456 | https://historysoa.com/items/show/456 | The Author, Vol. 04 Issue 06 (November 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+06+%28November+1893%29"><em>The Author</em>, Vol. 04 Issue 06 (November 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> | 1893-11-01-The-Author-4-6 | | | | | 189–228 | | | | | | | | | | | | | | | | | | <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=1893-11-01">1893-11-01</a> | | | | | | | 6 | | | 18931101 | Che Huthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
Vou. IV.—No. 6.] NOVEMBER 1, 1893. [Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
CONTENTS.<br />
<br />
<br />
<br />
PAGE<br />
Warnings and Notices <n as Ge eae eee oe: olen The Book of the Future<br />
Literary Property— Correspondence—<br />
1.—Proposed Amendment of American Copyright Law wax 198 1.—Authors and Publishers—<br />
2.—Stevens v. Benning see oe — me aoe wee 195 1.—By Andrew Lang<br />
3.—Hole v. Bradbury ... ee ae oe oe Seis Se 197 2.—By the Editor ... oe Sige sioe<br />
4.—Harper v. Pick-Me-Up ... ue Eee ike eae see LOT 2.—West Indian Stories. By Jeb Slinter...<br />
5.—Low vy. Volunteer Service Magazine ave sae os woe LOT 3.—Song Publishing... See oh ase<br />
6.—On Illustrations... ae oo os see a cae 4.—James Defoe. By Hyde Clarke<br />
7.—Copyright ... ae Ses Sees ees Ss ats «-» 198 5.—Reviewed Books. By X. Y. Z....<br />
The International Copyright Union. By Sir Henry Bergne «.. 198 6.—Literary Paymasters. By H.R.G. ... ae<br />
Omnium Gatherum. By J. M. Lely ... a aay re oss AGO 7.—A ‘Second Edition.” By Daniel Dormer |.<br />
Zola and Anonymity. By H.E. W.... ae ae ose eco ieul 8.—A Contributor’s Experience. By Hubert Haes<br />
The Autumn Publishing Season ... ae os eae ee «+. 203 9.—Anonymous Criticism... ae 2 a<br />
Siti Centenary of Beatrice ... ee as ae one sos a 10.—Poets and Critics. By a Writer of Prose ...<br />
Book Talk ae a oR is mes es ies oe ve From the Papers—<br />
ee I ane 1 Dede ooed of Hawthornden ...<br />
Notes and News. By the Editor... on hee ase son eee 207 2.—Bust of Tennyson ... a<br />
Thackeray’s Women— __ ong 8.—Poet Pilgrims ee oe<br />
ee tits 2<br />
Small Booksellers’ Shops. By the Rey. Henry Cresswell... ssa 210 New Books and New Editions<br />
<br />
PAGE<br />
soe wal.<br />
<br />
s. 212<br />
<br />
214<br />
1) 214<br />
<br />
<br />
<br />
<br />
<br />
_ PUBLICATIONS OF THE SOCIETY.<br />
<br />
<br />
<br />
<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 />
<br />
Property. Issued to all Members.<br />
<br />
. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br />
<br />
the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br />
<br />
95, Strand, W.C.) 35.<br />
<br />
. The History of the Société des Gens de Lettres. By S. Squrre Spricen, late Secretary to<br />
<br />
the Society. 1s,<br />
<br />
I<br />
2<br />
38<br />
4. Literature and the Pension List, By W. Morris Cotuss, Barrister-at-Law. (Henry Glaisher,<br />
5<br />
6<br />
<br />
. The Cost of Production. In this work specimens are given of the most important forms of type,<br />
size of page, &c., with estimates showing what it costs to produce the more common kinds of<br />
<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
7. The Various Methods of Publication. By 8. Seuirz Spricer. 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 />
<br />
Henry Glaisher, 95, Strand, W.C. 38.<br />
<br />
8. Copyright Law Reform, An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br />
<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Leny.<br />
and Spottiswoode. 1s. 6d.<br />
<br />
Eyre<br />
<br />
9. The Society of Authors, A Record of its Action from its Foundation. By Waurer Besant<br />
<br />
(Chairman of Committee, 1888—1892). 15,<br />
i<br />
j<br />
i<br />
i<br />
‘<br />
<br />
<br />
<br />
<br />
<br />
<br />
190 ADVERTISEMENTS.<br />
<br />
The Sociefy of Authors (Suncorporated).<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
PRESIDENT.<br />
<br />
GHORGH MbEREDITHE.<br />
<br />
COUNCIL.<br />
<br />
<br />
<br />
<br />
<br />
Sir Epwin ARNOLD, K.C.LE., C.S.I. Tue Ear or DEsART. Lewis Morris.<br />
ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br />
J. M. BARRIE. A. W. Dusoura. J. C. PARKINSON.<br />
A. W. A BEcKETT. J. Enic EricusEn, F.RB.S. Tur Eart oF PEMBROKE AND Mont-<br />
RoBERT BATEMAN. Pror. Micwaz Foster, F.B.S. GOMERY.<br />
Sir Henry Berens, K.C.M.G. Ricut Hon. Herpert GARDNER,| Sir FREDERICK POLLOCK, Bart., LL.D.<br />
WALTER BESANT. M.P. WaLtEerR HERRIES POLLOCK.<br />
AUGUSTINE BIRRELL, M.-P. RIcHARD GARNETT, LL.D. A. G. Ross.<br />
Rev. Pror. Bonney, F.R.S. EpMUND GOSSE. Grorce AuGusTUS SALA.<br />
Riegut Hon. James Bryce, M.P. H. Riper HaGearp. W. Baptiste SCOONES.<br />
Haut CAINE. Tuomas Harpy. G. R. Srms.<br />
EGERTON CAsTLe, F.S.A. JEROME K. JEROME. S. Squire SPRIGGE.<br />
P. W. CLAYDEN. RupyARD KIPuinea. J. J. STEVENSON.<br />
Epwarp CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br />
W. Morris CouueEs. J. M. Lety. Wittram Moy THomas.<br />
Hon. JoHN COLLIER. Rav. W. J. Lorre, F.S.A. H. D. Trarit, D.C.L.<br />
W. Martin Conway. Pror. J. M. D. MEIKLEJOBN. Baron Henry DE Worms, M-P.,<br />
F. Marion CRAWFORD. HERMAN C. MERIVALE. E.RB.S.<br />
OswALD CRAWFURD, C.M.G. Rev. C. H. MippnEeton- WAKE. EDMUND YATES.<br />
Hon. Counsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FIELD, Roscox, and Co., Lincoln’s Inn Fields.<br />
Accountants—Messrs. OscaR BERRY and CaRR, Monument-square, H.C. Secretary—G. HERBERT THRING, B.A.<br />
<br />
OFEICES: 4, Porruaan STREET, Lincoun’s Inn Freups, W.C.<br />
<br />
<br />
<br />
Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br />
<br />
AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br />
<br />
From the Earliest Periods to the Present Time.<br />
WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br />
ComPiILED FROM AUTHENTIC SOURCES BY<br />
GHORGEH Hpea hy JENNINGS.<br />
<br />
CONTENTS.<br />
Part I.—Riseand Progress of Parliamentary Institutions. | ApPENDIx.—(A) Lists of the Parliaments of England and<br />
<br />
