. Humourlessness may become a personal<br /> power, as well as be a mental want.<br /> <br /> 70. Unsteadiness of eye is oftener due to weak-<br /> ness than to wickedness.<br /> <br /> 71. Baldness popularly passes for brain-power<br /> and. benevolence.<br /> <br /> 72. Mere memory is no sure measure of men-<br /> tality.<br /> <br /> 73. Loudness of tone is oftener due to weakness<br /> than to wantonness.<br /> <br /> 74. Feminine mannishness is too often con-<br /> founded with strong-mindedness.<br /> <br /> 75. The petty soul frets when its pet fads are<br /> not welcomed as divine decrees.<br /> <br /> 76, Selfless sorrow is an educative luxury to<br /> the insanely miserable.<br /> <br /> 77. Pluck, not luck, rules the whole world.<br /> <br /> 78. Suicide is oftener due to defeat of control<br /> than to defect of courage.<br /> <br /> 79. The philosopher comes to realise his own<br /> ignorance, which the hopeless fool uever does.<br /> <br /> 80. Youth is oftener an explanation than an<br /> excuse.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 159<br /> <br /> 81. The present is the focus of all the tenses.<br /> <br /> 82. Ancestry is the time for sowing, imma-<br /> turity for growing.<br /> <br /> 83. Self-denial may strengthen, but only self-<br /> sacrifice can ennoble.<br /> <br /> 84. Forbearance is easily mistaken for weak-<br /> ness.<br /> <br /> 85. Will is in bondage to antecedent and to<br /> nerve-quality.<br /> <br /> 86. Only the wise can know how best to bide<br /> their due time.<br /> <br /> 87. Self-interest is less akin to selfishnsss than<br /> to self-sacrifice.<br /> <br /> 88. Fidelity is only virtuous on behalf of<br /> virtue.<br /> <br /> 89. Virtue always personally pays, whether it<br /> popularly pleases or not.<br /> <br /> go. Absolute truth existed before Man ; rela-<br /> tive truth persists through him.<br /> <br /> gi. There is always more novelty in ideas than<br /> variety in ideals.<br /> <br /> g2. Misanthropy is always an affliction, and<br /> often an affectation.<br /> <br /> 93. Love is the feminine of genius.<br /> <br /> 94. The people’s heart is generally far sounder<br /> than its head.<br /> <br /> 95. Conceit of class too often poses as reverence<br /> for race.<br /> <br /> 96. The highest function of the educator is to<br /> duly teach true self-education.<br /> <br /> 97. The true reward of virtue lies in the due<br /> growth of soul.<br /> <br /> 98. Death is a re-focussing of life.<br /> <br /> 99. The virtue of bigotry lies in its veracity,<br /> its vice in its vanity.<br /> <br /> 100. Sensitiveness differs from sentimentality<br /> as sympathy from selfishness.<br /> <br /> 101. Exception proves the imperfection, or<br /> human origin, of a rule.<br /> <br /> 102. The wise man’s lamb is shorn to suit the<br /> tempered wind.<br /> <br /> 103. Better a philanthropic pessimism than a<br /> selfish optimism.<br /> <br /> 104. Love is the best, and sorrow the com-<br /> monest, of the various cures for the common curse<br /> of selfishness.<br /> <br /> 105. Wit is a force of head; humour, a grace<br /> of heart.<br /> <br /> 106. The art that disgusts may be didactic,<br /> but must be inartistic.<br /> <br /> 107. The fool searches for happiness in<br /> selfishness, and grasps only the empty shadow.<br /> <br /> 108. Begrudged praise is one main mark of a<br /> mean soul,<br /> <br /> 109. Optimism is too often only a popular<br /> name for ostrich-ism.<br /> <br /> PHINLAY GLENELG.<br /> <br /> (To be continued.)<br /> VOL. IV.<br /> <br /> CONTRIBUTOR VERSUS EDITOR.<br /> <br /> (From a ConTrisutor’s Point or Virw.)<br /> <br /> <br /> <br /> CAREFUL perusal of an article which<br /> recently appeared in the Bookman upon<br /> the subject of existing grievances between<br /> <br /> editor and contributor—* From an Editor’s Point<br /> of View ”—has made it clear to me that the real<br /> (or chiefest) grievances of contributors have<br /> either inadvertently or purposely been overlooked<br /> or avoided. To none of the statements made in<br /> the article in question can I, a contributor to a<br /> large number of papers and magazines, take<br /> exception. The “ case” for the editor, so far<br /> as it goes, is stated with praiseworthy fairness<br /> and moderation, but it does not go far enough.<br /> <br /> The trials of an editor are not altogether un.<br /> familiar to me, numbering as I do several editors<br /> and ex-editors amongst my most considerate and<br /> valued friends. But these “trials of the flesh ”<br /> are, in part, the penalties attaching to greatness<br /> and omnipotence in literary matters. They exist<br /> but to be borne.<br /> <br /> Following, then, somewhat similar lines to<br /> those adopted by the contributor-editor [ shall<br /> endeavour to state the “case” for contributors<br /> with equal fairness and clearness. By the “con-<br /> tributors ” I mean those who have entered upon<br /> the literary eareer as a means of obtaining a<br /> livelihood, and who will have taken some little<br /> care at least to have mastered the initial require-<br /> ments which go towards ultimate success. The<br /> weakness of the other writer’s “case” seems to<br /> me to exist in the selection of the “evidence ”<br /> brought to support it. Many of the so-called<br /> *contributors”’ cited can, indeed, scarcely be<br /> classed as such. They are persons who have<br /> clearly mistaken their calling, and have to suffer<br /> the penalty. Their “grievances” are of small<br /> importance or weight; their opinions little more<br /> so, unless we are prepared to accept the dictum<br /> “that the best critics are those who have failed.”<br /> <br /> What we as contributors have, I contend, a<br /> right to expect is :<br /> <br /> 1. That all papers and magazines should<br /> clearly state that they will or will not undertake<br /> to return MSS. sent unsolicited.<br /> <br /> Most editors are glad to consider outside con-<br /> tributors’ MSS. in the hope of now and again<br /> discovering a nugget amid the quartz. But is it<br /> reasonable to expect that an author will send in<br /> an article or story, which has cost him either<br /> time or money in the mere copying, on the “ off-<br /> chance ” of acceptance, if he is uncertain of ever<br /> seeing it again either in printorin MS.? I think<br /> surely not. Let it be distinctly stated that<br /> “ MSS. will in no case be returned whether stamps<br /> <br /> 02<br />  <br /> <br /> 160<br /> <br /> are enclosed for that purpose or not,” and the<br /> author at once sends at his own risk, and should<br /> the contribution be put into the editorial<br /> waste-paper basket he can have no grievance.<br /> This intimation is not to be found in several of.<br /> the better class periodicals which do not return<br /> rejected contributions. A very well-known<br /> monthly magazine contains no “notice” to this<br /> effect, and the only hint | received that such was<br /> the rule with the publication in question was a<br /> stereotyped letter (in answer to my inquiry as to<br /> the fate of the MS. sent five months before) stating<br /> that “all rejected MSS. are destroyed. And to<br /> this rule no exception can be made whether stamps<br /> for return are enclosed or not.” The result of<br /> the omission to state this in the magazine itself<br /> being, in my case, the absolute loss of no less<br /> than ten days’ hard work. Surely I had reason<br /> 1o feel aggrieved.<br /> <br /> 2, That even unsolicited MSS. should be dealt<br /> with as speedily as may be, and should be<br /> returned, when rejected, promptly.<br /> <br /> Is it unfair to expect this? In other walks of<br /> life a man offering to sell a chattel would not be<br /> expected to keep it on offer for an indefinite<br /> period. A practised “reader” will be able to<br /> judge a MS.—almost at a glance—sufficiently to<br /> place it in one of three classes forthwith. That,<br /> namely, of impossible, possible, or certain. The<br /> MSS. in the first of these classes should be re-<br /> turned (subject to the terms of the “ notice to<br /> intending contributors”) without delay ; there can<br /> be no reason for retaining them. The second class<br /> MSS. present more difficulty. But even here the<br /> “test” reading should be undertaken at the<br /> earliest possible opportunity. This is mere<br /> justice and right dealing, and should not be<br /> taken as “an act of grace” upon the part of the<br /> publisher or editor.<br /> <br /> 3. (a) That accepted MSS. should be given as<br /> early an insertion as possible. (6) More especially<br /> when dealing with a “‘ topic” liable to get out of<br /> date.<br /> <br /> There are two excellent reasons for this conten-<br /> tion: (a) A writer is not fully remunerated even<br /> when payment for a contribution has been made.<br /> Publication is necessary to all of us to ensure<br /> success. The mere appearance of a story or<br /> other contribution in a magazine of standing<br /> is in itself of very considerable value. Indeed,<br /> editors have been known to urge this as an<br /> excuse for non-payment. I have a note from<br /> the editor of a leading monthly now in my<br /> possession, which runs in part as follows: “I<br /> regret, however, that I cannot see my way clear<br /> to offer you payment for‘. .’ We seldom<br /> <br /> remunerate any save the leading writers. The<br /> appearance of an article in our columns being in<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> itself a valuable advertisement, which partakes of<br /> the nature of remuneration. . . . We not<br /> infrequently have MSS. offered us by able writers<br /> gratuitously for this reason.” The policy of the<br /> magazine in question may have altered now. The<br /> letter from which I quote bears a date five years<br /> back. (6) With reference to the second clause<br /> of contention (3), no man likes to “ appear a day<br /> after the fair.” And for this reason articles upon<br /> current topics should have early insertion, and<br /> precedence of other matter. _ This is good policy<br /> from both points of view, and will obviate the too<br /> frequent non-publication of MSS. which from<br /> delay in insertion have become “ out of date.”<br /> <br /> 4. That MSS. should be returned fully<br /> stamped where sufficient stamps were forwarded<br /> for this purpose, and that in such cases they<br /> should be returned in the manner sent.<br /> <br /> These may seem “ points” of small importance,<br /> but the non-observance of them may be the<br /> cause of great and unnecessary annoyance. I<br /> have frequently hai to pay double postage on<br /> under-paid letters, although sufficient stamps<br /> were enclosed with the MSS. for their return.<br /> The practice is, strange as it may appear, by no<br /> means confined to publications of the lower class<br /> and impecunious publishers.<br /> <br /> With reference to the other point. On my<br /> table at the present moment is a MS. returned to<br /> me in a halfpenny wrapper, although 23d. in<br /> stamps was inclosed for its return. The result<br /> is that, owing to insufficient protection, the MS.<br /> has been so damaged (by dirt and tearing) in<br /> transit, thatit must be re-copied. At least three<br /> and a half hours’ hard work.<br /> <br /> 5. (a) That payment should be made for pub-<br /> lished MSS. within a reasonable time. (6) That,<br /> where it is found inexpedient to state in the pub-<br /> lication itself the rate of remuneration offered,<br /> upon the acceptance of a contribution the writer<br /> of it should be informed of the amount which will<br /> be paid for it.<br /> <br /> A case taken into court some three years ago<br /> has settled that some payment must be made for<br /> published MSS. in default of an understanding<br /> to the contrary. This disposes of the absolutely<br /> non-paying editor. If he has any money, you<br /> can get it. (qa) It is in literature alone that pay-<br /> ment for “ goods bought and delivered’’ is inde-<br /> finitely postponed. What is the cause of this ?<br /> Why should this be? And yet this is often the<br /> case. Half the agreed sum to settle being the<br /> policy (I am speaking from personal experience)<br /> of more than one magazine of good outside<br /> repute. Cannot some rule be adopted by at least<br /> all respectable publications, by which payment<br /> will and can be made, either on publication or at<br /> three months from the date of the acceptance of<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> MSS.? Contributors would be saved many an<br /> anxious hour, and la lutte pour la vie made less<br /> hard if this could be so. (6) Tn no other calling<br /> is it expected of the worker that he or she labour<br /> “for what you please.” But this is so in the<br /> “noble profession of letters. ’<br /> <br /> Years ago I wrote an article, and sent it to a<br /> certain paper. It was accepted. I was asked to<br /> write more. I was not “up to things” then, and<br /> did so without asking the amount of remuneration<br /> offered. After writing articles for thirteen weeks,<br /> LTasked for payment. It was made me promptly,<br /> at the rate of 3s. 6d. a column of 1200 words, and<br /> of original matter, too. The paper boasts of a<br /> circulation of 60,000-80,000 copies. It was as<br /> much then. A stereotyped letter, telling the<br /> writer the amount offered for the contribution<br /> accepted would bea boon, and would cause a very<br /> small amount of trouble to the editor.<br /> <br /> In conclusion, 1 haye endeavoured to state<br /> “the other side,” and to do it fairly. I have also<br /> suggested remedial measures which would, if<br /> carried out, lead, I am firmly persuaded, to an<br /> entente cordiale between editors and contributors<br /> beneficial to both. C. H.<br /> <br /> Do<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> N another column will be found a report of<br /> <br /> M. Zola’s paper on Anonymous Journalism,<br /> <br /> read before the Conference of Journalists.<br /> That anonymity in political matters largely con-<br /> tributes towards the power and the authority of<br /> our own Press is a point in which one is pleased<br /> to find M. Zola in agreement with most of us.<br /> Yet it is not anonymity alone which gives<br /> authority in such matters to the Press. The<br /> political articles—generally snappy paragraphs<br /> —in the American papers are anonymous, and<br /> yet the American Press asa rule possesses nothing<br /> like the authority of our own. But why, asks<br /> M. Zola, preserve anonymity in criticism? ‘Can<br /> there be such a thing as party in literature and<br /> art?” There is very little, I suppose, to be said<br /> in defence of anonymous criticism. But there is<br /> something. The old Quarterlies, itis argued, have<br /> furnished the world with a good deal of admirable<br /> anonymous criticism, together with some that has<br /> not been quite so admirable. But, whenever a<br /> good paper appears in one of them, a paragraph<br /> runs round the “ literary columns” of the Press,<br /> stating the name of the author. And even in the<br /> early days of Macaulay’s brilliant papers, every-<br /> body interested in the matter knew perfectly well<br /> who was the author. Again, there are papers<br /> like the Atheneum, the Saturday Review, the<br /> <br /> 161<br /> <br /> Spectator, the Guardian, whose criticism in<br /> literature and art will surely be allowed to carry<br /> the greatest weight. Yet they are not only<br /> anonymous, but the authorship of the articles<br /> is not known except to the Inner Ring, and is<br /> never announced by the newspapers. Speaking<br /> as a general rule, it is quite impossible for an<br /> outsider to find out who wrote any given article<br /> in one of these papers. Would their criticisms,<br /> their judgment, gain in authority if they were<br /> signed? [think not. Again, the articles in the<br /> Academy are signed. Are they, therefore, more<br /> weighty than those in the other four papers? I<br /> think not. Sometimes papers in the Academy<br /> are written and signed by the same writers who<br /> also contribute to the other papers. Trained and<br /> scholarly criticism, you see, is not too plentiful.<br /> As regards the daily papers, there are some whose<br /> critical columns will, as a rule, stand comparison<br /> with the articles of these four or five weeklies.<br /> But I should rejoice to see the custom of signing<br /> criticisms in literature and art become general,<br /> for several reasons. First, because it would<br /> instantly, I believe, demolish the flippant smart-<br /> ness and insolence with which some papers allow<br /> their columns to be disfigured—smartness which<br /> disguises the fact that the critic knows nothing<br /> of his subject: it would force the writer at least<br /> to read the book: it would put an end to the<br /> “reviewing”’ (?) of books in the batch: it would<br /> make the young critic anxious to advance his own<br /> name as a writer who can deliver carefully-con-<br /> sidered judgment in the courteous language of<br /> a gentleman: this language he would study to<br /> preserve in his work, or to learn if he had never<br /> learned it ; and it would enormously raise the<br /> position and status of a critic in the eyes of the<br /> editor, as well as those of the reading public.<br /> That it would also rapidly advance the capable<br /> critic in his own profession may be taken for<br /> granted.<br /> <br /> <br /> <br /> My own theory on the general subject of<br /> reviewing—a theory which I do not expect to be<br /> universally accepted as yet—is this: ‘The work<br /> of a critic never ought to be entrusted to the<br /> first novice that is recommended to the editor. If<br /> an aspiring critic is as yet unproved by published<br /> work, he should furnish some proof to the editor<br /> of culture, reading, knowledge of standards,<br /> knowledge of the works of writers, living as well<br /> as dead, and of special qualifications and special<br /> knowledge, if he has any. For instance, Art<br /> criticism should not be entrusted to those persons<br /> who can neither paint nor draw, nor have madea<br /> <br /> special study of painting, sculpture, and drawing.<br /> <br /> I would go so far as to lay down the rule that<br /> study alone, without actual experience in Art, is<br />  <br /> <br /> 162<br /> <br /> not enough ; but we should be thankful if we can<br /> get Art critics who know even the history of Art.<br /> Take another branch of literature—that of science<br /> —would one confide the review of a book on the<br /> Integral Calculus to a man because he had<br /> taken honours, however high, in classics? Why,<br /> then, expect a man who knows nothing of practi-<br /> cal work in the studio to criticise a picture’?<br /> Next, I believe that the highest interests of<br /> literature would be best advanced by serious<br /> reviews—not short notices—of only those books<br /> which are worth serious notice, and by suffering<br /> the worthless and the feeble to languish and<br /> die in contempt. This would not prevent the<br /> chastisement of actively mischievous books,<br /> either singly or as a class. It should be, for<br /> instance, a great distinction for a book to receive<br /> a review in a great paper. But then, what about<br /> the others? For there are many books which<br /> deserve some kind of notice. There might be<br /> columns such as those already published in some<br /> papers, of Comptes Rendus—not criticisms or<br /> judgments, because the writers of these para-<br /> graphs have no time to read the books carefully—<br /> but just an announcement of the books and a plain<br /> statement of their contents. Let us by all means<br /> give mention, even honourable mention, to as many<br /> respectably good books as we can. But let us<br /> abandon once for all the pretence of reviewing all<br /> the books—good or bad—that are issued ; let us<br /> abandon the practice of giving a judgment, ora<br /> criticism, in half a dozen lines to as many books<br /> in abatch. I can never forget the confessions of<br /> a reviewer, who told me that he had for some<br /> time reviewed, for a certain paper, a dozen novels<br /> in abatch every week. The whole lot were to be<br /> summed up in a column for which he got a guinea<br /> How much, do you think, could such a reviewer<br /> read of those books in the time? How much<br /> time could he afford to give to each? And what<br /> cruel injustice could be every week perpetrated<br /> by such a sham review of books, uncut, unopened<br /> even! Nor can I forget the fact that not so long<br /> ago, in a leading literary paper, a genealogical<br /> work was solemnly reviewed, and contemptuously<br /> dismissed, in half a dozen lines, as a novel, among<br /> the other novels of the week. Were these notices<br /> signed, so flagrant a crime could never be com-<br /> mitted without that critical impostor’s name being<br /> ruined for the short remainder of his miserable<br /> days.<br /> <br /> The Conference of Journalists, a full report of<br /> which will, it is hoped, be speedily published,<br /> has had its meetings, its discussions, and its<br /> festivities. It has received and entertained M.<br /> Zola; it has been the guest of the Lord Mayor;<br /> it has had a supper at Drury Lane; it has had a<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> ball at the Guildhall. In fact, the Conference<br /> has been a great success in every way. When<br /> the report appears we shall ask the practical<br /> question—W hat useful purpose this annual Con-<br /> ference serves for Journalism? The question is<br /> important as concerns ourselves, for many are<br /> asking whether we should not also have a Con-<br /> ference. Therefore, the question is not advanced<br /> in any harping spirit. Indeed, some of us are as<br /> anxious to hold a Conference as any of the<br /> Journalists can be. |<br /> <br /> The tragic death of the late Francis Adams,<br /> which startled and thrilled the world a few weeks<br /> ago, brought his name before many of us for the<br /> first time. He was quite young, under thirty ;<br /> he had acircle of devoted friends who knew and<br /> recognised his powers ; and he had already written<br /> successful stories, essays, and poems. Among<br /> his works are “ Leicester, an Autobiography ”—a<br /> novel; a volume of poems called “Songs of the<br /> Army of the Night,” and, I believe, magazine<br /> articles—much more than could be expected of one<br /> so young. Awriter of the highest promise has<br /> been taken from us; aman deeply loved by all his<br /> friends has been taken from them. Let us who<br /> were not privileged to call him friend sit still<br /> while they tell us what manner of man he was. I<br /> hope that someone, among his many friends,<br /> may be found to write a memoir of him.<br /> <br /> <br /> <br /> There has been a lively correspondence in the<br /> Globe—a paper to which we are much indebted for<br /> a succession of gratis advertisements of the Author<br /> and the Authors’ Society—on Literary Beginnings.<br /> Nothing, indeed, interests a vast number of<br /> young men and women more than a Pisgah view<br /> of the Land of Letters. How to get there? and<br /> How to live there? One or two of the writers<br /> are satirical. One of them speaks, for instance,<br /> of my “rollicking invitation to young authors to<br /> walk up and live in detached villas on the pro-<br /> ceeds of their pens.” It is hardly worth while to<br /> notice anonymous little pleasantries such as the<br /> above, but one asks in sheer wonder how such a<br /> notion got into this person’s head; that, the<br /> notion once there, he should have accepted it<br /> as a fact, scorning the slow process of verifying<br /> his quotation, need not surprise us. The corre-<br /> spondence was started by a certain person who<br /> wrote to the Globe, giving his experience as a<br /> literary beginner. He was successful ; he showed<br /> what his success had been, exactly ; how many -<br /> papers had been accepted ; what pecuniary con-<br /> sideration he received; and so on. He now<br /> explains, further, that he is not a very young<br /> man ; that he has special knowledge, and “some”<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> —apparently a good deal—of miscellaneous<br /> knowledge; that he has been for some years<br /> an inventor, 7.e., that he possesses considerable<br /> intellectual activity; that he does not entirely<br /> depend upon his pen; and that he gives his<br /> best—his honest best—to all his work. Quite<br /> so. This is a man who is certain to succeed,<br /> if, as is now proved, he possesses, in addition<br /> to these qualities, the literary faculty. Unfor-<br /> tunately, the aspirants to literary success are too<br /> often young men and maidens who have no<br /> special knowledge and no miscellaneous informa-<br /> tion; who have no literary capacity, proved so<br /> far ; who are quite inexperienced; who know the<br /> world only from a provincial town or a London<br /> suburb; who are also penniless. To those one<br /> would say: “Do anything; try anything; but<br /> do not try literature until you have acquired<br /> knowledge and experience, and have proved your<br /> powers.”<br /> <br /> <br /> <br /> In last number of the Author I said that<br /> Godey’s Magazine, the oldest of all the American<br /> monthlies, does not cross the Atlantic. It<br /> appears that I was wrong. It has an agency<br /> in this country and a circulation. The editor<br /> of the English edition of Godey, Mr. Charles<br /> Rideal, wishes me to state that he is the<br /> English editor, and that the Record Press,<br /> 376, Strand, is the office of the London maga-<br /> zine. Another American magazine, then, in<br /> competition with our own! Yet, as I have<br /> stated elsewhere, I never found on American<br /> bookstalls or in American bookstores any of our<br /> English magazines in competition with the<br /> American.<br /> <br /> <br /> <br /> As to the question of uninvited contributions,<br /> concerning which certain editors have been<br /> writing with some irritation, it appears to me<br /> that nothing can be moresimple. The editor has<br /> only to follow the practice of those papers which<br /> state every week in plain terms what is their<br /> rule. The editor of the Saturday Review, for<br /> instance, neither asks for, nor refuses, commu-<br /> nications from outsiders or beginners; he only<br /> advertises that he will not return papers sent to<br /> him, and that he will not enter into correspon-<br /> dence with writers of rejected MSS. That is<br /> perfectly straightforward. No one, after such a<br /> notice, has any right to complain when his offering<br /> is not accepted or returned. One London editor,<br /> however, says that if editors are to be “ badgered ”<br /> they will give up receiving MSS. from beginners,<br /> I am quite sure they will do nothing of the kind.<br /> Itis a most tedious work, doubtless, to read MSS.,<br /> mostly worthless; but here and there a new man<br /> may come along who is far above the average.<br /> <br /> 163<br /> <br /> Then there is not only a good article secured but a<br /> good and fresh writer retained for the paper.<br /> Cannot editors perceive that all that is wanted is,<br /> first, a clear understanding between themselves<br /> and outsiders whether MSS. are invited or not;<br /> and then the ordinary courtesies which are<br /> observed in every other kind of business? As<br /> for the actual points in dispute, they belong either<br /> to common courtesy or to common honesty. As<br /> the editors of the leading journals are presumably<br /> gentlemen, what have these points to do with<br /> them? There are, however, editors or proprietors<br /> who make it their rule never to treat their unfor-<br /> tunate contributors with any courtesy at all;<br /> never to pay him until he sends a lawyer’s letter ;<br /> to pay him a miserable dole on compulsion ; and,<br /> in general, to treat him with the utmost con-<br /> tumely. Cannot editors of respectable papers<br /> make common cause with us in exposing these<br /> persons and interfering with their practices? I<br /> invite editors to read the “ Contributor’s”’ views<br /> on the subject.<br /> <br /> <br /> <br /> From time to time we have tried various<br /> methods of finding the number and the names of<br /> the popular living novelists. The following con-<br /> clusions are arrived at by examining and analy-<br /> sing the lists of a circulating library in a well-<br /> known watering-place—one visited chiefly by<br /> invalids, and only by persons of the rank and<br /> station, generally called “The Better Class.” The<br /> list contains the names of 174 novelists who have<br /> published, or are represented in this list by more<br /> than one work. ‘There are also about 150 more<br /> who are represented in this list by one work only,<br /> though one remembers that some of them have<br /> written more. Of the 174, twenty-one are dead ;<br /> of the remaining 153, eighty-four are women and<br /> sixty-nine are men. Of the second class, forty-<br /> eight can be pointed out at once as having<br /> written more than one book, some are dubious;<br /> single successes are eleven in number; most of<br /> the names are those of writers who have attained<br /> a certain amount of success: many of them are<br /> American, French, and German writers. These<br /> figures lead, in fact, to very nearly the same con-<br /> conclusions as were arrived at before; viz., that<br /> about 150 novelists are popular, more or less, and<br /> that another 100 are so far popular that their<br /> books carry no risk, command a certain sale and<br /> bring to their writers a certain return, These<br /> figures, of course, do not include the immense<br /> number of stories published by the religious<br /> societies, and those houses which purvey stories<br /> for schoolchildren and school girls and the like ;<br /> nor do they include the penny dreadfuls which<br /> are issued in such enormous quantities every<br /> week.<br /> 164<br /> <br /> How many readers of the Author—who are all<br /> reading folk, literary folk, writing folk, and pub-<br /> lishers, whose chief interes’ is the world of<br /> letters—know the names of wr. Maurice Thomp-<br /> son and Mr. Hamlen Garland? How many can<br /> answer this question, “Which are the chief<br /> works of Mr. Maurice Thompson and Mr. Hamlen<br /> Garland?” We have, I believe, on the roll of<br /> membership about 1100. Are there a hundred<br /> among all these readers who know these names ?<br /> In putting these questions it is not at all intended<br /> to insinuate that these gentlemen are not excellent<br /> writers. The reason for putting it is that a writer<br /> inacertain daily paper has been professing indigna-<br /> tion at my ignorance—which he calmly assumes<br /> on no ground—concerning these two writers.<br /> As regards the former, it happens that I have<br /> known Mr. Maurice Thompson’s work for many<br /> years, because he formerly contributed to a Chicago<br /> paper called America, which was regularly sent<br /> to me. The latter I did not know—either by<br /> name or by any books belonging to the name—<br /> until I had the honour of meeting him personally<br /> about two months ago. What I said, however,<br /> had nothing whatever to do with my own per-<br /> sonal ignorance or my own personal knowledge.<br /> I said that the new writers of the West are prac-<br /> tically unknown to our people. There was a<br /> printer’s error in the name of a third writer<br /> which gave this journalist a chance to assume<br /> that he too, was unknown to me. Not that it<br /> matters, except that it is bad for journalism that<br /> these hasty assumptions and personal attacks<br /> should be permitted. But, as a matter of fact, I<br /> have known this poet, and his work as well, for<br /> some time. Very well; let me repeat the assertion.<br /> It is always the best answer when it is possible.<br /> I say, then, that most of the new writers of the<br /> West are unknown to English readers. And to<br /> this point I stick.<br /> <br /> But, this writer goes on, a “ professed critic ”<br /> ought to know when English editions of an<br /> American appear. (It-seems that a book by one<br /> of these two writers has been published here.)<br /> Ought he? This opens up another question<br /> altogether—two questions, in fact—(1) What is<br /> a “professed critic?” and (2) How far should<br /> he be expected to know what is published? I<br /> suppose that a “professed critic” is a critic by<br /> profession. Has this writer, I wonder, ever read.<br /> a very important essay by Mr. Saintsbury, called<br /> “Certain Kinds of Criticism”? I think not,<br /> because, if so, he would not, I think, be quite so<br /> ready to talk about the ‘professed critic.” In<br /> full agreement with Mr. Saintsbury, I cannot<br /> pretend that I am a “professed critic.” I dis-<br /> claim the title. It is true that I have on many<br /> <br /> THE AUTHOR.<br /> <br /> ’<br /> <br /> occasions written “ Studies”’ or “ Appreciations ”<br /> of writers whose works I admire, and that I hope<br /> to go on doing so whenever I have something to<br /> say. But Iam certainly nota critic by profession.<br /> Criticism is not my profession, nor my occupa-<br /> tion, nor my means of livelihood, nor even my<br /> recreation. I am, like a great many others a<br /> simple man of letters. But I do not therefore claim<br /> any special power or faculty of criticism. Indeed,<br /> to be a true critic is to be born with a certain noble<br /> gift which must be cultivated : a gift of the gods<br /> which should be received with grateful humility<br /> and developed by mcst serious study. Nor do I<br /> claim, as so many men of letters still, unhappily,<br /> claim, the right to “slate,” sneer at, slander, and<br /> depreciate the work of other men of letters, simply<br /> because I also am a writer, good or bad. Not a<br /> “« professed critic” at all, if you please.<br /> <br /> <br /> <br /> But if one were a professed critic, how about<br /> the limits of his reading? Must he know every-<br /> thing that is published? Alas! poor shepherd!<br /> To him, as to all of us, the day has but twenty-<br /> four hours. As a professed critic, he must also<br /> write his judgments and give his reasons. He<br /> must keep abreast with the work of the greater<br /> writers—but these are not too many. Of the<br /> lesser—of the new men—how many in the<br /> year can be read? Suppose he reads 200 new<br /> books in the year out of the 5000 annually pub-<br /> lished, each taking him a single day to read, and<br /> only half a day to write about—which is a very<br /> moderate allowance both for reading and writing.<br /> That takes up his whole year, allowing for<br /> Sundays and holidays and a little time for old<br /> books. Of course, I do not cail the man a critic<br /> who “reviews ’’ a dozen books in a column for a<br /> guinea in a single afternoon. Considering these<br /> points, I think we should all be very shy of call-<br /> ing ourselves professed critics, and I think that<br /> we ought not to expect even the professed critic<br /> to know all the books that come out. The<br /> “reviewer” of the batch for a guinea—eighteen-<br /> pence each—will know, of course, but not the<br /> professed critic.<br /> <br /> <br /> <br /> In another column will be found a letter from<br /> “Ingénue” on the subject of Authors as Pub-<br /> lishers’ Readers. It is useful to have the venti-<br /> lation of all possible views on every subject<br /> connected with the craft, though one may not<br /> agree with them. For instance, I cannot, for my<br /> own part, agree with our correspondent at all.<br /> His view is that authors—does he not mean<br /> novelists only ?—would be better employed in<br /> production than in giving opinions on MSS. But a<br /> novelist cannot be always producing. Perhaps<br /> half a day, and that not all the year round, is as<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> much as any novelist can give, as an average, to<br /> his creative work. Why, then, should he not<br /> read for a publisker in his leisure hours? Because<br /> he is malignant and cannot bear the thought of<br /> a newrival? Well; there have been—there are<br /> still—spiteful and jealous persons in the ranks<br /> of literature. Writing—alas !