Parr Il.—Personal Anecdotes: Sir Thomas More to John of the United Kingdom.<br />
Morley. (B) Speakers of the House of Commons.<br />
<br />
Parr Il.—Miscellaneous. 1. Elections. 2. Privilege; Ex- (C) Prime Ministers, Lord Chancellors, and<br />
clusion of Strangers; Publication of Debates. Secretaries of State from 1715 to<br />
3. Parliamentary Usages, &c. 4. Varieties. | 1892.<br />
<br />
<br />
<br />
Opinions of the Press of the Present Edition.<br />
<br />
“The work, which has long been held in high repute as a repertory “It is a work that possesses both a practical and an historical<br />
of good things, is more than ever rich in doth instruction and amuse- value. and is altogether unique in character. '—Kentish Observer.<br />
ment. ”—Scotsman. ‘+ We can heartily roomier ugly the politician, whatever<br />
<br />
“Tti *. + may be his party leanings.”’—. hern Echo.<br />
<br />
‘It isa — of useful fact and amusing anecdote, and in its THe hers the whole company of Parliamentary. celebrities,<br />
latest form should have increased popularity.” —Globe. past and present, reduced to puppets, so to speak, and made to<br />
<br />
“Its advantage to those who are seeking seats in Parliament, or repeat their best and most approved rhetorical performances for our<br />
who may have occasion to assist as speakers during the electoral | leisurely entertainment, which is not less enjoyable from being allied<br />
campaign, is incomparable.”—Sala’s Journal. with edification.”—Liverpool Courier.<br />
<br />
<br />
<br />
<br />
<br />
“= Orders may now be sent to HORACE COX, “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Che #uthor.<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. 6.]<br />
<br />
NOVEMBER 1, 1893.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
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 />
oe 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 />
Communications and letters are invited on all subjects<br />
connected with literature, but on no other subjects what-<br />
ever. Articles which cannot be accepted are returned if<br />
stamps for the purpose accompany the MSS.<br />
<br />
AGREEMENTS.<br />
<br />
<br />
<br />
CT 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 />
WARNINGS.<br />
<br />
<br />
<br />
pnb of the Author and members of the Society<br />
are earnestly desired to make the following warnings<br />
as widely known as possible. They are based on the<br />
experience of nine years’ work by which the dangers<br />
VOL. TV.<br />
<br />
to which literary property is especially exposed have been<br />
discovered :—<br />
<br />
I. SERIAL Riauts.—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 />
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 IT.—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. Lirzrary AGmnts.—Be very careful. You cannot be<br />
too careful as to the person whom you appoint as your<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone.<br />
<br />
5. Cost 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 oF PUBLISHERS.—Neyer 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. Royaury.—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 />
9. PuRSONAL RisK.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
<br />
10. ResEcTED MSS.—Never, when a MS. has been re-<br />
<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
<br />
Q 2<br />
<br />
<br />
192 THE<br />
<br />
11. AmericAN RicHts.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign any<br />
agreement containing a clause which reserves them for the<br />
publisher, unless for a substantial consideration. If the<br />
publisher insists, take away the MS. and offer it to<br />
another.<br />
<br />
12. Cess1on or CopyricHt.—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 />
HOW TO USE THE SOCIETY.<br />
<br />
<br />
<br />
f. ee 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 ptevious 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 />
AUTHOR.<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
<br />
<br />
EMBERS are informed :<br />
Bl 1. That the Authors’ Syndicate takes charge of<br />
the business of members of the Society. With, when<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
<br />
2. That the expenses of the Authors’ Syndicate are<br />
defrayed 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 />
5. 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 />
<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 />
T 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 />
ie<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 193<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, &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. Of course, 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 />
eall it.<br />
<br />
LITERARY PROPERTY.<br />
<br />
<br />
<br />
E<br />
THe AMENDMENT OF THE CopyriGHT Law.<br />
<br />
HERE is a movement on foot to petition<br />
the copyright leagues for a commission<br />
to revise the copyright law, in order<br />
<br />
that an appeal may be made to Congress asking<br />
for amendments remedying existing defects.<br />
Although the law, as a whole, has given satis-<br />
faction, much annoyance has resulted from the<br />
ambiguous wording of several of its passages,<br />
and from its failure to provide proper safe-<br />
guards against the registry of unlawful claims<br />
for copyrights. These defects, it is said, have<br />
necessitated frequent appeals to the courts, in-<br />
volving prolonged litigation. These are some<br />
of the causes of complaint: the failure of the<br />
law to secure a renewal of a copyright to its<br />
owners or assigns other than his widow and<br />
children; the condition that a work, whether by<br />
a foreign or domestic author, must be manu-<br />
factured within the United States; the absence<br />
of any requirement that applicants for copyright<br />
shall furnish evidence of ownership ; the depriva-<br />
tion of the rights of authors or owners of copy-<br />
rights to sue for infrmgement after two years,<br />
and the failure of the law to define the word<br />
“ book.”<br />
<br />
George Haven Putnam, who, as a representa-<br />
tive of the league, was active in securing the<br />
passage of the law, when asked to-day what he<br />
thought of the advisability of amendments to<br />
remove these reasons for dissatisfaction, said:<br />
“It has never been the intention of the framers<br />
of the several American copyright laws that any<br />
heirs of the author other than his widow and<br />
children should be entitled to secure an extension<br />
of the copyright beyond the first term of twenty-<br />
eight years to cover a second term of fourteen<br />
years. The privilege of securing such extension<br />
is given only to the author himself in case the<br />
first term may expire during his lifetime, or to<br />
his widow or children. The restriction has<br />
worked hardship in not a few cases. One<br />
instance of such hardship occurred in connection<br />
with the works of Washington Irving. Irving<br />
was never married, but had adopted three nieces,<br />
who, for many years previous to his death, were<br />
members of his household, and were dependent<br />
upon him for support. After their uncle’s death,<br />
these nieces were, however, unable to secure re-<br />
newals of the copyrights of the later works<br />
which were then expiring, and the income from<br />
these copyrights, on which they had mainly<br />
depended, could, therefore, no longer be assured<br />
to them.<br />
<br />
<br />
194 THE<br />
<br />
“Tt ismy own opinion, in which theauthors, pub-<br />
lishers, and others interested in the literary develop-<br />
ment of the country are, I think, in substantial<br />
accord, that the term of copyright now granted<br />
by the copyright law is inadequate. It does not<br />
secure a sufficient protection for the author even<br />
during his own lifetime, nor does it enable an<br />
author to plan with any certainty for the accu-<br />
mulation of property in the shape of copyrights<br />
for his ch:ldren, grandchildren, or other heirs.<br />
Tt was the case that during the lifetime of Long-<br />
fellow unauthorised editions were printed of the<br />
first unrevised editions of certain of Longfellow’s<br />
earlier works. The injury in this case was two-<br />
fold: the returns to the author for the sale of the<br />
revised authorised editions were diminished to<br />
the extent of the interference with these sales<br />
caused by the circulation of the unauthorised<br />
issues. The injury, which was of greater import-<br />
ance in the author’s estimation, was the wrong<br />
caused to his literary fame by the circulation of<br />
imperfect material bearing his name, and for the<br />
character of which he is made responsible before<br />
the later generation of readers, although such<br />
material has been cancelled and superseded by the<br />
finished work on which he was prepared to have<br />
his literary reputation for posterity based. An<br />
action of this kind is to be regarded as a personal<br />
injury, apart from the property injury. The<br />
possibility of such injurious action cannot be<br />
avoided, of course, after the expiration of a term<br />
of copyright, but the author ought certainly to be<br />
protected by law against such mjury during his<br />
lifetime. A similar injury has been caused to a<br />
number of authors, including, for instance, Donald<br />
G. Mitchell, still living, whose earlier books, now<br />
out of copyright, have been printed in unautho-<br />
rised and unrevised editions, to his business<br />
detriment and personal annoyance.<br />
<br />
“The term of copyright granted by the<br />
American law is the shortest conceded by any<br />
country possessing an important literature, and<br />
is, in fact, the shortest in force anywhere in the<br />
civilised world, excepting in Greece. The term<br />
in England is forty-two years, or the lifetime of<br />
the author and seven years thereafter, whichever<br />
term be the longer. Under this provision the<br />
author is fully protected against the risk of in-<br />
fringement during his life. ‘The German term is<br />
the life of the author and thirty years; the<br />
French, the life of the author and fifty years,<br />
&c. The Bill now pending in the English Parlia-<br />
ment for the English copyright law accepts the<br />
German term. This is the term that ought pro-<br />
perly to be in force in the United States. If the<br />
<br />
author is entitled to work for his children he<br />
ought to be permitted also to work for the benefit<br />
of his grandchildren.<br />
<br />
AUTHOR.<br />
<br />
“The law of 1891, under which the protection<br />
of American copyright was, under certain con-<br />
ditions, granted to foreign authors, did not under-<br />
take to make any changes or amendments in the<br />
copyright law previously in force except by the<br />
insertion of a requirement that a work, whether<br />
by a foreign or domestic author, must be manu-<br />
factured within the United States. It was under-<br />
stood that all the provisions of the copyright<br />
law would probably, within a few years time, be<br />
brought under consideration for revision and<br />
amendment. As was made clear in the record put<br />
into print at the time, the responsibility for<br />
shaping the act of 1891, und for securing for it<br />
the requisite support with the public and with<br />
Congress, rested with two “copyright leagues,”<br />
comprising the leading authors and publishers of<br />
the country. The work of these leagues was<br />
carried on during the five years’ ‘campaign’ by<br />
a joint committee, in which, of course, both the<br />
publishers and the authors were represented, and<br />
which included also representatives of the general<br />
public not pecuniarily interested in literature.<br />
Each step in connection with the drafting of the<br />
original Act and the several modifications finally<br />
assented to, was taken under the substantially<br />
unanimous decision of this joint committee. The<br />