—does not always<br /> ennoble; but surely one would not prohibit this<br /> kind of work altogether, because here and there<br /> may be found an envious and malignant reader.<br /> It is true that a reader has the power of causing<br /> a MS. to be rejected; but then some one must<br /> have this power. We cannot abolish this necessary<br /> exercise of power. Somebody must say—and it<br /> must be the publisher, on the advice of his<br /> reader, unless he reads for himself—whether a<br /> MS. is to be accepted or rejected. In practice<br /> there are many novelists, within my own know-<br /> ledge, who do read, or have read MSS. of novels<br /> for publishers; some of them are distinguished<br /> novelists; some are not; some may. make mis-<br /> takes; itis certain that many mistakes have been<br /> made. All those whom I know act, I am<br /> convinced, honestly, though perhaps not always<br /> with judgment, by the publishers for whom they<br /> work, and by the writers whose MSS. they read.<br /> <br /> <br /> <br /> Is there not here, as has been noticed elsewhere,<br /> a confusion of thought between the Art of Litera-<br /> ture and the commercial value of Literature? Our<br /> correspondent asks if Carlyle would read MSS. ?<br /> Well—but we know beforehand so much of Car-<br /> lyle’s temperament as to make it clear that he<br /> could not undertake such work. Otherwise, what<br /> is there in Carlyle that should enable us to<br /> acknowledge that he could not possibly read<br /> MSS. and give sound and trustworthy opinions<br /> on them? Absolutely nothing; nor does there<br /> seem any reason whatever why a writer in any<br /> branch should not be a critic, a good reader of<br /> MSS., and capable of forming a perfectly sound<br /> opinion, not only on the literary value, but also<br /> on the commercial value of a MS.—the two things<br /> not being commensurable Again, whether as<br /> critics or as publishers’ readers, one must engage<br /> the services of those who know the subject treated.<br /> Only a geologist can review a book upon geology,<br /> or advise upon a MS. on geology. Historians<br /> must pass historical works in review ; mathema-<br /> ticians, mathematical works; and so on. Why<br /> not novelists with novels? Butother qualities in<br /> addition to knowledge of the subject are de-<br /> manded. It is not every poet who can criticise<br /> poetry ; nor every novelist who should be trusted<br /> with novels; nor every geologist who can decide<br /> whether a geological MS. should be published as<br /> a matter of business. As regards general litera-<br /> <br /> VOL, Iv.<br /> <br /> AUTHOR.<br /> <br /> 165<br /> <br /> ture, fiction, poetry, and bedles lettres, I would<br /> prefer that criticism should be in the hands of<br /> critics. But, alas! there are not enough critics<br /> by a long way to go round. The true critic is<br /> even rarer than the poet.<br /> <br /> <br /> <br /> What is publication? It is still a common<br /> article of belief that a book “published” in<br /> London is published for the whole world. I<br /> mean that the mere fact of a book being produced<br /> here—though it circulates to the extent of, say,<br /> three or four hundred copies only—is taken by<br /> the author as a public and world-wide utterance.<br /> It is not subscribed—except by the half dozen<br /> —in the cireulating libraries; it is not sub-<br /> scribed, except by the half dozen, by the trade;<br /> it is not taken at all by the free libraries<br /> which now form so large a factor in the dis-<br /> semination of knowledge and the circulation of<br /> books; nobody talks about it at dinner tables<br /> and places were people resort ; it is just bought<br /> and put away on the shelves ‘by a few people—<br /> three or four hundred people—not of a hundred<br /> millions. This is not publication; it is mere<br /> production on the chance of publication; such a<br /> book is as if it had never been produced; such a<br /> view of publicationis purely parochial. Of course<br /> the author may claim to represent, and to appeal<br /> to, only the very cream of culture. The very<br /> few very foremost men, he says, read his book.<br /> This view satisfies his vanity, but it is also a<br /> parochial view. What, then, is real publica-<br /> tion? It is when a book is placed upon all<br /> the shelves of all the free libraries and all the<br /> circulating libraries here and in America and<br /> in the colonies; it is when, in addition, people<br /> ask for it at the libraries, and buy it at the<br /> shops, and talk about it among each other—such a<br /> book, and only such a book is truly made public,<br /> or published. And here, you see, the author comes<br /> in, for no publisher can create such a demand or<br /> cause any book, by any machinery of his own,<br /> not even by procuring the roll of the judicious Log<br /> —to be so placed and so demanded. The pub-<br /> lisher gives the author his chance; it is the real<br /> service, apart from the machinery—the true<br /> service — which the publisher renders to the<br /> author; but the “publication” of the book in<br /> the only true sense depends entirely upon the<br /> author himself. Are we, then, to take popu-<br /> larity, or a place in all the libraries as the only<br /> test and proof of literary success—of literary<br /> worth? Yes, we are, after a certain time. The<br /> successes of the day quickly vanish; the books<br /> which are good remain and win their way and<br /> keep it. Some time ago it was shown in these<br /> pages that the popular demand for the really best<br /> <br /> P<br /> <br /> <br /> <br /> <br />  <br /> <br /> 166<br /> <br /> books in our literature is steady and constant, and<br /> goes on increasing after a certain time. How<br /> long a time? I am not prepared to say. But<br /> this, I take it is the only true and infallible test<br /> of literary worth. Water Besant.<br /> <br /> ere<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> i<br /> Tue Very Best Apvice Arrer ALL.<br /> <br /> “ 4&amp;7 OU have called—Yes ”—the Senior Partner<br /> took a letter from a heap before him,<br /> and glanced through it—“ Yes—oh!<br /> <br /> yes—about a MS. called ‘ Rachel’s Revulsion ’—<br /> <br /> Yes—oh! yes.” He had a way of saying—“ Oh!<br /> <br /> yes’”’—while he considered what to say next—<br /> <br /> “« Well, my dear Sir, I am very glad to be able to<br /> <br /> announce to you that we have decided to take it.”<br /> <br /> “You have decided to take it?” The latter<br /> was a visitor, and rather nervous. He was not a<br /> new man, and he had already enjoyed a certain<br /> success, but into this work he had poured all he<br /> had of mind or soul, of poetry or fancy, of know-<br /> ledge or observation ; and he was anxious that the<br /> work should make a greater mark than anything<br /> he had done before.<br /> <br /> “ We have decided—my dear Sir, on the recom-<br /> mendation—after serious doubts—I own—oh ! yes<br /> —very serious doubts—of our most esteemed<br /> reader—to take it.’ He took a pile of MSS. from<br /> a chair and laid it onthe table. “ We find that it<br /> will make a good-sized one-volume work—we<br /> shall publish it, probably, at Easter, which is a<br /> very good time, as a six-shilling book. The MS.<br /> shall be sent to the printer at once, and the proofs<br /> shall be forwarded to you. I need not ask you,<br /> dear Sir, as no longer a novice, to be reasonable<br /> in your corrections.”<br /> <br /> ‘©Oh!” said the visitor, with a natural flush of<br /> satisfaction, ‘I am pleased —and—and —<br /> honoured by this decision. I hope the book will<br /> do well, and justify your reader’s good opinion.”<br /> <br /> “ Of that we cannot be certain. Still, we may<br /> hope—as you say. Oh! yes. But most books<br /> fail. Here and there, perhaps, a slight success.<br /> Do not form exaggerated hopes. Be modest.<br /> Still—you may hope. And now, dear Sir, as<br /> everything is settled, I need not take up your<br /> time any longer.” He half rose, and looked like<br /> holding out his hand.<br /> <br /> “ But nothing is settled,” objected the visitor,<br /> remaining seated.<br /> <br /> “Why, my dear Sir, what else is there to settle?<br /> I have told you that we take the book.”<br /> <br /> “* We have not yet settled the terms.”<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> “Oh! the terms—the terms. The agreement<br /> shall be sent to you, my dear Sir, in due course.<br /> Before the final revise. Oh! yes. Before the<br /> book appears.”<br /> <br /> “Not so fast, Sir. I am perhaps an unreason-<br /> able person, but I am not accustomed to suffer<br /> my property to go out of my hands quite so<br /> readily. There are forms even in the sale of a<br /> house. This book may be worth many houses.<br /> We will agree upon the terms, if you please,<br /> before the MS. is sent to the printer.”’<br /> <br /> The Senior Partner leaned back in his chair,<br /> pressing together his finger-points. ‘‘ Very well.<br /> Oh! yes. But I naturally supposed that you<br /> would trust to the Honour of the House,” he<br /> said, with pain in his countenance.<br /> <br /> “T must have an agreement,’ the visitor<br /> persisted.<br /> <br /> “My dear Sir, you shall have an agreement.<br /> It only hurts me to find that you want your<br /> agreement first. Oh! there is a deplorable spirit<br /> abroad—most deplorable. Oh! yes. I hope, my<br /> dear Sir, that you are not infected with it.<br /> However, let us see. You want a sum of money<br /> down? You would probably prefer to capitalise<br /> your interest in the book.”<br /> <br /> “‘ Make an offer, if you please.”<br /> <br /> “JT will. That is indeed the proper way to<br /> speak. You have read Mr. Andrew Lang’s<br /> advice to authors, no doubt—in Longman’s<br /> Magazine for July. Excellent advice—beautiful<br /> advice, I call it—if only everyone would follow it!<br /> He says that all the author has to do is to say—<br /> just ‘too much’ or ‘too little.’ So true! and<br /> so beautifully simple!”<br /> <br /> “ How am I to know what is too much or too<br /> little P”’<br /> <br /> “You feel it, my dear Sir. Any man of delicacy<br /> feels it. Coarse, common persons who buy and<br /> sell must have facts and figures before them.<br /> Your highly-strung nervous organizations feel<br /> things. That is the great advantage of being<br /> a genius. You will feed it in a moment, when<br /> I offer you too much. Oh! yes. Take Mr.<br /> Andrew Lang’s advice. Now, then, you are<br /> not, as yet, a well-known writer. Your name is,<br /> so to speak, half-finished; it is a most dreadful<br /> risk that we are running—hundreds of pounds—<br /> an outlay of hundreds. For my own part I do<br /> not see my way to get back the outlay. But in<br /> order to oblige our reader — and to keep up<br /> our name as ever disinterested patrons of litera-<br /> ture—come, my dear Sir, I don’t mind if I offer<br /> you twenty pounds down—twenty pounds — I<br /> will draw the cheque at once.” He opened his<br /> cheque-book, and took up a pen, and looked his<br /> visitor hard in the face. “Twenty pounds, dear<br /> <br /> Sir. Your book is not really worth half as much,<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> but we have always had the credit of generosity<br /> towards our authors.”<br /> <br /> “ Damn your generosity, Sir! ’’ cried the author,<br /> hotly. “ Do you think I want your charity? ”<br /> <br /> ‘“Twenty pounds,’ repeated the publisher<br /> firmly, and ignoring the interruption, “ for the<br /> sole copyright of the work, including all rights.<br /> That is my offer.”<br /> <br /> “Stop there.” replied the author doggedly.<br /> “How much will it cost to produce ?<br /> <br /> “Hundreds — hundreds. I told<br /> hundreds.”<br /> <br /> “Give me the exact figures, and I will take<br /> advice upon them.” *<br /> <br /> “T cannot do that. There are the advertise-<br /> ments. You forget the advertisements. How<br /> are we to know beforehand what they will cost?”’<br /> <br /> “You must give me the figures for everything.<br /> What do you expect to get for your fist subscrip-<br /> tion? How many will the libraries take? What<br /> do you receive for each volume ?”<br /> <br /> The Senior Partner sat upright with an injured<br /> air. “Do not, if you please, inquire into my<br /> private affairs, Sir.”<br /> <br /> “Pardon me. These are my affairs, since my<br /> book is concerned.”<br /> <br /> ““May I ask, Sir, whether you consider your-<br /> self so good a writer as Mr. Andrew Lang, that<br /> you venture to set up your judgment against<br /> his?”<br /> <br /> “No, I do not, I am not such a fool.”<br /> <br /> “Tam glad to hear it. Now, he most clearly<br /> lays cown the principle that all you have got to<br /> say is ‘too much’ or ‘too little.’ I confess I am<br /> hurt. Jam pained. I expected you to cry outat<br /> once—‘ too much—much too much.’ Only this<br /> morning a most promising poet -<br /> <br /> «“T will do so, perhaps,” the visitor interrupted,<br /> “when I have ‘got the figures before me. Are<br /> you going to give me those figures ?”<br /> <br /> - No, Sir. I am not. My private affairs, I<br /> repeat, shall not be made the subject of the<br /> questions of any author.”<br /> <br /> The visitor pushed back his chair and put on<br /> his hat.<br /> <br /> “Then you may send me back the MS.—or<br /> stop—you have it there—I will take it.”<br /> <br /> Now the Senior Partner had on the table a note<br /> from the esteemed reader; it concluded with the<br /> words “Secure this man at any reasonable price.<br /> The book will fly.’ “Stop, my dear Sir.” he<br /> cried, “ Do not be so impetuous, pray. Genius<br /> is always rash—rash and unbusinesslike. Oh!<br /> Yes, Can you not understand that the private<br /> affairs of the firm. . . Pray sit down again<br /> —pray sit down. Did you see the beautiful<br /> remarks of Mr. Robert Buchanan—ah! there<br /> is an ornament to Literature! such wisdom,<br /> <br /> you —<br /> <br /> 167<br /> <br /> such good feeling! there, mdeed, is a man !—<br /> in a letter to a daily paper some time ago. They<br /> were on Literature and Lucre. I always have<br /> thought that the degradation of the authors in<br /> these unfortunate negotiations is so deplorable.<br /> I feel for you most deeply. Let me try to meet<br /> you another way. We will not buy the book.<br /> You shall preserve your copyright; you shall<br /> have a royalty—a royalty. Oh! Yes, “Will that<br /> content you?”<br /> <br /> “Tt depends upon what the royalty means.’<br /> <br /> “There! There! Again, why not trust to the<br /> Honour of the House? What do you think ?”’<br /> The senior partner laughed and rubbed his<br /> hands, but his eyes were very near together.<br /> “What do you say to a ro per cent. royalty—<br /> a Io per cent. royalty—r1o per cent. on the<br /> retail price—say 10 per cent. on 3s. 6d.—that<br /> is over 4d. a copy—4d. a copy—three copies will<br /> bring you in tIs., more than 30s. for every<br /> hundred—think what that will come to when<br /> the numbers have gone up to 1000 !—the royalty<br /> to begin after the first g50 are sold. There,<br /> Sir! Mind, if it were not for our reader’s<br /> favourable opinion, I would not dream of making<br /> such an offer. Get such an offer as this—else-<br /> where—if you can!”<br /> <br /> “ After g50. Humph!<br /> make on the first 950.”<br /> <br /> “Nothing. Positively nothing.<br /> heavy losers. Very heavy losers.”<br /> <br /> “Indeed? I am not so informed in a certain<br /> book called the ‘ Cost of Production.’ ”<br /> <br /> “Oh!” The Senior Partner turned very red.<br /> “Tf you go by that mischievous, lying, and mis-<br /> leading work, I have nothing at all to say.<br /> <br /> “Ts it wrong in its figures } ro<br /> <br /> “ All wrong. Quite wrong.”’<br /> <br /> “ Yet I was told that a publisher who had the<br /> temerity to say so in public received an offer to<br /> carry on all his printing on those terms. How-<br /> ever—I repeat—give me your figures. Show me<br /> what, on those terms, you propose to make for<br /> yourself by the administration of my property<br /> compared with what you propose to give me.”<br /> <br /> “ The—the—administration of your —your—<br /> your property?” he cried. ‘It is,’ the Senior<br /> Partner gasped, “ my property—mine—and as for<br /> my private affairs— ”<br /> <br /> “Your property is it? Then I shall carry<br /> away your property with me.” He reached out<br /> his hand and took it.<br /> <br /> “Oh! It is—it is too much,” he stammered.<br /> “ After Mr. Andrew Lany’s advice and all—<br /> after Mr. Buchanan’s beautiful observations<br /> about filthy Lucre—Oh! It is a deplorable spirit<br /> indeed! What will become of literature if this<br /> should spread ?”<br /> <br /> Tell me what you will<br /> <br /> We shall be<br /> 168<br /> <br /> But the author was gone. He went to a certain<br /> office where they advised him. And when he did<br /> place that MS. it was neither for £20 nor for a<br /> 10 per cent. royalty on the retail price after 950<br /> copies should be sold.<br /> <br /> “TJ have now read Mr. Andrew Lang’s advice,”<br /> he said afterwards. “It is what the Senior<br /> Partner described it —admirable. All one<br /> has to say is ‘Too much,’ or ‘Too little.’<br /> That is all. The root of the whole matter<br /> is there. I never knew or guessed before that<br /> he was so practical and so keen on the business<br /> side of letters. Only, you see, he forgot to<br /> remind us that we must first—which, of course,<br /> he has himself done long ago—before we can say<br /> either ‘Too much’ or ‘Too little,’ know exactly<br /> the preliminary facts in the case; for instance,<br /> what a book actually costs to produce; what it<br /> actually costs to advertise it, 7.e., what any parti-<br /> cular firm means to spend upon it ; and what it<br /> is sold for. With these figures one can make the<br /> necessary calculations, and then it is perfectly<br /> easy, without further argument, just to say ‘ Too<br /> much’ or ‘ Too little.’ And see how simple it is.<br /> T hear that some absurd persons have taken the<br /> advice to mean that you must say ‘Too much’<br /> or ‘Too little’ without any knowledge of the<br /> figures.. That, of course, is ridiculous.”<br /> <br /> <br /> <br /> IT.<br /> Tue Porr’s CHorce.<br /> <br /> A poet sat with bowed head and folded arms,<br /> alone in a garret. He had been writing with<br /> his heart’s blood, and that is exhausting. More-<br /> over he was not happy, and that was the fault of<br /> certain evil Jinns who had hovered round his<br /> cradle when he was an infant and bestowed gifts<br /> upon him.<br /> <br /> “He is born a poet,” they said; ‘‘ we can’t<br /> help that ; but let us have as much sport out of<br /> him as possible. He-is born a poet. Therefore,<br /> his future should contain fame, love, and success.<br /> We will turn it into ignominy and failure.” Then<br /> they rubbed their hands with glee, and each<br /> prepared his gift.<br /> <br /> “T,” said the first Jinn, ‘ will endow him with<br /> <br /> poetical aspiration: to write shall be a necessity ;<br /> <br /> to him, and success the aim of his life: but I<br /> will leave out the element by which success could<br /> alone be attained,” and he laughed, for he knew<br /> the bitterness which his gift would bring with it.<br /> <br /> “* And I,” said the next, “ will endow him with a<br /> sensitive soul, with a man’s power todo and dare ;<br /> but without a woman’s power to suffer with<br /> patience,”<br /> <br /> “And I,” said a third, “‘ will give him a capa-<br /> city for love, which shall have only itself to feed<br /> <br /> THE AUTHOR.<br /> <br /> upon, for I shall give him also a reserve and<br /> shyness which will conceal his own heart, and<br /> keep other hearts away from it.”<br /> <br /> “ And I,” added another witha chuckle, for he<br /> knew that his gift added to the others would<br /> cause pain and torture unspeakable, “TI will give<br /> him so much pride that he will never stoop to<br /> ask a favour, and to receive one will be agony.”<br /> <br /> Then they laughed, for they foresaw a time of<br /> merry sport. They laughed, all except one who<br /> had not yet spoken, and who was moved to pity<br /> at the fate in store for the babe sleeping so<br /> peacefully in its cradle.<br /> <br /> e “T have not much to offer,” he said, sadly,<br /> “but what I have I will give. Let the child<br /> have a sense of humour.”<br /> <br /> But the others frowned angrily at the sugges-<br /> tion, and hurried their companion out of the<br /> room before he could bestow his gift, and so the<br /> child grew up without it. This was a pity, for it<br /> might often have helped him, but had it done so<br /> the Jinns would have been deprived of some of<br /> their sport.<br /> <br /> The Poet was aroused from his reverie by the<br /> arrival of the Cynical Observer, and in it, as he<br /> saw at a glance, was the review on which rested<br /> all his hope for his new poems. Now, had the<br /> last of the Jinns been allowed to bestow his gift,<br /> the Poet could hardly have read the article with-<br /> out amusement. It was so bright, so full of<br /> well turned phrases; it picked out and magnified<br /> little weaknesses of the poems with so ready a<br /> wit; it so played with isolated verses as a cat<br /> might do with a mouse, perverting their true<br /> sense; it was so determined to find nothing<br /> good in them: that a man with any sense of<br /> humour could not have read the article without<br /> shouts of laughter. But the Poet did not<br /> even smile. He read the article ~~<br /> through, and as he did so his brow con-<br /> tracted, and his hands were clutched, and his<br /> breath came short and quick, as if drawn with<br /> pain, nay, even his lips trembled. Had not the<br /> Jinns given him a soul as sensitive as a woman’s?<br /> At last the paper dropped from his nerveless<br /> hands, and a cry of despair rang through the<br /> garret. The Jinns heard it and hurried to see<br /> the sport, but the Poet sat with outstretched<br /> arms and buried face and was silent. And so<br /> long did he remain thus that at last they grew a<br /> little frightened.<br /> <br /> “Surely,” they said to one another, ‘‘ he is<br /> breaking his heart, and if he were to die our<br /> game would be at an end,”<br /> <br /> “We must save him,’-said one of them<br /> shortly; it was he whose gift had not been<br /> bestowed.<br /> <br /> <br /> <br /> a2<br /> fi<br /> moe<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 169<br /> <br /> “We will,” said the others hurriedly. ‘He<br /> shall have that which he most desires. That<br /> will surely restore him.”<br /> <br /> A messenger sent by the Jinns stood before<br /> the Poet, who gazed at him with weary bloodshot<br /> eyes,<br /> <br /> “T have been sent to help you,” said the<br /> messenger.<br /> <br /> The Poet still gazed at him with a look of dull<br /> despairing pain.<br /> <br /> “You cannot,’ he said. ‘I want but one<br /> thing on earth, and that is denied me.”<br /> <br /> “T have come,” said the messenger, “to give<br /> you that very thing. Name it.”<br /> <br /> The Poet whispered one word. It was Success.<br /> <br /> “You must define your meaning more<br /> precisely,” said the messenger. ‘‘ Will the success<br /> of having done your best satisfy you ?”<br /> <br /> “No,” said the poet, “that I have already<br /> experienced.”<br /> <br /> “You wish then,” said the<br /> “simply for popularity.”<br /> <br /> The poet winced. The fourth gift conferred<br /> by the Jinns began to hurt him a little, but he<br /> bowed in acquiescence.<br /> <br /> “You may take your choice,’ said the<br /> messenger, and held two cups before him, the<br /> one containing a dull liquid of a deep dark red;<br /> the other one clear and sparkling and frothing to<br /> the brim, “ This,’ he said, pointing to the first,<br /> “is but a deeper draught of what you have<br /> already tasted. It is heart’s blood mixed with<br /> poetic fire. ‘he other is fame and popularity.<br /> Which will you drink ?”<br /> <br /> “ Both,” murmured the poet, with outstretched<br /> hands; but his eyes were fixed on the one that<br /> sparkled.<br /> <br /> “Tt is impossible,” said the messenger, and<br /> handed him the one of fame and popularity. The<br /> poet quaffed it eagerly, then seized his pen once<br /> more and wrote.<br /> <br /> The draught produced its effects. Success<br /> shone on the Poet. His next volume of poems,<br /> issued soon after the visit of the messenger, was<br /> applauded by the Cynical Observer, and ran to a<br /> hundredth edition. His miserable garret was<br /> exchanged for comfortable apartments. He<br /> became the lion of the season. Fashionable<br /> ladies vied with each other to secure his presence<br /> at their receptions; interviewers besieged his<br /> doors ; his portrait was painted by a royal prin-<br /> cess and had a railing round it at the Academy ;<br /> young ladies went on their knees before him in<br /> public; his autograph was put up to auction; and<br /> a lock of his hair in a glass case was sold by a<br /> titled lady for fifty pounds at a bazaar. One<br /> would have thought that no mortal man could<br /> have wished for more, yet, strange to say, the<br /> <br /> messenger,<br /> <br /> nature of this poet was so unreasonable that even<br /> now he was far from happy. Applause palled on<br /> him; his soul was satiated, yet unsatisfied; the<br /> future held out no prospect, for what more in the<br /> way of success can be hoped for when a man has<br /> reached the zenith of popularity, represented by<br /> being the lion of a London season? Moreover,<br /> he missed the old fierce fire which had glowed in<br /> his veins, and beaten at his heart and brain, the<br /> wild delicious pain fraught with joy, and joy<br /> fraught with pain, which had filled his soul in the<br /> old garret days, when fame and success were far<br /> off, but when to have completed a poem which his<br /> own heart told him to be good, gave him more joy<br /> than the flattery of all the world now that he had<br /> become famous.<br /> <br /> So it chanced that one evening, having returned<br /> from one of the assemblies where he was so<br /> much in request, he flung himself on his bed, and<br /> uttered a prayer that the messenger who had<br /> brought him the cup of success should return,<br /> and let him change his choice. And the Jinns<br /> heard it, and resolved to grant his request.<br /> <br /> “The pain,” they said, “ will be greater than<br /> ever now that he has been without it so long. It<br /> will be spoit to see what follows.”<br /> <br /> But the sport was not what they had antici-<br /> pated, for the Poet quaffed the cup with an<br /> eagerness which was fatal. The old fire was<br /> in his veins, the old pain at his heart. For<br /> a moment he was conscious of a sharp, swift<br /> rapture, a pain which was exquisite joy, then he<br /> sank back with a faint smile on his lips, and the<br /> emp&#039;y cup fell from his hand.<br /> <br /> On the morrow, the Poet, who was travelling<br /> quite alone on a long road far away from earth,<br /> passed another wayfarer who, while on earth, had<br /> been a woman. And—which was very strange—<br /> when they looked into each other’s eyes they<br /> recognised each other at once, though they had<br /> never met before.<br /> <br /> “Oh!” said the poet, with a smile, “It is you<br /> —you at last! Why, it was for you—for you<br /> alone, that I wrote my best poems.”<br /> <br /> «Yes, yes,” she replied. ‘They were for me.<br /> I took them for myself. And they thrilled my<br /> soul into life. But that was before you became<br /> famous.”<br /> <br /> “Tt was,” said the Poet. ‘Since I have met<br /> you, I am glad I came here.”<br /> <br /> “So am IJ,” she said, “for I was beginning<br /> to be a little tired of waiting for you.”<br /> <br /> Then, hand in hand, they moved on towards a<br /> Sphere where dwells the Fountain of all Art and<br /> of Love.<br /> <br /> But the Jinns, who could see what was hap-<br /> pening, though they had no power to interfere,<br /> 168 THE AUTHOR.<br /> <br /> But the author was gone. He went to a certain<br /> office where they advised him. And when he did<br /> place that MS. it was neither for £20 nor for a<br /> 10 per cent. royalty on the retail price after 950<br /> copies should be sold.<br /> <br /> “ T have now read Mr. Andrew Lang’s advice,”<br /> he said afterwards. ‘It is what the Senior<br /> Partner described it — admirable. All ‘one<br /> has to say is ‘Too much,’ or ‘Too little.’<br /> That is all. The root of the whole matter<br /> is there. I never knew or guessed before that<br /> he was so practical and so keen on the business<br /> side of letters. Only, you see, he forgot to<br /> remind us that we must first—which, of course,<br /> he has himself done long ago—before we can say<br /> either ‘Too much’ or ‘Too little,’ know exactly<br /> the preliminary facts in the case; for instance,<br /> what a book actually costs to produce; what it<br /> actually costs to advertise it, ¢.e., what any parti-<br /> cular firm means to spend upon it ; and what it<br /> is sold for. With these figures one can make the<br /> necessary calculations, and then it is perfectly<br /> easy, without further argument, just to say ‘Too<br /> much’ or ‘ Too little.’ And see how simple it is.<br /> I hear that some absurd persons have taken the<br /> advice to mean that you must say ‘Too much’<br /> or ‘Too little’ without any knowledge of the<br /> figures.. That, of course, is ridiculous.”<br /> <br /> <br /> <br /> II.<br /> Tuer Portr’s CHoIce.<br /> <br /> A poet sat with bowed head and folded arms,<br /> alone in a garret. He had been writing with<br /> his heart’s blood, and that is exhausting. More-<br /> over he was not happy, and that was the fault of<br /> certain evil Jinns who had hovered round his<br /> cradle when he was an infant and bestowed gifts<br /> upon him.<br /> <br /> “He is born a poet,” they said; “we can’t<br /> help that ; but let us have as much sport out of<br /> him as possible. He is born a poet. Therefore,<br /> his future should contain fame, love, and success.<br /> We will turn it into ignominy and failure.” Then<br /> they rubbed their hands with glee, and each<br /> prepared his gift.<br /> <br /> “J,” said the first Jinn, ‘ will endow him with<br /> <br /> poetical aspiration: to write shall be a necessity<br /> <br /> to him, and success the aim of his life: but I<br /> will leave out the element by which success could<br /> alone be attained,” and he laughed, for he knew<br /> the bitterness which his gift would bring with it.<br /> <br /> “« And I,” said the next, “ will endow him with a<br /> sensitive soul, with a man’s power todo and dare;<br /> but without a woman’s power to suffer with<br /> patience.”<br /> <br /> “And I,” said a third, ‘will give him a capa-<br /> city for love, which shall have only itself to feed<br /> <br /> upon, for I shall give him also a reserve and<br /> shyness which will conceal his own heart, and<br /> keep other hearts away from it.”<br /> <br /> “ And I,” added another witha chuckle, for he<br /> knew that his gift added to the others would<br /> cause pain and torture unspeakable, “I will give<br /> him so much pride that he will never stoop to<br /> ask a favour, and to receive one will be agony.”<br /> <br /> Then they laughed, for they foresaw a time of<br /> merry sport. They laughed, all except one who<br /> had not yet spoken, and who was moved to pity<br /> at the fate in store for the babe sleeping so<br /> peacefully in its cradle.<br /> <br /> ® “T have not much to offer,’ he said, sadly,<br /> “but what I have I will give. Let the child<br /> have a sense of humour.”<br /> <br /> But the others frowned angrily at the sugges-<br /> tion, and hurried their companion out of the<br /> room before he could bestow his gift, and so the<br /> child grew up without it. This was a pity, for it<br /> might often have helped him, but had it done so<br /> the Jinns would have been deprived of some of<br /> their sport.<br /> <br /> The Poet was aroused from his reverie by the<br /> arrival of the Cynical Observer, and in it, as he<br /> saw at a glance, was the review on which rested<br /> all his hope for his new poems. Now, had the<br /> last of the Jinns been allowed to bestow his gift,<br /> the Poet could hardly have read the article with-<br /> out amusement. It was so bright, so full of<br /> well turned phrases; it picked out and magnified<br /> little weaknesses of the poems with so ready a<br /> wit; it so played with isolated verses as a cat<br /> might do with a mouse, perverting their true<br /> sense; it was so determined to find nothing<br /> good in them: that a man with any sense of<br /> humour could not have read the article without<br /> shouts of laughter. But the Poet did not<br /> even smile. He read the article straight<br /> through, and as he did so his brow coh-<br /> tracted, and his hands were clutched, and his<br /> breath came short and quick, as if drawn with<br /> pain, nay, even his lips trembled. Had not the<br /> Jinns given him a soul as sensitive as a woman’s?<br /> At last the paper dropped from his nerveless<br /> hands, and a cry of despair rang through the<br /> garret. The Jinns heard it and hurried to see<br /> the sport, but the Poet sat with outstretched<br /> arms and buried face and was silent. And so<br /> long did he remain thus that at last they grew a<br /> little frightened.<br /> <br /> “Surely,” they said to one another, ‘he is<br /> <br /> breaking his heart, and if he were to die our<br /> game would be at an end.”<br /> <br /> “We must save him,’’-said one of them<br /> shortly; it was he whose gift had not been<br /> bestowed. ;<br /> <br /> ie MoasmeKmeTein<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 7<br /> <br /> THE AUTHOR.<br /> <br /> “cc He<br /> That<br /> <br /> “We will,” said the others hurriedly.<br /> shall have that which he most desires.<br /> will surely restore him.”<br /> <br /> A messenger sent by the Jinns stood before<br /> the Poet, who gazed at him with weary bloodshot<br /> eyes.<br /> <br /> “T have been sent to help you,” said the<br /> messenger.<br /> <br /> The Poet still gazed at him with a look of dull<br /> despairing pain.<br /> <br /> “You cannot,’ he said. “I want but one<br /> thing on earth, and that is denied me.”<br /> <br /> “T have come,” said the messenger, “to give<br /> you that very thing. Name it.”<br /> <br /> The Poet whispered one word. It was Success.<br /> <br /> “You must define your meaning more<br /> precisely,” said the messenger. ‘‘ Will the success<br /> of having done your best satisfy you ?”<br /> <br /> “No,” said the poet, “that I have already<br /> experienced.”<br /> <br /> “You wish then,”<br /> “simply for popularity.”<br /> <br /> The poet winced. The fourth gift conferred<br /> by the Jinns began to hurt him a little, but he<br /> bowed in acquiescence.<br /> <br /> “You may take your choice,” said the<br /> messenger, and held two cups before him, the<br /> one containing a dull liquid of a deep dark red;<br /> the other one clear and sparkling and frothing to<br /> the brim, “This,” he said, pointing to the first,<br /> “is but a deeper draught of what you have<br /> already tasted. It is heart’s blood mixed with<br /> poetic fire. ‘he other is fame and popularity.<br /> Which will you drink ?”<br /> <br /> “ Both,” murmured the poet, with outstretched<br /> hands; but his eyes were fixed on the one that<br /> sparkled.<br /> <br /> “It is impossible,” said the messenger, and<br /> handed him the one of fame and popularity. The<br /> poet quaffed it eagerly, then seized his pen once<br /> more and wrote.