Act as originally recommended by this com-<br />
mittee did not contain the manufacturing<br />
condition, which was finally included in the<br />
law. It was the opinion of the greater<br />
number of the members of the committee<br />
that manufacturing conditions had no logical<br />
connection with the right of authors to control<br />
their productions ; and that if the book manu-<br />
facturing interests needed protection, this should<br />
be secured under separate legislation. It was<br />
found, however, after some consideration of the<br />
matter with the friends of copyright in Washing-<br />
ton and elsewhere, that no law could at that time<br />
be enacted without this concession to the views of<br />
the protectionists in the country, many of whom,<br />
while heartily interested in international copy-<br />
right, believed that its enactment without such<br />
manufacturing restriction might bring serious<br />
detriment to printers and other mechanics<br />
engaged in the manufacture of books.<br />
<br />
“The Copyright Bill was, of course, an un-<br />
partisan measure, but it was impossible to secure<br />
for it adequate support either in the House or in<br />
the Senate without the co-operation of Republican<br />
protectionists as well as of Democratic free<br />
traders. The manufacturing provision, as finally<br />
included in the Bill, represented the views of the<br />
American Typographical Unions, and for the<br />
framing of this provision Mr. Henry C. Lea, of<br />
Philadelphia, was more particularly responsible.<br />
After the suggestions of the Typographical<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Unions had been accepted in regard to this pro-<br />
vision, the co-operation of these unions proved of<br />
very material service in securing for the measure<br />
favourable attention throughout the country and<br />
the necessary support in the two Houses. It is<br />
doubtless the case that if. in place of the intelli-<br />
gent and effective co-operation rendered by these<br />
unions, the Bill had had to encounter their<br />
opposition, it could not have become law at the<br />
time it did. It was my own opinion, and I may<br />
say that of by far the larger proportion of both<br />
the authors and publishers on the joint com-<br />
mittee, that the manufacturing provision would<br />
not further the interests of American publishers,<br />
and was not required for the interests of the<br />
Typographical Unions, and that the prospects of<br />
securing for the members of these unions and<br />
for the other book manufacturing workers of the<br />
country assured and in reasing employment<br />
would be better if no such restrictions should be<br />
put into the shape of law. I am still of opinion<br />
that whenever this restriction shall be abolished,<br />
American type-setters will be able not only to<br />
secure their full share in the book-making done<br />
for the American market, but will also be in a<br />
position, with the improved American methods<br />
for making electrotype plates, &c., to increase<br />
their trade in the exportation of book plates to<br />
England and Australia.<br />
<br />
“The regulations of the several copyright laws<br />
which have been in force in the United States have<br />
never made any provision for the furnishing by ap-<br />
plicants for copyrights of evidence of ownership of<br />
the work entered for copyright. The librarian of<br />
Congress, who has charge, under the law now in<br />
force, of the copyright entries, has no machinery<br />
or facilities for verifying such evidence or for<br />
passing upon it ina judicial capacity. An entry<br />
when made is not evidence that the person in<br />
whose name it stands is owner of the copyright in<br />
question, but is evidence merely that he claims<br />
such ownership. In case the copyright were<br />
infringed, and the person in whose name the<br />
entry had been made applied to the United States<br />
Court for protection against such infringement, it<br />
would then be incumbent upon him, in order to<br />
secure standing in the court, to prove his owner-<br />
ship. It is the case also that the copyright law<br />
of Great Britain, of France, and of Germany<br />
makes no provision for the proving of the right to<br />
the copyright at the time the entry is made. It<br />
is doubtful whether it would be practicable,<br />
under any working arrangements, to place such a<br />
responsibility upon the authorities having charge<br />
of the entries. Under this same general practice<br />
the registry of copyright is granted to anyone<br />
applying for registry for a dramatisation or for<br />
translation of a copyright book. Such entry or<br />
<br />
195<br />
<br />
registration can, however, be of service to the<br />
person in whose name it has been made, only if he<br />
may later be in a position to protect in the ‘courts<br />
his right to secure profit from such dramatisation<br />
or translation. There is no difficulty, under the<br />
provisions of the American law, on the part of<br />
the author so desiring, in preventing the publica-<br />
tion of an unauthorised dramatisation or transla-<br />
tion of a work duly protected by copyright.<br />
<br />
“Personally, I do not think that the restric-<br />
tion placed upon owners of copyrights, that they<br />
shall take such measures as may be in order for<br />
the defence of tbeir copyrights within the term of<br />
two years after the date of the alleged infringe-<br />
ment, constitutes any serious hardship. If the<br />
work is of value, so that the author’s edition has<br />
been kept before the public, the interference with<br />
its sale that might be caused by the issue of an<br />
unauthorised edition would certainly be manifest<br />
within the term of two years. It was apparently<br />
the intention of those framing this provision, that<br />
if the owner of a copyright abandoned his work,<br />
so that the public were no longer supplied with<br />
copies, at the expiration of a sufficient length of<br />