<br /> <br /> The draught produced its effects. Success<br /> shone on the Poet. His next volume of poems,<br /> issued soon after the visit of the messenger, was<br /> applauded by the Cynical Observer, and ran to a<br /> hundredth edition. His miserable garret was<br /> exchanged for comfortable apartments. He<br /> became the lion of the season. Fashionable<br /> ladies vied with each other to secure his presence<br /> at their receptions; interviewers besieged his<br /> doors ; his portrait was painted by a royal prin-<br /> cess and had a railing round it at the Academy ;<br /> young ladies went on their knees before him in<br /> public ; his autograph was put up to auction; and<br /> a lock of his hair in a glass case was sold by a<br /> titled lady for fifty pounds at a bazaar. One<br /> would have thought that no mortal man could<br /> have wished for more, yet, strange to say, the<br /> <br /> said the messenger,<br /> <br /> 169<br /> <br /> nature of this poet was so unreasonable that even<br /> now he was far from happy. Applause palled on<br /> him; his soul was satiated, yet unsatisfied; the<br /> future held out no prospect, for what more in the<br /> way of success can be hoped for when a man has<br /> reached the zenith of popularity, represented by<br /> being the lion of a London season? Moreover,<br /> he missed the old fierce fire which had glowed in<br /> his veins, and beaten at his heart and brain, the<br /> wild delicious pain fraught with joy, and joy<br /> fraught with pain, which had filled his soul in the<br /> old garret days, when fame and success were far<br /> off, but when to have completed a poem which his<br /> own heart told him to be good, gave him more joy<br /> than the flattery of all the world now that he had<br /> become famous.<br /> <br /> So it chanced that one evening, having returned<br /> from one of the assemblies where he was so<br /> much in request, he flung himself on his bed, and<br /> uttered a prayer that the messenger who had<br /> brought him the cup of success should return,<br /> and let him change his choice. And the Jinns<br /> heard it, and resolved to grant his request.<br /> <br /> “The pain,” they said, “ will be greater than<br /> <br /> ever now that he has been without it so long. It<br /> will be spoit to see what follows.”<br /> _ But the sport was not what they had antici-<br /> pated, for the Poet quaffed the cup with an<br /> eagerness which was fatal. The old fire was<br /> in his veins, the old pain at his heart. For<br /> a moment he was conscious of a sharp, swift<br /> rapture, a pain which was exquisite joy, then he<br /> sank back with a faint smile on his lips, and the<br /> emp&#039;y cup fell from his hand.<br /> <br /> On the morrow, the Poet, who was travelling<br /> quite alone on a long road far away from earth,<br /> passed another wayfarer who, while on earth, had<br /> been a woman, And—which was very strange—<br /> when they looked into each other’s eyes they<br /> recognised each other at once, though they had<br /> never met before.<br /> <br /> “Oh!” said the poet, with a smile, “It is you<br /> —you at last! Why, it was for you—for you<br /> alone, that I wrote my best poems.”<br /> <br /> “Yes, yes,” she replied. ‘They were for me.<br /> I took them for myself. And they thrilled my<br /> soul into life. But that was before you became<br /> famous.”<br /> <br /> “Tt was,” said the Poet.<br /> you, I am glad I came here.”<br /> <br /> “So am I,” she said, “for I was beginning<br /> to be a little tired of waiting for you.”<br /> <br /> Then, hand in hand, they moved on towards a<br /> Sphere where dwells the Fountain of all Art and<br /> of Love.<br /> <br /> But the Jinns, who could see what was hap-<br /> pening, though they had no power to interfere,<br /> <br /> “Since I have met<br /> 170<br /> <br /> did not laugh any more, except one, It was he<br /> <br /> who had proposed the gift of humour, and it<br /> <br /> amused him to see the discomfiture of the rest.<br /> Noruey CHESTER,<br /> <br /> eas<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.<br /> “DELICATE AND SUBTLE.”<br /> <br /> T present there appears to be no market for<br /> <br /> A work that may be called “delicate and<br /> subtle.” That, at least, has been my<br /> experience. In May, 1890, the late Mr. G. T.<br /> Bettany, then English editor of Lippincott’s<br /> Magazine (to whose kindness and courtesy—<br /> although a stranger—I herewith bear grateful<br /> testimony), accepted from me a short sketch,<br /> called “A Mother and her Boy,’ in which<br /> I had endeavoured to show the all-consuming<br /> power of a true mother’s love, It was one of<br /> those tender little outpourings of thought which<br /> sometimes well up in the most unpoetical heart in<br /> quiet moments, and serve to water the arid<br /> deserts of the commonplace. Whether the<br /> American editor—to whom the sketch was subse-<br /> quently forwarded for insertion in the two edi-<br /> tions of Lippincott’s—deemed it too “delicate<br /> and subtle,” I cannot-say ; but so far as I know<br /> (not having seen the magazine recently) my<br /> sketch is still in the editorial pigeonhole. And<br /> no one knows how I have longed for the publica-<br /> tion of that “ delicate and subtle” trifle during<br /> these three years. In justice to the publishers of<br /> the English edition «of Lippincott’s (Messrs.<br /> Ward, Lock, Bowden, and Co.) I must say that<br /> the sketch was handsomely paid for in June, 1891.<br /> Of course ‘‘ the filthy lucre’’ (which Mr. Buchanan<br /> affects to so much despise) was very acceptable to<br /> me, as it must be to all young writers who live by<br /> their pens ; but to the author who loves his work,<br /> complete satisfaction only lies in the publication<br /> of it, whether it be “delicate and subtle” or not.<br /> <br /> Guorcre Morury.<br /> <br /> <br /> <br /> IL.<br /> ReEviEwED Books.<br /> <br /> Your constant remarks in the Axthor on the<br /> subject of “reviews” are extremely interesting<br /> reading to me, and I feel rather a savage delight<br /> (having at times been both reviewer and reviewed)<br /> in relating the following incident :—-As secretary<br /> of this institute (Sydney Mechanics’ School<br /> of Arts), I often have books submitted to<br /> me for purchase, and some few months ago a<br /> <br /> THE AUTHOR.<br /> <br /> young gentleman called on me and stated that he<br /> had lately arrived from London, and was tired of<br /> carrying so many books about in his luggage.<br /> He offered them to me all round at ninepence<br /> per volume, ‘and said he would submit them<br /> for inspection. About 100 volumes arrived next<br /> day, and, to my surprise, all were popular novels,<br /> among them being several three-volume sets and<br /> single volumes by such authors as Walter Besant,<br /> Edna Lyall,and Rosa N.Carey. Of course I secured<br /> them, but on further examination found that they<br /> were not only uncut (those with folded edges),<br /> but were stamped on the title-page with the words<br /> “ With the publisher&#039;s compliments.” Evidently<br /> all these books were review copies, and equally<br /> evident was the fact that they had never been<br /> read by the reviewer. 1 may also add that in<br /> several second-hand shops in Sydney at the<br /> present time there are copies of uncut novels<br /> (both three-vols. and single vols.) with the same<br /> wording stamped on title-page, and these can be<br /> had for from ts. to 2s. a volume.<br /> Cyrrin Havinanp.<br /> <br /> <br /> <br /> .<br /> <br /> Ill.<br /> Re Rasu Conciusions 1N CRITICISMS.<br /> <br /> I am the writer of “Mrs. Elphinstone of<br /> Druoss,” published last May by Messrs. Bentley.<br /> It was favourably noticedin the leading reviews,<br /> of which, however, one of the best fell into<br /> serious error. Its reviewer says, “ The influence of<br /> Mr. G. Meredith’s individuality is making itself<br /> felt in the usualfashion. He is no longer a, soli-<br /> tary master; he is the head of a rapidly increasing<br /> school, and Mrs. Stevenson is one of his disciples.”<br /> This idea being carried out through half the<br /> review, until it seems that Mr. Meredith is the<br /> writer reviewed. The fact is I had read one only of<br /> Mr. Meredith’s books—“ Diana of the Crossways ”<br /> —when I wrote my book, and that was read four<br /> years ago. I alluded to “The Kgoist,” but had<br /> not read it. I have just finished “ One of Our<br /> Conquerors.” My admiration of Mr. Meredith is<br /> very great, He seems to me the Carlyle of fiction<br /> colossal in his art. But I have not dared to<br /> attempt imitation, and I am no disciple of his.<br /> Ina humble way I also prefer originality, and<br /> feel it due both to Mr. Meredith and myself to<br /> say that the “cleverness” and ‘ qualities more<br /> valuable than cleverness” ascribed to me by this<br /> same critic are my own, and not, as an imitation,<br /> a false development.<br /> <br /> Mrs. Mary Exiz. STEVENSON.<br /> <br /> Dingley, Sept. 4.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> IV.<br /> PusiisHers’ Work.<br /> <br /> I do not recollect to have seen in the Author<br /> any detail description of what a publisher has to<br /> do to put a book before the public which he<br /> desires in his own interest to push. TI assume<br /> the following matters comprise some of the<br /> things to be done, but what else :—<br /> <br /> 1. Gives MS. to his reader to report upon and<br /> pays his fee, how much ?<br /> <br /> 2. Having accepted MS., takes printer’s con-<br /> tract to produce at per sixteen pages, having<br /> settled size of book, size of type, form of binding,<br /> and design for cover.<br /> <br /> 3. Sends and provides for the sending of proofs<br /> to author for correction.<br /> <br /> 4. The book having been produced, receives a<br /> supply bound up for stock to sell.<br /> <br /> 5. Draws up form of advertisement, negotiates<br /> cost, selects where to send same, and includes book<br /> in his general catalogue of books on sale.<br /> <br /> 6. Selects newspapers and periodicals and<br /> special persons to whom copies are to be sent for<br /> review.<br /> <br /> 7. Sends round<br /> libraries for sale.<br /> <br /> 8. Sends copies to proprietors of railway book-<br /> stalls on sale or return.<br /> <br /> g. Sits down contented and waits for buyers to<br /> call, and what else ? KE. BL.<br /> <br /> copies by a traveller to<br /> <br /> <br /> <br /> NV<br /> Tue Extension or ourR Lanauace.<br /> <br /> The Editor of the Author has recently shown<br /> how much larger is the English speaking and<br /> reading population of this day than in the time<br /> of Dickens. It is worth while thinking of this,<br /> for, though we enumerate 110 millions of<br /> English-speaking population, that is nothing, he<br /> says, “ compared with the audience which he (the<br /> author) will command in a future by no means<br /> distant.”<br /> <br /> A question for the author, the statesman, and<br /> for patriots to consider is, whether anything can<br /> be done to promote this result. Part of this<br /> result is due to the efforts of some, with whom<br /> Mr. Besant has taken part, in promoting the use<br /> of the English language; but to a great extent<br /> no care is shown for the extension of the<br /> English language. For the French language,<br /> and for its active propaganda against English in<br /> the East, in Canada, and the North-Western<br /> Territories, a great French society exists, with<br /> large funds obtained from subscriptions of five<br /> francs.<br /> <br /> In India for some time our officials resisted<br /> the desire of the native population to learn<br /> <br /> ryt<br /> <br /> English, and even now it is not effectually pro-<br /> moted. Sanskrit, which is not a spoken language,<br /> not a language of modern science, and Persian,<br /> which is a language foreign to India, have re-<br /> ceived greater favour from the Government than<br /> English. How many people in India speak<br /> English the Census of 1891 does not tell us. It<br /> is in the vast population of India, however, that<br /> a great expansion of our language can take place,<br /> and ought for the promotion of culture to take<br /> place, and it is to this efforts should be directed,<br /> as well as to Canada, the Cape, and many other<br /> regions.<br /> <br /> In such efforts authors are more particularly<br /> interested, and the cost need not be heavy.<br /> Organisation is, however, wanting. The Alliance<br /> Francaise has organisation, and its labours are<br /> patronised by Lord Mayors at the Mansion-house.<br /> The St. George’s Societies afford the elements<br /> of such organisation, particularly in the United<br /> States and in Canada. In London we have only<br /> one Society of St. George, which Mr. Besant has<br /> supported as a member, and of which the hon.<br /> secretary is Mr. W. H. Christmas, 414, Blooms-<br /> bury-square, who is now engaged in an active<br /> campaign for its extension. The society has<br /> already done much work of an unobtrusive<br /> character, but chiefly in. propagandism on the<br /> other side of the Atlantic<br /> <br /> It was through the action of the society that<br /> the conception of the confederation of the 110<br /> millions of the English-speaking races, and the<br /> 450 millions under their government, has acquired<br /> acceptance. Mr, Andrew Carnegie has now<br /> devoted himself to the promotion of this public<br /> labour, but few can yet appreciate its im-<br /> portance. Hype Ciarke.<br /> <br /> 32, St. George’s-square, S.W.<br /> <br /> <br /> <br /> VI.<br /> Tue Noverist as TopogRaPHEr.<br /> <br /> A writer of good books is more skilful than the<br /> painter, more talented than the orator, and more<br /> useful than the legislator, because without the aid<br /> of colour he can attract, without the splendid gift<br /> of articulation he can enthral, and without the<br /> reforming powers of the legislator he can do good<br /> to multitudes.<br /> <br /> I do not think that the duty of the novel-<br /> writer is only to amuse, but to leave some good<br /> firmly engrafted upon the mind of his reader,<br /> and this contention is capable of ample proof, for<br /> if an appeal is made to many writers of this and<br /> past ages—writers whose works are for all time<br /> the imperishable monuments of their fame—it<br /> will invariably be found that their purpose was<br /> instruction, not amusement.<br /> <br /> <br /> 172 THE AUTHOR.<br /> <br /> Life for one half of the world—the half that<br /> takes its literature with the regularity of its<br /> church going—is simply made up of amusements<br /> of one kind or another; there is therefore no<br /> reason why these people should pick up a book<br /> and expect to find it a continuation of their<br /> frivolity.<br /> <br /> If I, who as yet am no’ novelist, might pre-<br /> sume to lay down a dogma pertaining to the first<br /> duty of a novelist, it would be to suggest to him<br /> that a description of his own neighbourhood is<br /> sometimes as essential to his work as the inven-<br /> tion of a plot, which is sometimes very unreal,<br /> unhealthy, and morally unsound.<br /> <br /> What does Thackeray say on this point?<br /> <br /> “ Out of the fictitious book I got the expression<br /> of the times, of the manners, of the merriment, of<br /> the dress, of the pleasures, the laughter, the ridi-<br /> cules of society; the old times live again, and I<br /> travel in the old country of England. Can the<br /> heaviest historian do more for me?”<br /> <br /> A citizen should closely describe the scenery<br /> and life as they appear to him in the city; a<br /> townsman as they appear in his town ; a country-<br /> man as they appear in his village—so that in the<br /> perusal of novels the reader may gain a view of<br /> his native land far more entertaining, and some-<br /> times far more correct, than can be found in the<br /> best guide-book ever written.<br /> <br /> Some writers—notably Mr. Blackmore and Mr.<br /> Thomas Hardy—do combine the arts of novelist<br /> and topographer; and what charming books<br /> theirs are in consequence! Both have performed<br /> excellent service to their county and their county’s<br /> literature. They have done for their neighbour-<br /> hoods—Exmoor and Wessex—that which George<br /> Eliot did for Warwickshire; and this is what<br /> should be the inexorable duty of a novel writer.<br /> In their works are to be found all the elements<br /> requisite and necessary for the novel and the<br /> country history; and, tf only on account of the<br /> latter qualification, these Exmoor and Wessex<br /> books are far in advance of the ordinary novel of<br /> the time. Grorer Morey.<br /> <br /> Leamington.<br /> <br /> <br /> <br /> Vil.<br /> Kprroriat Eruics.<br /> <br /> Editors are naturally and very properly<br /> “arbitrary gents” as touching the publications<br /> which they control, nevertheless it is a ques-<br /> tion whether and to what extent they have a<br /> right to sophisticate, either by addition or sub-<br /> traction, signed contributions which are neither<br /> libellous nor offensive. Here is a case in point,<br /> as to which I should be pleased to have your<br /> opinion, A short time ago I sent toa London<br /> evening paper an article which contained the<br /> <br /> following passage :—“ The success of the feuilleton<br /> in the country is in curious contrast with its<br /> comparative failure in London ‘papers of the<br /> same class. The cause, however, is obvious.<br /> London editors have not given to the wants of<br /> their readers and the choice of their stories the<br /> same care as their country colleagues. They<br /> have thought it enough to buy a novel from a<br /> distinguished novelist, forgetting that the popu-<br /> larity of an author with magazine readers or<br /> Mudie’s subscribers is no guarantee that he will<br /> succeed with newspaper readers.’ The presump-<br /> tion is rather the other way.”<br /> <br /> That part of the passage which I have quoted<br /> was deleted when the article appeared.<br /> <br /> Witiiam WESTALL.<br /> High Beach, Sept. 20.<br /> <br /> [If the paper was unsigned, surely the editor<br /> has a perfect right to alter the article as he<br /> pleases. An unsigned article has always been<br /> recognised as carrying with it the editor’s responsi-<br /> bility. If it were signed, then the question<br /> arises whether the editor has any right at all to<br /> omit or to change anything without permission<br /> of the author.—Eb. |<br /> <br /> <br /> <br /> VIII.<br /> ‘A Pree Lance” agarnst “ Nature.”<br /> <br /> A member of the Society, who writes under<br /> the name of “A Free Lance,” has sent me a<br /> printed circular, containing a complaint against<br /> Nature.<br /> <br /> The facts of the case, taken from the circulars,<br /> are these:<br /> <br /> In May, 1892, “Free Lance” published a<br /> thirty-page pamphlet called “The Organisation<br /> of Science.” This was sent out for review, and<br /> was actually reviewed in certain scientific papers,<br /> but not in Nature.<br /> <br /> On June 29, 1893, a letter appeared in Nature<br /> from Mr. Swinburne (not the poet) raising inde-<br /> pendently many of the points discussed in this<br /> pamphlet The author“ Free Lance ”__wrote<br /> to Nature, pointing out that, while he did not<br /> impute plagiarism to Mr. Swinburne, many of<br /> the points in the letter had been already<br /> advanced by himself in that pamp!let. The<br /> editor of Nature refused to publish the letter with-<br /> out the writer’s name, The editor had previously<br /> printed a letter without his name. Another<br /> scientific paper published the letter, and there<br /> was an editorial in Nature containing ‘ similari-<br /> ties’? which “Free Lance” acknowledges may<br /> very well be due to the simple coincidence<br /> between the thoughts of two writers treating<br /> the same subject.<br /> <br /> <br /> <br /> |<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 173<br /> <br /> “Free Lance” complains, also, of no notice<br /> being taken of his pamphlet.<br /> <br /> These are the plain facts as stated by the<br /> circular, which we produce in deference to “ Free<br /> Lance’s”” request as a member.<br /> <br /> It is doubless very hard to have one’s work<br /> neglected and one’s proposals advanced by other<br /> and later writers. But we cannot see that there<br /> is the smallest ground for complaint against the<br /> editor of Nature. It is a rule in every respect-<br /> able paper that the writer of a letter should give<br /> his name. That a previous letter by “Free<br /> Lance” appeared without sending the name may<br /> very well have happened by an accident. ‘“ Free<br /> Lance’’ does not impute plagiarism, but he does<br /> seem to impute a wilful ignoring of his pamphlet.<br /> But why wilful? Every pamphlet sent to a<br /> paper cannot be noticed. But then, is it proved<br /> that the author of the leading article had read<br /> it? ‘Similarities,’ are observed; but then<br /> “Free Lance” allows that these may arise from<br /> the treatment of the same subject by two minds.<br /> Here, however, are the facts. I have only to add<br /> that I refused to admit this statement in the<br /> Author without the writer’s name, and have<br /> perhaps incurred the same displeasure on the<br /> same grounds.<br /> <br /> The following is what the editor of Nature<br /> says himself:<br /> <br /> ““We have received a printed circular signed<br /> ‘Free Lance,’ condemning a recent action of.<br /> ours in refusing to print a letter from the author<br /> on the subject of the ‘ Publication of Physical<br /> Papers’ unless, in accordance with the rule to<br /> which attention is drawn in every number of<br /> Nature, he divulged his name. We fail to see<br /> any adequate reason for violating our rule in the<br /> favour of ‘Free Lance’ more than in the case of<br /> any other of our correspondents.” (Ep.)<br /> <br /> <br /> <br /> IX.<br /> GzrorGEe Exiort anp RESPECTABILITY.<br /> <br /> This is a delicate question, as well as a some-<br /> what subtle one ; and it is perhaps better to leave<br /> it severely alone, lest one be misinterpreted and<br /> misjudged in consequence.<br /> <br /> However; I should like to say a few words upon<br /> it, as it involves much more than the reputation<br /> of the eminent woman concerned.<br /> <br /> I hold that human differences arise as often<br /> from diversity in interpretation of words as from<br /> variety in opinion of deeds; in effect that, in<br /> many such questions, as Cardinal Newman said<br /> of certain religious discussions, when we come to<br /> agree as to.the meanings of words, we generally<br /> find that “argument is either superfluous or<br /> hopeless.’ Similarly, in the present case, the<br /> <br /> controversy really lies more between diverse inter-<br /> pretations of the word “respectability” than in<br /> any differences of opinion as to the ethics of the<br /> question—great though these are likely to con-<br /> tinue to be.<br /> <br /> So many problems of ethology, psychology,<br /> sociology, or theology are involved that only the<br /> superficial would venture to pronounce final judg-<br /> ment without duly considering how the peculiar<br /> course of conduct affected the character of the<br /> chief actors, the spiritual culture of their inti-<br /> mates, and the quality of society in general, as<br /> well as the welfare of posterity in particular—as<br /> indefinitely influenced by them.<br /> <br /> In other words, did or did not George Eliot<br /> remain the same pure-souled woman after as<br /> before her breach of ‘ conventionality” ? Did<br /> she or did she not harm as well as hurt certain<br /> members of the community more immediately<br /> involved? Did she or did she not lessen her vast<br /> power for good by thus defying ‘“‘ Mrs. Grundy ” ?<br /> <br /> While nothing is easier than to judge, nothing<br /> is harder than to judge justly. Realising this,<br /> it behoves us to be humble in judging our fellows<br /> individually ; recognising that reputation is at<br /> best merely a social conception, just as conceit is<br /> a personal opinion, of a certain character only<br /> partially known—even to its possessor.<br /> <br /> As to the social influence, there is room for<br /> limitless speculation, according to our individual<br /> share of racial ignorance. We may question the<br /> expedience of a gifted and noble woman’s atti-<br /> tude, even while concluding that it more than<br /> neutralised its own possibilities for evil, by fos-<br /> tering a reaction in favour of ethical conserva-<br /> tism; but, none the less, our philosophy pro or<br /> con. will probably resolve itself mainly into a<br /> mere matter of popular phraseology, in spite of<br /> ourselves. In effect, when we think we have<br /> established primary principles, we may have<br /> merely endorsed popular phrases.<br /> <br /> The danger of a doctrine is no proof of its<br /> iniquity, but is only an index of its potentiality.<br /> Until marriage is duly recognised as a fine art,<br /> and properly understood as the most sacred<br /> institution of social science, there will continue to<br /> be considerable diversity of opinion as to how far<br /> its divinity consists in its ceremony or in its<br /> harmony ; and how far ceremony is a matter of<br /> legality or of morality; as well as how far<br /> morality is a matter of individual duty or of<br /> social utility.<br /> <br /> Meantime, it would be well were conventionality<br /> more clearly differentiated from morality, and<br /> reputability from respectability ; but this might<br /> necessitate a reform in the art of language, as<br /> well as a revolution in the science of soul.<br /> <br /> PHINLAY GLENELG.<br /> 174<br /> <br /> X.<br /> James DEFOE.<br /> <br /> The following communication speaks for itself.<br /> Will anyone among our members take the lead in<br /> this matter ?<br /> <br /> “Saturday&#039;s Daily Chronicle contained a<br /> pathetic letter from James W. Defoe, an out-<br /> door pauper of Chelmsford Union. It would<br /> appear from investigations made by Mr. Thomas<br /> Wright that this unfortunate man_is the father<br /> of the last lineal descendant of Daniel Defoe.<br /> One would desire, of course, that everything that<br /> can be done should be done for the father; but<br /> T would suggest that since the son has been<br /> educated attention should be directed to him.<br /> We cannot force this young man to marry, but<br /> we can impress upon him, if perchance he should<br /> fail to appreciate the fact, that in representing<br /> Daniel Defoe his position is far more distin-<br /> guished than it would be were he the repre-<br /> sentative of Defoe’s great contemporary John<br /> Churchill. To let the name of Defoe die would<br /> be a national loss; it should be continued. Who<br /> knows what potentialities may yet remain in the<br /> family which has given us the author of “ Robin-<br /> son Crusoe.” John Churchill and his descen-<br /> dants were well provided for by Parliament ;<br /> Defoe, a greater benefactor to his country than<br /> Churchill, for, leaving the esthetic and literary<br /> question untouched, he has been the real father<br /> of much of the colonising and exploring activity<br /> of our race, got nothing for himself or for his<br /> descendants. I would suggest that we try to<br /> remedy this injustice. A letter signed by the<br /> leading novelists making an appeal to the public<br /> might be sent to the journals, and I venture to<br /> think a substantial capital sum might be raised.<br /> This sum, held by trustees, should be invested<br /> for the benefit of James W. Defoe and his heirs<br /> <br /> <br /> <br /> male in the usual manner. “e5, Se. lee<br /> “Sept. 18, 1893.”<br /> XI.<br /> Rerention oF MSS. sy Eprrors.<br /> I<br /> <br /> The following case of a story of my own will<br /> serve to illustrate the question. In June, 1892, I<br /> sent a story of about 14,000 words, which I had<br /> been to the expense of having typed, to the<br /> editors of a well-known magazine for their Christ-<br /> mas number. ‘Time went on, and I heard.<br /> nothing, and at last, when I saw the Christmas<br /> number advertised, I wrote to the editors to in-<br /> quire whether my story were to be inserted.<br /> After some little delay, I heard that it had<br /> never been received by them. I then made<br /> inquiries of the publishers to whose care it<br /> <br /> THE AUTHOR.<br /> <br /> had been sent, but without result, and, needless<br /> to say, I could obtain neither compensation nor<br /> redress.<br /> <br /> This, though of course very annoying, is one of<br /> the accidents of an author’s life, which, whether<br /> due to the carelessness of post-office officials or of<br /> publishers’ clerks, can only be endured with the<br /> best grace possible, though I think some plan of<br /> acknowledgment might be established, and<br /> authors thus enabled to institute inquiries for<br /> missing MSS. at a time when they might be of<br /> use, instead of, as in my case, several months<br /> after.<br /> <br /> But, now to the next chapter in the history of<br /> my story. I set to work and rewrote it from my<br /> rough copy with slight alterations, as it was<br /> written to illustrate a given motto in the first in-<br /> stance, and, this accomplished, I sent it to another<br /> popular monthly. Seven months elapsed, and<br /> then, on the advice of the Secretary of the Authors’<br /> Society, I wrote to the editor reminding him of<br /> my story, and asking him to be so kind as to tell<br /> me whether it was accepted. This produced a<br /> return of the MS. with a polite note from the<br /> sub-editor expressing “pain” that he “ did not<br /> think it quite suitable” for the magazine, and<br /> laying out a hint that, should I send another<br /> contribution, it might—it would be accepted. In<br /> acknowledging the MS., I ventured to suggest<br /> that, before sending another, I should like some<br /> guarantee that so much time would not be wasted<br /> again.<br /> <br /> T do not wish to dispute the editor’s refusal of<br /> my story ; it may have been too long, or not sen-<br /> sational enough, or unsuitable in many ways, but<br /> where I do complain is that an author&#039;s MS.<br /> should be retained so long and then rejected.<br /> My case is, I expect, by no means exceptional, and<br /> surely there must be some want of organisation<br /> or some inadequacy of staff in editorial offices for<br /> such things to occur.<br /> <br /> II.<br /> <br /> One of the unfortunate beings who has to live<br /> by his pen sends a story to the editor of a<br /> magazine or journal, and hears nothing about it<br /> for three, four, or six months. He is loth to<br /> write and inquire, for if he does ten to one back<br /> comes the MS. (provided stamps were inclosed)<br /> by the next post ; the personage having doubtless<br /> expressed himself much in this way—‘ Hang the<br /> fellow; why does he keep bothering me about his<br /> wretched stuff? Let him have the confounded<br /> rubbish back.” Now, the point I want informa-<br /> tion on is this—How long after submitting @<br /> MS. should one wait before sending another copy<br /> elsewhere? Does the fact of an article being<br /> submitted to an editor give that mighty indivi-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> :<br /> i<br /> 2<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 75<br /> <br /> dual an exclusive right to the use of that article<br /> for as long a time as he in his irresponsible great-<br /> ness may choose to keep it in suspense? I sup-<br /> pose itis considered an incorrect proceeding to<br /> send the same story or paper to more than one<br /> publishing source at a time? I amvery ignorant<br /> in these matters, and should be greatly obliged if<br /> any reader of the Author would enlighten me.<br /> H. RB. G.<br /> <br /> <br /> <br /> XII.<br /> Mopern Poetry.<br /> <br /> Modern poetry is now becoming so difficult that<br /> it is almost cruel, if not terrible and truculent.<br /> As for example take me, a beginner who sits<br /> down and studies it. What becomes of me? I<br /> have an ink-dream, and find this that follows on<br /> my bed-side table in the morning. It is a<br /> horrible failure: but where, and with, or by<br /> whom, or when, is a commencing poet to start ?<br /> <br /> Here is my nightmare. But I must say a few<br /> more prefatory words. It seems to poor students<br /> of poetry that all you have to do is to get a<br /> certain swing into your ear, distrust everybody<br /> else, see that you’re not copying anybody, and<br /> disconsult the rhyming dictionary. Then go to<br /> sleep, and do as I did:<br /> <br /> Older and older sinks the Dust into the bottoms of our<br /> fathers’ graves.<br /> <br /> Where that is laid we know we shall and must—down to<br /> the level of old Wisdom’s knaves.<br /> <br /> The piles of pillory are all in rust; but fetters polish on the<br /> noble slaves !<br /> <br /> Old Death is lone and in the must; his hoops are shrunken<br /> round these staves.<br /> <br /> You see the jokes? No. Then you are not<br /> <br /> JEB SLINTER.<br /> <br /> <br /> <br /> XIII.<br /> PUBLISHERS’ READERS.<br /> <br /> Mr. James Payn, in his “ Notes” of this week,<br /> falls to upon me (among, I think, all your other<br /> correspondents), for expressing the particular<br /> opinion that if, as Mr. Sherard said, authors<br /> should not be critics, they should still more not<br /> be readers for publishers. This he summarises<br /> (with your other correspondents’ ideas) as<br /> rubbish.<br /> <br /> Now the position of the hebdomadal sum-<br /> mariser may be, while perhaps envious, rather<br /> demoralising, for he is so like the parson who<br /> cannot be contradicted. _ Whereas the ordinary<br /> correspondent only obtains leave to ventilate an<br /> idea, the hebdomadal summariser is under an<br /> obligation to fill several columns with ideas, and<br /> must find matter—but will you allow me to add<br /> a few words to those printed in last month’s<br /> Author, apropos of Mr. Payn’s objections ?<br /> <br /> lf authors should not be critics then they are<br /> more out of place as readers, is surely sensible.<br /> The critic passes judgment on the production<br /> when produced, the “reader” passes judgment<br /> thereon when it is only proposed to be produced ;<br /> it is evident, therefore, that whereas the first can<br /> only, if he think proper, injure its reputation on<br /> publication, the other can use a still more power-<br /> ful agency against it—he can nip it off altogether<br /> so far as his “firm” is concerned.<br /> <br /> As the number of publishing firms is not very<br /> large, these author-readers must be as proportion-<br /> ally more powerful to hinder publication of a par-<br /> ticular style of work than the author-critic is to<br /> merely injureit, as is the difference between the<br /> number of “firms” and of critical organs. So<br /> that a writer sending his work to a firm who have<br /> an author-reader who dislikes his “ form” and<br /> rejects it, is more fatally injured hereby, than<br /> when he is only “slated” by an author-critic,<br /> among the very numerous critical organs. This<br /> rejected writer has then to go afield among the<br /> limited number of tasters for someone more<br /> sympathetic, but it is obvious that in this he is<br /> more justly handled, if he is in the power of, and<br /> affected by, only absolutely impartial judges of<br /> his wares.<br /> <br /> As the Author deals with the machinery of<br /> authorship—what Mr. Payn calls the “ways and<br /> methods ’—I venture to submit these observa-<br /> tions to it; and upon the question of the suit-<br /> ability of the author as “ reader,” I will hope in<br /> a few lines to strengthen my argument.<br /> <br /> An author must be strongly prejudiced the<br /> better one he is. Icould not conceive a good painter,<br /> occupying the position of “buyer” to picture-<br /> dealers, flooding the market with oleographic<br /> pictures of gaudy attractiveness—or even in<br /> manners strongly opposed to his own—without a<br /> peculiar catholicity essentially foreign to the best<br /> workers. Would Carlyle have been a reader suited<br /> to “run” the concerns of an enterprising firm ?<br /> <br /> Of course, the wnsuitability I have here<br /> advanced, of authors being good commercial<br /> “tasters” for publishers, always becomes less as<br /> the status, genius, and deep earnestness of that<br /> author are less, and if Mr. Payn believes a<br /> reader is quite properly employed when he is<br /> passing all work that will bring grist to the<br /> mill, then surely that points to quite another<br /> person than the author of any importance. One<br /> would think the public would esteem the great<br /> author better employed producing his own work<br /> for their delight than placing (though perhaps<br /> but temporarily) bars before someone else. I<br /> am convinced Johnson would have ‘“ returned<br /> with thanks” “Tristram Shandy.”