time from such abandonment the work should<br />
fall into the ‘ public domain,’ and if the public<br />
still called for supplies, that any party should be<br />
free to meet such demand. This provision is in<br />
substantial accord with that of the French and<br />
German law. Under the English law, the action<br />
must be brought within twelve months after the<br />
date of the offence.<br />
<br />
“Neither the American nor the English copy-<br />
right law has undertaken to define the term<br />
‘book.’ The definition of this term has, however,<br />
been arrived at under various decisions of the<br />
English and American courts. The term is, as I<br />
understand, usually understood to cover material<br />
printed in book form, that is to say, made up in<br />
pages, without limitation as to the number of<br />
pages to be comprised, or as to the nature of the<br />
cover. A pamphlet is, therefore, for the pur-<br />
poses of the copyright law, to be considered as a<br />
book. Sir James Stephen, Q.C., states that<br />
under the interpretation of the English courts,<br />
the word ‘book’ in the English copyright law<br />
‘means and includes every volume, part or<br />
division of a volume, pamphlet, sheet of letter-<br />
press, sheet of music, map, or chart planned to be<br />
separately published.’ American decisions have<br />
accepted in substance this definition.”—Hvening<br />
Post, New York, Oct. 4, 1893.<br />
<br />
<br />
<br />
Il.<br />
SreveNs v. Bennina.<br />
<br />
In this case, an important one for authors,<br />
an injunction was sought by the plaintiff to<br />
<br />
<br />
<br />
<br />
<br />
196<br />
<br />
restrain the defendant from publishing a book<br />
entitled “Forsyth on the Law of Composi-<br />
tion with Creditors.” The injunction was not<br />
granted either in the original instance or in the<br />
appeal. The case is one of great importance, as<br />
it practically decided whether a publisher could<br />
assign a contract to publish. This question, so<br />
far as it was decided, was decided in the nega-<br />
tive. The facts of the case were as follows :—<br />
<br />
Mr. Forsyth, the editor of the book, entered<br />
into an agreement with Robert Sanders and<br />
Wiliam Benning, publishers, of which the follow-<br />
ing is a slight abstract :—<br />
<br />
Clause 1. The author undertakes to prepare<br />
the book for the press.<br />
<br />
Clause 2. The publishers direct the mode of<br />
printing the said book, and bear and pay all<br />
charges thereof, and of publishing the same,<br />
except, as thereinafter mentioned, and take all<br />
the risks of publication on themselves.<br />
<br />
Clause 3 referred to the division of profits.<br />
<br />
Clauses 4 and 5 were clauses relating to<br />
accounts.<br />
<br />
Clause 6, to alterations and printer’s errors,<br />
corrections, &c.<br />
<br />
Clause 7 ran as follows: ‘That in case of all<br />
the copies of the book not being sold off, and a<br />
second edition or any subsequent edition of the<br />
said book having been required by the public, the<br />
said author should make all necessary alterations<br />
and additions thereto, and the said publishers<br />
should print and publish the second and other<br />
editions of the said book on the above con-<br />
ditions.”<br />
<br />
Clause 8 referred to remainder sales.<br />
<br />
When this agreement was entered into, the<br />
publisher's firm consisted of Robert Sanders and<br />
William Benning. This partnership was dis-<br />
solved, and a new partnership was formed between<br />
William Benning and John Kirton Gilhat, under<br />
the name of William Benning and Co., and the<br />
interest of the former firm was expressed to have<br />
been transferred and invested in the new firm.<br />
In 1849 the author published a second edition<br />
with the new firm without a fresh agreement. In<br />
1851 the partnership was dissolved, owing to the<br />
bankruptcy of William Benning.<br />
<br />
By an indenture dated July 17, 1852, Mr.<br />
Gillat transferred to the plaintiffs, Messrs.<br />
Stevens and Lawton, his interest in the copyright<br />
or shares of copyright in the works specified in<br />
a schedule to the deed (which schedule comprised<br />
the authors work), with the MSS. and unsold<br />
copies of the several works then in Mr. Gilliat’s<br />
possession, and all things pertaining to the copy-<br />
right and shares of copyright of which the late<br />
firm of William Benning and Co. were possessed,<br />
or interested in, and over which Mr. Gilliat had<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
any power of disposition. On Aug. 16, 1854, a<br />
further deed of assignment was executed by Mr,<br />
Gilliat and the assignees of Mr. Benning, to<br />
the plaintiff, which assignment virtually embraced<br />
all the conditions of the former one. Under this,<br />
all the stock-in-trade of William Benning and Co.<br />
was delivered to the plaintiffs, including the un-<br />
sold copies of the second edition of the author’s<br />
book. In 1854, William Grainger Benning, the<br />
son of the former partner, published a third<br />
edition of the author’s book, which was edited by<br />
the author, and thereupon Messrs. Stevens and<br />
Co. commenced action against William Benning.<br />
The arguments brought on behalf of the plaintiff<br />
were: (1) That the agreement amounted to an<br />
assignment of copyright ; (2) that if the court<br />
did not think the copyright was assigned, the<br />
agreement was one of partnership, and that one<br />
partner (the author) could not destroy the partner-<br />
ship property; (3) if neither of these viewx were<br />
taken by the court, then, if the contract were one<br />
of agency, as the agents contracted to take all the<br />
risk of loss, the principal could not, after entering<br />
into such an agreement, bring out an edition in<br />
competition with that which was the subjectof such<br />
agreement. Lord Justice Knight Bruce looked<br />
upon the question more from the point of view of<br />