<br /> <br /> INGENUE.<br /> BOOKS OF 1892.<br /> <br /> <br /> <br /> 176<br /> <br /> TYNE following lists have been compiled from the books announced day by day in the Times Jan. 1—Dee. 31, 1892. It includes<br /> reprints, new editions, and all the publications, good or bad, of the year:<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> General<br /> <br /> Theology. Educa- | Novels. Law. Political. | Arts. Voyages. | History. |Biography.| Poetry. |) ature,<br /> <br /> tional.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> January et 31 8 56 6 8 28 II 21 14 27 50<br /> Webruary ...:.6:------- 25 18 68 6 19 26 6 25 22 17 53<br /> March |b 29 17 go 13 24 24 4 33 18 17 42<br /> RTE coi cccsc seers sees 19 18 76 9 II 25 12 21 22 II 51<br /> MAY f2. oes so sss tence eee aenes&gt; 39 20 75 it 20 45 6 28 32 23 64<br /> <br /> PUNS ec cei ces esse eenuve ees 17 20 61 9 32 31 5 37 22 28 89<br /> <br /> THE AUTHOR.<br /> <br /> Te oe ee 18 II 59 6 17 20 3 25 II II 55<br /> JUN ee 9 14 43 7 12 19 — 20 9 12 38<br /> September ..............6045 20 32 123 5 7 29 4 32 23 19 45<br /> October 6.6. ec 29 27 1g! 8 12 32 6 29 31 25 103<br /> November .............. ae 25 13 178 12 II 43 18 53 39 41 112<br /> <br /> December .......ccs0..- 068 29 19 98 7 13 33 3 23 27 23 104<br /> <br /> <br /> <br /> : Wotel: 5 oe 288 217 1118 99 186 355 78 347 272 254 806<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> L.<br /> <br /> “THe Book Hat FAarLep.”<br /> <br /> [A publisher writes to the Author to say that, for the<br /> first time in his experience, the writer of a book which was<br /> not a success has sent him an unsolicited cheque to com-<br /> pensate him for the loss he has sustained by producing it.]<br /> <br /> AS THINGS ARE TO-DAY.<br /> <br /> Publisher (nastily): I tell you that it’s no<br /> earthly use your asking about profits, because<br /> there are none.<br /> <br /> Author (amazed): No profits! And you<br /> really mean to tell me that the public has not<br /> thought fit to purchase my shilling work of<br /> genius—‘ The Maiming of Mendoza?” By our<br /> agreement only a paltry 6000 copies of the work<br /> had to be bought before my royalty of a penny a<br /> volume began.<br /> <br /> Publisher: Iam quite aware of it. The sale<br /> of the 6000 copies would just about have repaid<br /> us for cost of production. As a matter of fact,<br /> only 3000 have been sold. We&#039;ve lost heavily,<br /> and very much regret we were ever induced to<br /> accept the work.<br /> <br /> Author: Aud you really ask me to believe that<br /> after such a sale as that a loss on your part is<br /> <br /> <br /> <br /> possible? Why, if you take price of printing<br /> at- | Goes elaborately into cost of produc-<br /> tion. |<br /> <br /> Publisher: Yes, but you see the price of every-<br /> thing has gone up in our trade. Binding is now<br /> ten per cent. dearer, composing is [Also<br /> goes into precise and prolonged details. |<br /> <br /> Author (turning desperate at last): Oh, let us<br /> end this chatter! You really say that no cheque<br /> whatever is due to me for all my labours?<br /> <br /> Publisher: Nota single penny. It’s the other<br /> way about.<br /> <br /> Author (leaving): And you call this “the<br /> beneficial system of royalties,’ do you? Good<br /> day! And if I don’t set the Society of Authors<br /> ‘at you before I am a day older, then my name’s<br /> not Butwer Maxerreace Deroz SmitH! [Lait<br /> tempestuously. |<br /> <br /> AS THEY MAY BE TO-MORROW.<br /> <br /> Utterly Unknown Novelist : Then I am afraid<br /> that my last three-volumed work of fiction, in<br /> ‘Spite of the cordial way in which it was reviewed<br /> by my brother-in-law in the Weekly Dotard, my<br /> maternal uncle in the Literary Spy, and afew<br /> other relatives on the daily press, has not upon<br /> the whole been a decided success ?<br /> <br /> Publisher: Well, it’s useless. to conceal the<br /> fact, that from a mere base material point of view,<br /> the publication of “The Boiling of Benjamin”<br /> has not quite answered our expectations. In<br /> <br /> <br /> <br /> 177<br /> <br /> fact, we have lost a couple of thousand pounds<br /> over it. But (more cheerfully) what of that ?<br /> It is a pleasure to lose money over introducing<br /> good work to the public; a positive privilege to<br /> be sacrificed on such an altar as “ The Boiling of<br /> Benjamin.”” So say no more on that head!<br /> <br /> U. U. Novelist (enthusiastically) : Good and<br /> generous man! But I will say more! You<br /> recollect that the terms you made with me were<br /> a thousand pounds down, and a hundred pounds<br /> a month for life or until the copyright expired ?<br /> <br /> Publisher (groaning slightly): Oh, yes! I<br /> remember it very well.<br /> <br /> U. U. Novelist: And that I have already<br /> received cheques for one thousand and five hun-<br /> dred pounds, without your mentioning a word<br /> about the loss you have been nobly and silently<br /> enduring ?<br /> <br /> Publisher: An agreement’s an agreement, and<br /> you are only experiencing one result of the bene-<br /> ficial system of royalties.<br /> <br /> U. U. Novelist: Quite so! But if there is to<br /> be a division of profits, there should be division<br /> of losses as well. So (¢aking out cheque-book,<br /> and hurriedly writing in it) there! Not a word<br /> of thanks! It’s merely repaying you the fifteen<br /> hundred I’ve received, with another thousand to<br /> compensate you for the loss on production.<br /> <br /> Publisher (melted into tears): Oh, thanks,<br /> thanks! You have averted ruin from my starving<br /> little ones! And if you should wish to bring<br /> out any other work of He is gone, to<br /> escape my gratitude! (Takes up cheque). By<br /> far the best thing he ever wrote! (Curtain.)<br /> —Punch, Sept. 22.<br /> <br /> <br /> <br /> Ef,<br /> <br /> EXPERIENCES OF A LITERARY BEGINNER.<br /> <br /> The following facts have been extracted from<br /> two memorandum books, one of which contains<br /> a numbered list of every article or story written,<br /> with particulars of where sent, when sent,<br /> when returned, when accepted, prices paid,<br /> &amp;c. The other book has its pages headed with<br /> the names of the various journals to which a<br /> manuscript or manuscripts have been sent—one<br /> page for each journal. The former book is<br /> indexed by the titles of the articles or stories, the<br /> latter according to the names of the journals.<br /> During this period of five months, sixty-seven<br /> articles, &amp;c., have been written and offered to<br /> twenty-five journals. Up to the date of writing,<br /> twenty-seven articles or stories have been accepted,<br /> fifteen are ‘ out’ to meet their fate, and twenty-<br /> five are in the drawer set apart for rejected MSS.<br /> —some of these will be sent off again ; others are<br /> obviously faulty.<br />  <br /> <br /> <br /> 178<br /> <br /> As regards the twenty-seven acceptances, sixteen<br /> were accepted at the first offer, five at the second<br /> trial, two at the third time of asking, one at the<br /> seventh, and three were “ ordered ” by an editor<br /> on the strength of a lucky article which pleased<br /> him. The payments for these twenty-seven<br /> accepted MSS. amounted to £96 7s. Concerning<br /> the fifteen MSS. which are “ out,” and whose fate<br /> is thus not yet decided, five are “ maidens,” six<br /> are on their second trip, one is at the fourth trial,<br /> two at the fifth venture, one at the sixth. The<br /> twenty-five MSS. which are in the drawer for<br /> rejected articles have been treated thus :—Four<br /> have been returned once, three have come back<br /> twice, eight have been coldly received by their<br /> author at their third rejection, six have been<br /> glared at upon their fourth return to home, and<br /> four have shamefacedly crept back no fewer than<br /> five times. So much for the three groups of<br /> MSS. Now about the journals to which they<br /> were sent. The twenty-four journals have been<br /> classed in three groups :—I. Those which accepted<br /> some or all of the MSS. offered; II. Those which<br /> refused all MSS. offered; and III. Those whose<br /> decision is not yet known.<br /> <br /> Group I. contains seven journals: One London<br /> newspaper (morning), four weeklies, and two<br /> monthlies. Group II. relates to twelve journals<br /> of various kinds. Group III. comprises five<br /> publications whose respective editors have not<br /> yet arrived at a decision upon the MSS. offered.<br /> <br /> A point which may be usefully examined by a<br /> writer is the number of separate times he offered<br /> his MSS. Here are the tabulated facts relating<br /> to the sixty-seven MSS. now mentioned :—the<br /> twenty-seven accepted were, in the aggregate,<br /> sent out forty-two times; the fifteen which are<br /> “out” have been offered, in the aggregate,<br /> thirty-seven times ; and the twenty-five which are<br /> inthe “rejected” drawer have received among them<br /> no fewer than seventy-eight refusals. Thus, the<br /> whole sixty-seven MSS. have a total of 157<br /> separate trials. This means 314-27==287<br /> journeys through the post, and up to the<br /> present time not a single MS. has been lost.<br /> This fact speaks well for both editors and post-<br /> men. The cost of postage, both ways, of those<br /> 157 offers of MSS. has amounted to £2 5s. 2d.<br /> —say £3 if paper be included—thus the net<br /> profit in respect of the twenty-seven accepted<br /> MSS. is £96 7s. less £3, or £93 78. The fore-<br /> going are actual facts, and the result is by no<br /> means discouraging; moreover some of the<br /> fifteen MSS. which are awaiting their fate are<br /> “ig fish,” one is a 20-pounder, and two others,<br /> if accepted, will considerably increase the above<br /> figure ; again, a few out of the twenty-five MSS.<br /> which are now “resting” will probably find their<br /> <br /> THE AUTHOR.<br /> <br /> way into print when touched up a little. But<br /> even if these 15 +2540 manuscripts should none<br /> of them be accepted, the net amount of £93 7s.<br /> in five months represents £225 per annum.<br /> Finally, all the journals referred to are London<br /> journals, the writer of the manuscripts sent to<br /> them started as an entire “ outsider,’ and beyond<br /> the fact of taking great pains with his work, he<br /> cannot be said to possess any exceptional ability ;<br /> so, perhaps, there may be more room at even the<br /> bottom of the ladder of literature than some of<br /> us are disposed to think.—The Globe.<br /> <br /> <br /> <br /> Ti.<br /> <br /> Tus Heattuy CuLture or THE Literary Lire.<br /> <br /> Before concluding this address, one other<br /> point seems to me to deserve particular atten-<br /> tion in connection with the literary life. It<br /> relates to jealousy as the bane of competi-<br /> tion, under which the best men are sometimes<br /> doomed to fall. I am speaking literally and<br /> medically when I affirm from experience and<br /> observation that jealousy may turn into actual<br /> disease, and may so affect the physical life as to<br /> lay the foundation of fatal disease. There is<br /> nothing in all callings so opposed to success as<br /> jealousy, but in literature it is the danger of<br /> dangers. It destroys the quietude of the reason-<br /> ing soul; it keeps up a fever of the animal<br /> organization ; it leads to passions that are as<br /> wearing as pain, to competitions as exhausting<br /> as the strife of the gaming table, to failures as<br /> certain as those which are produced by strong<br /> drink. I pray you all who intend to labour in<br /> the literary field, do your best to kill all jealousy<br /> lurking in your bosoms. It is seated in the<br /> centres of the passions, and no doubt in many<br /> persons it is strong as life, keen as death. It has<br /> often heredity as its root, and so much the more<br /> is it hard to conquer; but it can, by force of will<br /> and exercise of reason, be subdued and even<br /> utilised for the purpose of honourable ambition,<br /> if it be from the first kept in subjection. It is<br /> best kept in subjection by the exercise of a reso-<br /> lute determination on the part of the writer to<br /> apply the same fair criticisms to his own work as<br /> he ought to apply to the works of others, on the<br /> grand principle of doing unto others what he<br /> would they should do unto him. To this effort<br /> should be added the desire to discover in the<br /> successful the secret of success. Insuccess there<br /> is always a secret, though it be an open one; and<br /> in every case there is some opening, which, fol-<br /> lowed up, leads to success, under which jealousy<br /> vanishes, with all its evil train. My advice,<br /> therefore, is, go on working and improving your<br /> own work; think no evil, feel no contempt, of<br /> <br /> <br /> <br /> .<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 179<br /> <br /> fellow-workers ; find what path in the wide field<br /> of literature suits best your powers; and be sure<br /> that in the end you will win if you live and make<br /> the best of life—Sir Benjamin Ward Richardson<br /> in The Asclepiad.<br /> <br /> <br /> <br /> EV.<br /> READING FOR THE WORKHOUSE.<br /> <br /> The books which the Free Literature Society<br /> seem to think suitable for workhouses appear<br /> to belong exclusively to the class of ‘books<br /> which are no books— biblia abiblia.”’ The<br /> Kettering Union, who subscribe to the society,<br /> report that the last parcel sent tothem included<br /> “The Manufacture of Bleaching Powder,” an<br /> 1862 “Guide to London,’ ‘“ A Chronology of<br /> the Soap Trade,” ‘The Oil and Colourman,”<br /> “Improvements in Acid Manufacture,” ‘“ Con-<br /> densation of Noxious Vapours,” and a batch of<br /> German almanacs. This list will fairly vie<br /> with Charles Lamb’s of ‘Court calendars,<br /> directories, draught-boards bound and lettered<br /> on the back, almanacs, and Paley’s ‘Moral<br /> Philosophy.’’”’ One recalls, too, Macaulay’s<br /> story of the Italian prisoner who was suffered to<br /> make his choice between Guicciardini and the<br /> galleys. He chose the history. But the war of<br /> Pisa was too much for him. He changed his<br /> mind, and went to the oar. The inmates of the<br /> Kettering Union will, no doubt, try the German<br /> almanacs—and go back to the stone-yard.— West-<br /> minster Gazette.<br /> <br /> Vv.<br /> “ Fuavia.”<br /> <br /> “Flavia,” by Adair Welcker, a little book<br /> printed at Berkeley, California, is somewhat<br /> of a curiosity. It is a drama, and owes very<br /> much to the influence of Shakespeare. Although<br /> it is printed, the ‘ publisher’s announcement ”<br /> states that “copies of this work cannot be<br /> obtained in any other than manuscript form.”<br /> The author offers to make and sell autograph<br /> manuscript copies for 1000 dollars a copy.<br /> “People not caring to pay that sum,” Mr,<br /> Welcker informs us, “ can either make manuscript<br /> copies themselves or hire other people to make<br /> them,” or, he might have added, do without. Of<br /> a previous play Mr. Welcker has made fifty-four<br /> manuscript copies. Ina manuscript note to the<br /> printed edition of “ Flavia,” Mr. Welcker states<br /> that up to the time when he “ began the publica-<br /> tion himself of his play ‘‘ Louis XVI.” with pen<br /> and ink (for want of a more extensive publishing<br /> plant) he was of the opinion that it would not be-<br /> come widely known during his lifetime. But since<br /> he began making manuscript copies, giving to<br /> <br /> anyone the right to employ others to make manu-<br /> script copies from copies wherever they find them,<br /> and since he has put on that ring which was worn<br /> by Aladdin (it will be useless to ask him what is<br /> that ring, for his answer, if he made one, could<br /> not inform you) he has seen that during his life-<br /> time it is destined to achieve a success such as has<br /> never been achieved by those having at their com-<br /> mand giant presses and unlimited publishing<br /> facilities.” After this it is not surprising to know,<br /> also on the authority of Mr. Welcker’s autograph<br /> note, that “ Flavia,” “ properly read or acted by<br /> persons who have not a fetish worship for the<br /> present condition of the stage, will hold an<br /> audience spellbound.— Manchester Guardian.<br /> <br /> pecs<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> ——&gt;e&gt; -—-<br /> <br /> ILL be published very shortly, by Mr. W.<br /> Herbert Hill, a work entitled “ The<br /> <br /> Political Economy of Jesus, being an<br /> introduction tothe Study of Christian Sociology.”<br /> (Andrews, Hull. Price to subscribers, 35. 6d.)<br /> <br /> Mr. H. G. Keene, C.I.E., has in preparation a<br /> History of India from the earliest times to the<br /> present day, for the use of students. It will be<br /> in two vols., each 6s. The publishers are Messrs,<br /> W. H. Allen and Co. Limited.<br /> <br /> Mr. Charles E. Hall has in the press a new<br /> novel called “An Ancient Ancestor.” It will be<br /> published early in October by Messrs. Skeffing-<br /> ton and Sons.<br /> <br /> “Rambles in Shakespeare’s Land,” by George<br /> Morley, is published by the Record Press,<br /> 276, Strand. It is a cheap and very handy little<br /> volume, adapted for use as a guide-book, as well<br /> as a pleasant and readable little work.<br /> <br /> The Rev. Frederick Langbridge’s poems of<br /> home and homely life, ‘‘ Sent Back by the Angels,<br /> &amp;e.,” of which the first thousand at 4s. 6d. was<br /> quickly exhausted, and of which a cheap edition has<br /> since been sold, is to appear again this season at<br /> 2s. 6d. Messrs. Cassell are the publishers.<br /> <br /> Miss Katherine Tynam has written a volume<br /> of poems, entitled ‘A Cluster of Nuts,” with a<br /> title-page and cover design by Laurence Housman,<br /> which will shortly be published by Messrs. Elkin<br /> Mathews and Lane.<br /> <br /> Mrs. Graham Tomson is engaged upon a volume<br /> of poems to be entitled “ After Sunset,” for<br /> which Mr. A. Bell has designed the cover.<br /> Messrs. Elkin Mathews and Lane are the pub-<br /> lishers.<br />  <br /> <br /> THE<br /> <br /> 180<br /> <br /> Lady Wolverton has adopted the Spinning<br /> Wheel as the official organ of her Needlework<br /> Guild, now numbering many thousands of<br /> members throughout the country, and presided<br /> over by the Duchess of Teck. The paper, which<br /> willretain all its usual features and characteristics,<br /> will in future devote a corner in its pages to the<br /> guild news.<br /> <br /> A new novel, by Fitzgerald Molloy, entitled<br /> « An Excellent Knave,” will be published early<br /> this month (October), in three vols., by Messrs.<br /> Hutchinson and Co. This story, which ran<br /> serially in England, has been already published in<br /> volume form in America and Germany.<br /> <br /> Messrs. Hutchinson and Co. will publish in the<br /> spring a cheap edition of the same author’s novel,<br /> “His Wife’s Soul.”<br /> <br /> “The Religion of a Literary Man” is the title<br /> of Mr. Le Gallienne’s new volume of essays, which<br /> will shortly be published by Messrs. Mathews<br /> and Lane. A special edition on hand-made<br /> paper, limited to 250 copies, will accompany the<br /> cheap edition, The same writer’s ‘‘ Prose<br /> Fancies,” issued by the firm above mentioned,<br /> will also appear in the autumn.<br /> <br /> Mr. G. H. Greene, of the Rhymers Club, has<br /> been at work upon translations of the “ Ttalian<br /> Lyrists of To-day,” which will shortly be pub-<br /> lished by Elkin Mathews.<br /> <br /> «“ Orchard Songs ”’ is the attractive title chosen<br /> by Mr. Norman Gale for his new volume of<br /> poems. The dainty volume, with a title-page<br /> and cover design by Mr. Rothenstein, will<br /> shortly be issued from the famous “ Bodley<br /> Head ” in Vigo-street.<br /> <br /> Mr. Grant Allen’s new novel, “The Tents of<br /> Shem,” has been published by Chatto and<br /> Windus in regulation three-volume form.<br /> <br /> Mr. Walter Besant’s new novel, “The Rebel<br /> Queen” (three vols.), has also been produced by<br /> the same publishers, who have issued a cheap<br /> edition of the “ Ivory Gate” and his “ Katherine’s<br /> by the Tower.”<br /> <br /> A collection edition of Mr. Davidson’s plays,<br /> “An Unhistorical Pastoral,” “A Romantic<br /> Farce,” “ Bruce, a Chronicle Play,” and “ Scara-<br /> mouch in Naxos, a Pantomime,” will be published<br /> in the autumn by Messrs. Elkin Mathews and<br /> Lane. Mr. Aubrey Beardsley will design the<br /> cover and a frontispiece, the latter containing<br /> portraits of living celebrities. Mr. John David-<br /> son’s “A Random Itinerary ” will also be pub-<br /> lished about the same time. It isa record of<br /> short journeys chiefly in and about London, the<br /> illustrations being provided by Mr. Rothenstein.<br /> <br /> <br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> “ Keynotes,” a new volume of stories by a new<br /> writer, George Egerton, will appear very shortl<br /> from the firm of Elkin Mathews and Lane. x<br /> merciless dissection of woman and her idiosyn-<br /> cracies characterises the book. :<br /> <br /> Mr. G. C. L. Sparkes, Principal of the National<br /> Art Training School, and Mr. F. W. Burbidge<br /> have (says the Westminster Gazette) written a<br /> new and beautifully illustrated work called<br /> « Wild Flowers in Art and Nature.” It will be<br /> published in six parts by Mr. Edward Arnold,<br /> and each part will contain three or four coloured<br /> plates of flowers painted from life by Mr. H. 8.<br /> Moon.<br /> <br /> A volume of short stories by M. E. Francis,<br /> whose first novel ‘‘ Whither ?’’ appeared last year,<br /> will shortly be published by Messrs. Osgood,<br /> McIlvaine, and Co.. who will also bring out early<br /> in January an Irish novel by the same author.<br /> <br /> Cream (of the World’s Fact, Fun, and Fancy)<br /> is the title of a new weekly penny paper, which,<br /> under the editorship of Mr. Francis George<br /> Heath, will shortly appear.<br /> <br /> Mr. Robert Bird, the author of “Jesus, the<br /> Carpenter of Nazareth,” has in the press a new<br /> book, entitled “A Child’s Religion,” which will<br /> form a sequel to his popular Life of Christ, now in<br /> a seventh edition. It is intended to set forth<br /> simple Christianity for the young, and will be<br /> published early in October. The publishers are<br /> Kegan Paul and Co.<br /> <br /> Mr. Walter Besant’s new book on London is<br /> not an abridgment of his previous work. It is<br /> a totally different book. The first book is<br /> an attempt to portray the condition, manners,<br /> and customs of the London people from age<br /> to age; the new book is a_ history of the<br /> City and its institutions, designed for the<br /> use of schools in the first place. It is published<br /> by Messrs. Longman, with a great number of<br /> illustrations.<br /> <br /> New editions have been produced by the same<br /> publishers of James Payn’s “ A Trying Patient,”<br /> Mrs. Croker’s “Family Likeness,” Christie<br /> Murray’s “ &#039;Time’s Revenges,” Francillon’s “ Ropes<br /> of Sand,” “ Dick Donovan’s “ Suspicion Aroused,”<br /> Grant Allen’s “Ivan Greet’s Masterpiece,’ and<br /> Ernest Glanville’s “ Fossicker.”<br /> <br /> We spoke last month of the West Indies as a<br /> fine field for a new writer. We are reminded<br /> that this field has already been successfully occu-<br /> pied—not, of course, wholly—by Mr. Eden Phill-<br /> potts. His stories of West Indian life have been<br /> for some time running through the pages of the<br /> Graphic, Black and White, &amp;c., and a West —<br />  <br /> <br /> tbe 2,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Indian book by him, called “Fun from Afar,” is<br /> now in the press.<br /> <br /> Mr. Grant Allen is to make his first appear-<br /> ance as a poet. Messrs. Elkin Mathews, and<br /> Lane will be his publishers. Science, Fiction,<br /> and Poetry. May his success be as great in the<br /> third branch as in the other two !<br /> <br /> A new and fifth edition of Mrs. Brightwen’s<br /> “Wild Nature Won by Kindness” is announced<br /> by the publisher, Mr. Fisher Unwin.<br /> <br /> “Lays of the Scottish Highlands” is the title<br /> of a collection of verses by Ryder £. N. Breeze,<br /> published by Ward and Downey. It is apparently<br /> designed as a popular work, being attired ina<br /> gaudy paper cover, with a picture, outside, of one<br /> against a multitude. There are, besides the<br /> Scottish lays, Oriental tales, prison rhymes, and<br /> patriotic poems.<br /> <br /> “Songs in Springtime,’ by John Cameron<br /> Grant. These verses have reached a second<br /> edition, which speaks better for the author than<br /> all the press notices together. These are collected<br /> and form a kind of introduction. The book may<br /> be taken as one among many signs of the<br /> approaching revival of verse.<br /> <br /> “Some Country Sights and Sounds”’ is the<br /> title of Mr. Phil RKobinson’s new book.<br /> <br /> On Sept. 19, 1471, the first book ever printed<br /> in the English language, the “ Recuyell of the<br /> History of Troy,” was issued at Cologne by<br /> William Caxton. On the same day, 1806, the end<br /> came to that great Greek scholar, Richard Porson,<br /> librarian of the London Institution, in a fit of<br /> apoplexy. The City Press has supplied us with<br /> these two reminders.<br /> <br /> Mrs. Skey is bringing out a new novel in one<br /> volume called “That Mrs. Grundy!” It is pub-<br /> lished by the Arundel Publishing Company,<br /> Granville House, Arundel-street, Strand.<br /> <br /> The following novels will be published by<br /> Messrs. Bliss, Sands, and Foster during the<br /> autumn season: Percival Pickering’s “ Life<br /> Awry;” Mrs. G. 8. Reaney’s “Dr. Grey’s<br /> Patient;” Mrs. Murray Hickson’s “A Latter<br /> Day Romance;” Clara Savile Clarke’s “The<br /> World’s Sharon.” They will also bring out a<br /> new edition of Scriblerius Redivivus on the<br /> “Art of Pluck;” and a book on Somersetshire,<br /> with illustrations by C. R. B. Barrett.<br /> <br /> Miss Eleanor Stredder’s new story for boys,<br /> “Doing and Daring,” will be published shortly<br /> by Messrs. Nelson and Sons. This lady has re-<br /> ceived a perhaps unique expression of approval<br /> concerning her last book, “ Alatch,’ from the<br /> Chinese Ambassador, Ta-jan-Sieh.<br /> <br /> 181<br /> <br /> Thomas Cobb (author of “On Trust,” “The<br /> Westlakes,”’ &amp;c.) has written the new serial,<br /> entitled “Ronald’s Wife,” for Household Words.<br /> <br /> Mr. Reynolds Ball is about to publish in The<br /> Hotel a series of technical and descriptive<br /> papers on the hotels of Europe from the English<br /> traveller&#039;s standpoint. These articles will pro-<br /> bably be ultimately reprinted in book form, and<br /> should prove a useful handbook to English tourists<br /> travelling in the main lines of European travel,<br /> <br /> “Lord Tennyson and his Friends” is the title<br /> of a book containing four portraits of Tennyson,<br /> including that by G. F. Watts, and portraits of<br /> Arthur Hallam, Longfellow, Henry Irving, and<br /> other friends of the Laureate. It is a limited<br /> edition of 400 only—all copies numbered—and<br /> will cost six guineas. An essay by Mrs. Thackeray<br /> Ritchie and an introduction by H. H. Hay<br /> Cameron are contained in the work. The pub-<br /> lisher is Mr. Fisher Unwin.<br /> <br /> Messrs Conway and Coolidge’s Climber’s Guides<br /> (Fisher Unwin), will sh ortly receive two additions,<br /> (1) The Adula Alps; (2) The Mountains of Corfu<br /> (Fisher Unwin).<br /> <br /> The Adventure Series (Fisher Unwin) will also<br /> be enlarged by the “ Life of James P. Beckworth,”<br /> and the “Memoirs of Mauritius, Count de<br /> Benijowski.”’<br /> <br /> Joseph and Elizabeth Robins Pennell are going<br /> to take us into “ Gipsyland” (Fisher Unwin) with<br /> pen and pencil.<br /> <br /> Five more volumes of the Pseudonym Series are<br /> also announced by the same publisher.<br /> <br /> Mr. J. E. Gore, F.R.A.S., has in the press “ An<br /> Astronomical Glossary,” which will be published<br /> in October by Messrs. Crosby, Lockwood, and<br /> Sons. Besides a dictionary of terms used in astro-<br /> nomy the book will contain tables of data and<br /> lists of remarkable and interesting celestial<br /> objects.<br /> <br /> Dr. Waldstein, the archeologist, has written a<br /> volume, which will shortly be published by<br /> Messrs. Harper, entitled “The Work of John<br /> Ruskin: Its Influence on Modern Thought and<br /> Life.”<br /> <br /> Mr. David Christie Murray is reported to be<br /> writing an autobiography, portions of which have<br /> appeared from time to time in the pages of the<br /> St. James’s Gazette. It will be published by<br /> Messrs. Chatto and Windus.<br /> <br /> Mr. Cranage, of King’s College, Cambridge,<br /> has written an architectural account of “The<br /> Churches of Shropshire,” many of which are<br /> very beautiful and quaint. The book will be fully<br /> illustrated.<br />  <br /> <br /> 182<br /> <br /> Mr. Mackenzie Bell’s new volume of Poems<br /> will be published by Messrs. Ward, Lock, and<br /> Bowden Limited.<br /> <br /> Rev. Stopford Brooke has wnitten a little<br /> book called “The Development of Theology<br /> as Illustrated in English Poetry from 1780 to<br /> 1830.”<br /> <br /> Mr. John Robert Robinson is busy at work on<br /> a curious biography, which will be entitled ‘‘ The<br /> Last Earl of Barrymore.” He was the most<br /> “pronounced” of that singular coterie that<br /> claimed George IV., when Prince of Wales,<br /> as its head. Thackeray, when writing his “ Barry<br /> Lyndon,” exploited the character of Richard<br /> the seventh earl for recklessness in monetary<br /> matters to add to the singular proclivities of his<br /> hero. He is called by him in one place “Sir<br /> Richard Wargrave,” a surname that brings to<br /> our memory what Mr. Robinson’s work will deal<br /> with, besides fashionable life of the period<br /> embraced (1769-1824), the drama, racing, hunt-<br /> ing, &amp;c. Messrs. Sampson Low, Marston, and<br /> Co. will be the publishers.<br /> <br /> <br /> <br /> ec<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Brooxe, Rev. Sroprorp A. Theology in English Poetry.<br /> The Essex-hall Lecture, 1893. Philip Green. Is.<br /> <br /> Moors, Rev. S., AND BRINKMAN, REv. A. The Anglican<br /> Brief against Roman Claims. Simpkin, Marshall.<br /> 7s. 6d.<br /> <br /> Srmms, Rev. A.H. The Atonement of Our Saviour. Six<br /> Sermons by. Skeffington and Sons.<br /> <br /> “Variorum” Arps TO THE BrBLE STUDENT, THE. Eyre<br /> and Spottiswoode.<br /> <br /> History and Biography.<br /> BEsanT, WALTER. The History of London.<br /> and Co. 2s. 6d.<br /> <br /> Bromrreip, Rev. J. C. History of Fritwell. Compiled<br /> by. Paper covers. Eliot Stock.<br /> <br /> Bury, J.B. A History of the Roman Empire, from its<br /> Foundation to the Death of Marcus Aurelius. Murray.<br /> 7s. 6d.<br /> <br /> Couns, Pror. Extiorr. The History of the Expedition of<br /> Lewis and Clark. A new edition, reprinted from the<br /> Authorised Edition of 1814, with copious Critical Com-<br /> mentary, prepared upon examination of unpublished<br /> Archives and many other sources of information, inclu-<br /> ding the Original Manuscript J ournals and Field Note-<br /> books of the Explorers, together with a new Biogra-<br /> phical and Bibliographical Introductioe, new maps, and<br /> other Illustrations, and a complete index. Edited by.<br /> In 4 vols. Henry Stevens and Son. (Limited edition)<br /> <br /> Longmans<br /> <br /> copies 1 to 200, £5; 201 to 1000 £2108.<br /> <br /> THE AUTHOR.<br /> <br /> Diary or SAMUEL Pepys, THE: transcribed from the<br /> shorthand manuscript in the Pepysian Library, Mag-<br /> dalene College, Cambridge. By the Rev. Mynors<br /> Bright, with Lord Braybrooke’s notes. Edited, with<br /> additions, by Henry B. Wheatley, F.S.A. Vol. II.<br /> George Bell and Sons. 10s. 6d.<br /> <br /> Discourse oF THE ComMoN WEAL OF THIS REALM OF<br /> Eneianp, A. First printed in 1581 and commonly<br /> attributed to W. 8S. Edited from the MSS. by<br /> the late Elizabeth Lamond. Cambridge University<br /> <br /> Press.<br /> Epyz, Mason L. The Historical Records of the Royal<br /> Marines. Vol.I. Harrison and Sons.<br /> <br /> Exits, A.B. A History of the Gold Coast of West Africa.<br /> Chapman and Hall. 10s. 6d.<br /> <br /> Frarensipz, C. S. The Intermediate Text-Book of Eng-<br /> lish History. Vol. I. W. B. Clive.<br /> <br /> Gasquzt, F. A. Henry VIII. and the English Monasteries.<br /> New Edition, with illustrations. Parts XVII. and<br /> XVIII. John Hodges. 2s. net.<br /> <br /> Hernvon, W. H. and WzIk, JEss1z W. Abraham Lincoln,<br /> The True Story of a Great Life. With an introduction<br /> by Horace White. [Ilustrated. 2 vols. Sampson<br /> Low, Marston.<br /> <br /> Hoox, Rev. Waiter. A History of the Ancient Church<br /> of Porlock, and of the Patron Saint, St. Dubricius, and<br /> his times. Parker and Son.<br /> <br /> Hurron, Rev. W.A. The Marquess of Wellesley, and the<br /> development of the Company into the Supreme Power<br /> in India. (Rulers of India series.) Clarendon Press,<br /> Oxford, Henry Frowde. 2s. 6d.<br /> <br /> Juss, R. C., M.P. The Work of the Universities for the<br /> Nation, past and present. Cambridge University Press.<br /> Paper covers. Is.<br /> <br /> Krenz, H.G. History of India, from the earliest times to<br /> the present day. For the use of students and colleges.<br /> W.H. Allen and Co. 2vols. 16s.<br /> <br /> Linton, W. J. Life of John Greenleaf Whittier. “ Great<br /> Writer” Series. Walter Scott Limited. 1s. 6d.<br /> <br /> Myune, Rev. B.S. The Master Masons to the Crown of<br /> Scotland and their Works. Scott and Ferguson, Edin-<br /> burgh. Published by subscription.<br /> <br /> “ Ramster” (A. MontEFIORE). Isle of Thanet, Ramsgate,<br /> Margate, Broadstairs, &amp;c., with historical and descrip-<br /> tive notes. R. Sutton and Co. Is.<br /> <br /> Riemann, Dr. H. Catechism of Musical History, Part IL.,<br /> History of Musical Forms, with Biographical Notices<br /> of the most Illustrious Composers. Translated from<br /> the German. Augener and Co. 2s.<br /> <br /> RurLanp, Ducuess or. Haddon Hall, being Notes on its<br /> History. Reprinted from the Quarterly Review.<br /> Simpkin, Marshall.<br /> <br /> Sarnt-AMANT, IMBERT DE. Women of the Valois Court.<br /> Translated by E. G. Martin. Hutchinson and Co. 58.<br /> <br /> SmrrH, Gorpwin. The United States. An Outline of<br /> Political History, 1492-1871. Macmillan. 8s. 6d.<br /> <br /> SmirH, Mary. Mary Smith, Schoolmistress and Noncon-<br /> formist. Vol. I., Autobiography, with letters from<br /> Jane Welsh Carlyle and Thomas Carlisle. Vol. IL,<br /> Miscellaneous Poems. Bemrose and Sons.<br /> <br /> Story, Anrrep T. William Blake ; his Life, Character,<br /> and Genius. Sonnenschein.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> fox<br /> <br /> “iH CHANNEL ISLANDS.<br /> <br /> THE<br /> <br /> THE ExcHEQuer Rous oF ScoTnanp. Edited by George<br /> Burnett, LL.D., and A. J. G. Mathay, M.A. Vol. XIV.<br /> H. M. General Register-house, Edinburgh.<br /> <br /> Tuirrs, Lovrs A. History of the Consulate and the<br /> Empire of France under Napoleon. Translated by<br /> D. Forbes Campbell and John Stebbing. With 30<br /> steel plates. Vol.I. Chatto and Windus. 12s.<br /> <br /> General Literature,<br /> <br /> ABERDEEN, COUNTESS oF. Through Canada with a<br /> Kodak. With illustrations. W. H. White and Co.,<br /> <br /> Edinburgh.<br /> Appison, Katz. Economical Cookery for the Middle<br /> Classes. New and enlarged edition. Hodder and<br /> <br /> Stoughton. 3s. 6d.<br /> <br /> ADMISSIONS TO THE COLLEGE oF St. JoHN THE Evan-<br /> GELIST IN THE UNIVERSITY OF CAMBRIDGE. 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