whether the plaintiffs could obtain an injunction,<br />
than upon the actual subject matter of the case,<br />
but in his judgment stated as follows:<br />
<br />
“‘T do not see that the duties on either side<br />
were of such a nature as that their performaace<br />
specifically could have been enforced by a Court<br />
of Equity.”<br />
<br />
Therefore, it would have been impossible for<br />
the plaintiffs to have asked for an injunction<br />
against Mr. Forsyth, the author. Lord Justice<br />
Turner, in summing-up, said, that the plaintiffs’<br />
case rested wholly on the agreement of Sept. 14,<br />
the original agreement, and referred to the three<br />
points raised in the argument for the plaintiff<br />
He stated, after careful consideration of the<br />
agreement,<br />
<br />
(1) That the agreement was not an an assign-<br />
ment of copyright.<br />
<br />
(2) So far as partuership was concerned the<br />
question could only arise with regard to the<br />
unsold copies of the second edition.<br />
<br />
(3) That the contract appeared to be a personal<br />
contract, personal to the special publishers men-<br />
tioned in the agreement, and that if Messrs.<br />
Sanders and Benning were not in a situation to<br />
perform their personal part of the contract (as<br />
they were not, owing to the bankruptcy and<br />
dissolution of partnership) they could not in<br />
equity enforce against the author any contract he<br />
had entered into with them, and that he thought<br />
the plaintiffs, who were the assignees of Messrs.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THK AUTHOR. 197<br />
<br />
Sanders and Benning, could be in no better<br />
condition.<br />
<br />
The decision of the court therefore amounts to<br />
this: That a mere contract to publish is a per-<br />
sonal contract, and cannot be transferred or<br />
assigned.<br />
<br />
<br />
<br />
TL.<br />
Hote v. Brapsury.<br />
<br />
This decision, that a contract to publish is a<br />
personal contract, was again upheld in Hole v.<br />
Bradbury; but in this case the decision was<br />
stronger, for the firm repubiishing the work was<br />
the same firm which originally. published the<br />
book, but through lapse of time had lost those<br />
partners who were parties to the original contract.<br />
<br />
<br />
<br />
TV.<br />
Harper v. Pickh-Me-Up.<br />
<br />
In the Westminster County Court to-day, his<br />
Honour Judge Lumley Smith, Q.C., had before<br />
him the case of Harper v. the proprietors of<br />
Pick-Me-Up, in which plaintiff, a journalist,<br />
sought to recover payment for certain articles<br />
and drawings supplied to the defendants.<br />
<br />
The plaintiff was called, and stated that during<br />
the first eight months he supplied seven articles<br />
and one drawing to the defendant paper, but<br />
they had neither been published nor returned to<br />
him. Therefore he claimed payment in the usual<br />
way. He would much rather the matter had<br />
been published, but as it had not been, and as he<br />
understood that the manuscript was lost, he now<br />
desired payment for it.<br />
<br />
In cross-examination the plaintiff said he was<br />
aware that there was a printed notice in the paper<br />
to the effect that the paper did not undertake to<br />
return rejected manuscripts, but he did not con-<br />
sider that that notice applied to his case, as he<br />
was well known to the proprietors.<br />
<br />
For the defence one of the proprietors of the<br />
paper was called, as was also another witness.<br />
The latter alleged that some portion of the<br />
manuscript had been returned to the plaintiff,<br />
while another portion had been offered to him,<br />
but he refused to accept it on the ground that it<br />
had been made dirty.<br />
<br />
His Honour said he had held in several recent<br />
cases when manuscript was set up in type it was<br />
an acceptance, but in this case there was no<br />
evidence to that effect, and judgment must be<br />
for the defendants.<br />
<br />
—Reported in the Lvening Post.<br />
<br />
<br />
<br />
VOL. IV.<br />
<br />
Vv.<br />
Low v. Volunteer Service Magazine.<br />
<br />
The plaintiff in this case, tried at the West-<br />
minster County Court, stated that he wrote an<br />
article for this paper which occupied four pages,<br />
for which he was paid a guinea. He afterwards<br />
wrote another, which would have made ten pages,<br />
and as 5s. a page was agreed for the first, he<br />
claimed 50s. for the second. The second was put<br />
in print, and a proof was sent to him and revised,<br />
but never published. That, he contended, was<br />
an acceptance, and he was entitled to be paid<br />
for it.<br />
<br />
Mr. R. Thomas Merry said half-a-guinea was<br />
agreed for the first article, and the second was<br />
never accepted. He could get 70 or 80 per cent.<br />
of the matter for the magazine free.<br />
<br />
His Honour came to the conclusion that a<br />
guinea was agreed for the first article, and the<br />
second, after being set up, the proof revised,<br />
was an acceptance, and a guinea must be paid<br />
for that. Therefore, allowing the half-guinea paid<br />
into court, there would be judgment for 14 guineas<br />
beyond the amount in court, but no costs over the<br />
fees on the summons would be allowed.<br />
<br />
—Reported in the Star.<br />
<br />
<br />
<br />
VI.<br />
<br />
Own ILtustRations.<br />
<br />
The charge for illustrations in books is one<br />
which generally astonishes the author when the<br />
account comes in; sometimes because he is per-<br />
fectly ignorant of what such things cost; some-<br />
times because he is really overcharged. It is<br />
proposed in the Author to let as much light<br />
into the subject as possible. Readers may help<br />
if they will forward copies of their own illus-<br />
trated books with the charge made in the<br />
accounts for the illustrations. Mezntime, one or<br />
two points may be borne in mind. The illustration<br />
of books is no longer carried on by wood en-<br />
graving, but by process. There are many methods<br />
of “ process.” All are a great deal cheaper than<br />
wood engraving. But a loophole for extra profit<br />
and extra charge is found when the original<br />
drawings have to be redrawn. ‘The artist will do<br />
well to make sure that this is not necessary. The<br />
author will do well to place himself in communica-<br />
tion with the artist in order to be quite sure that<br />
this precaution has been observed. On this sub-<br />
ject we do not consider the cost of the original<br />
drawings (which may be very great, depending<br />
on the reputation of the artist), but only the cost<br />
of mechanical reproduction by photogravure or<br />
some such process. For instance, we have learned<br />
that by a certain process the manufacture of<br />
<br />
R<br />
<br />
<br />
<br />
198<br />
<br />
electros from the original drawings can be done,<br />
at what is considered a fair price, at sixpence a<br />
square inch.<br />
<br />
<br />
<br />
VII.<br />
CopyRIGHT.<br />
<br />
What constitutes a claim to copyright? On<br />
this subject we have received an interesting<br />
correspondence between Mr. John Davidson,<br />
Author of “ Fleet Street Ballads,” and Mr. Fisher<br />
Unwin. We have also received the former’s per-<br />
mission to publish these letters, and have asked<br />
Mr. Fisher Unwin’s permission, but (Oct. 31st)<br />
have not yet received a reply.<br />
<br />
—— ee<br />
<br />
THE INTERNATIONAL COPYRIGHT UNION.<br />
<br />
By Sir Henry Berane, K.C.M.G.<br />
(Plenipotentiary for Her Majesty’s Government with Sir<br />
F. 0. Adams, at Berne, Sept. 1886.)<br />
<br />
T a conference beld at Berne in 1883, the<br />
International Literary Association pro-<br />
duced a scheme for the formation of an<br />
<br />
International Copyright Union, with the view<br />
that if possible the law relating to the subject in<br />
the different countries might be reduced to some<br />
sort of harmony, and that works — literary,<br />
scientific, or artistic—produced in any one country<br />
might be adequately protected throughout the<br />
world.<br />
<br />
The scheme which was then produced, although<br />
not such as could readily be brought into actual<br />
practice, showed certain elements of possible<br />
success, and was on this account taken up officially<br />
by the Swiss Government, who invited the Govern-<br />
ments of all the principal States to be represented<br />
at an International Diplomatic Conference which<br />
was to meet in 1884, to consider the subject in all<br />
its bearings, and to endeavour to form the basis<br />
of an International Copyright Union.<br />
<br />
This invitation was accepted by most of the<br />
European Powers, Great Britain, being, however,<br />
only represented by a delegate in a consultative<br />
capacity, with no power to vote, or to take part<br />
in the drafting of a Convention. The attitude<br />
thus assumed at the time by Great Britain was<br />
largely determined by the fact that the Govern-<br />
ment of the United States of America was not<br />
represented at the Conference.<br />
<br />
The result of this meeting was the framing of<br />
a Convention, which, however, on examination, did<br />
not prove to be thoroughly acceptable to many<br />
Powers, especially to Great Britain, but which<br />
still formed the stepping-stone to ultimate success ;<br />
for, when in 1885 an invitation to a further con-<br />
ference was issued by the Swiss Government,<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
the matter was taken up in earnest by Great<br />
Britain, who, upon this occasion, sent delegates<br />
armed with full authority to press the matter to<br />
a definite issue. The Government of the United<br />
States was also represented at this conference by<br />
a delegate, who, though not empowered to take<br />
any active part in the proceedings, was instructed<br />
to declare the sympathy of his Government for<br />
the substance and aims of the International<br />
Convention, to which he stated that they were<br />
well dispo-ed to accede, provided that the necessary<br />
legislation could be passed in the United States.<br />
<br />
At this conference the International Conven-<br />
tion in its existing shape was drafted, for final<br />
acceptance or rejection by the various Govern-<br />
ments, with the result that ultimately it has been<br />
signed, ratified, and is now in force between the<br />
following States:—Great Britain (with all her<br />
colonies), Germany, Belgium, Spain (with her<br />
colonies), France, Haiti, Italy, Switzerland, Tunis,<br />
Monaco, Luxemburg, Montenegro.<br />
<br />
A translation of the International Conven-<br />
tion, and of the final Protocol attached thereto,<br />
can be obtained, from which it will be seen<br />
that the principles of the Union are of the<br />
simplest kind, being based on the theory of<br />
“national treatment ;” that is to say, authors of<br />
works of any kind within the literary, scientific,<br />
or artistic domain, published in any one country<br />
of the Union, are to enjoy in all the other countries<br />
of the Union, the rights there granted to nativesub-<br />
jects in respect of their works published at home.<br />
<br />
The enjoyment of the protection soto be accorded,<br />
is subject only to the accomplishment in the<br />
country where the work is first produced of the<br />
formalities, if any, required by law in that<br />
country to establish a valid title to copyright.<br />
Consequently, if a work is duly registered and<br />
has acquired a copyright, say im France, no<br />
further registration or deposit of copies is neces-<br />
sary in England im order that it may enjoy protec-<br />
tion in England.<br />
<br />
The International Convention being concluded<br />
between various States not speaking a common<br />
language, an important part of its stipulations<br />
relates to the question of translation—it being<br />
recognized that between such States translation<br />
may frequently become the chief international<br />
form of reproduction. It is, therefore, expressly<br />
provided that no State which does not guarantee<br />
to the author of a work the exclusive right, for<br />
a period of at least ten years, to make, or to<br />
authorise translations of it to be made, can be<br />
admitted to the Union.<br />
<br />
A further important stipulation of the Conven-<br />
tion is contained in Art. 2, to the effect that no<br />
rights can exist in any country of the Union fora<br />
longer period than those granted in the country<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
where the work is first published, nor can any<br />
work claim in any State of the Union rights in<br />
excess of those granted by the law of such State<br />
to native publications.<br />
<br />
Pirated works may be seized on importation.<br />
The central office of the Union is established at<br />
Berne, under the auspices of the Swiss Govern-<br />
ment ; and each State of the Union contributes a<br />
small annual sum towards the working expenses,<br />
which are devoted to the collection of informa-<br />
tion,and generally to looking after matters of<br />
interest to the Union. The contributing States<br />
are arranged in classes according to size and<br />
importance, but the maximun contribution of any<br />
one State does not exceed £200 per annum.<br />
<br />
The other articles of the Convention relate to<br />
the protection to be accorded to newspaper articles,<br />
dramatic and musical works, photographs, &c.,<br />
the details in regard to which will best be<br />
gathered from a study of the Convention itself,<br />
<br />
It will be seen, from a perusal of the Con-<br />
vention, that it nowhere expressly mentions the<br />
question of duties on imported books, or forbids<br />
expressly that the domestic law shall require a<br />
foreign work to be reprinted within its territory<br />
in order to secure protection there. There can,<br />
however, be no question that unfair or excessive<br />
duties upon books would be contrary to the spirit<br />
of the Union; whilst, as regards reprinting, the<br />
provision contained in Art. 2, to the effect that<br />
the enjoyment of protection is subject to the<br />
accomplishment of the formalities prescribed by<br />
law in the country of origin, must be interpreted<br />
to mean, that any further formality, such as<br />
reprinting, re-registration, or deposit, in the<br />
foreign country where protection is claimed, is<br />
contrary to the terms of the Convention, clearly<br />
implied, though not, perhaps, expressed with<br />
sufficiently definite precision.<br />
<br />
Any States which are willing to comply with<br />
these conditions, so obviously fair and reasonable,<br />
are welcomed as members of the Union, and may<br />
at any moment accede, on expressing their mind to<br />
do so to the central office of the Union at Berne.<br />
<br />
Periodical conferences of the Union are ap-<br />
pointed to take place, at which any State wishing<br />
to suggest any points for amendment, or to make<br />
proposals of any kind for the welfare of the<br />
Union, can be represented. The next of these<br />
conferences will probably take place at Paris<br />
next year, and it is much to be desired that the<br />
United States of America would manifest anew<br />
its sympathy with the Union by sending a dele-<br />
gate to this meeting. Any representations coming<br />
from such a quarter, as to difficulties in the<br />
existing form of the International Convention<br />
preventing the United States from joining the<br />
Union at the present moment, or as to other<br />
<br />
VOL. IV.<br />
<br />
199<br />
<br />
points of interest, would be sure of attentive<br />
consideration, with the earnest wish on the part<br />
of the signatory States to make any reasonable<br />
concessions tending to facilitate the accession of<br />
So important a factor in the literary and artistic<br />
world as the United States of America.<br />
<br />
Read at the Literary Congress of the Chicago<br />
Exhibition.<br />
<br />
<br />
<br />
sec<br />
<br />
OMNIUM GATHERUM FOR OCTOBER AND<br />
NOVEMBER.<br />
<br />
<br />
<br />
Subjects for Treatment.—Non-Biblical Texts<br />
for Church Sermons; the Index Expurgatorius ;<br />
the Stocking of a Library; the Undue Depreciation<br />
of Boswell; the Re-subscription of the Thirty-<br />
nine Articles by the late Master of Balliol; Plural<br />
Appointments, with special reference to Mr. T. G.<br />
Bowles’s request for a Parliamentary Return and<br />
Sir J. Hibbert’s guarded answer thereto (see<br />
morning papers for Aug. 9); Cumulative Prefer-<br />
ences; the Earlier Commencement and Termina-<br />
tion of the Summer Holidays; the Comparative<br />
Delights of Shooting, Fishing, and Hunting, by<br />
one who indulges in all three; the altruism of<br />
Grace Aguilar and the hard-headednegs of Mary<br />
Mitford, as depicted by Mrs. Crosland in her<br />
lately published “ Landmarks of a Literary Life.”<br />
<br />
“ Scale Pay.” —Though “ scale pay” is usually<br />
just, we should all bear in mind that, in the<br />
absence of special agreement to take it, we have<br />
a legal right to demand more, up to what a con-<br />
tribution is worth, in event of “ scale pay” proy-<br />
ing insufficient ; and to demand at least some pay-<br />
ment (also up to what the contribution is worth)<br />
in the happily few cases where the custom has<br />
been to give none.<br />
<br />
The Return of Rejected Contributions.—All<br />
thanks to the collector who got together for the<br />
August Author the pretty list of notices to con-<br />
tributors! May it soon be followed by another<br />
and another until we have at least complete lists<br />
of the notices in all the London periodicals !<br />
<br />
The Insurance of Manuscript.—I greatly doubt<br />
whether any fire office will insure manuscript<br />
against fire. But, looking to the hardship on<br />
having to replace it when burnt, I should say that<br />
authors would be willing to pay sufficient pre-<br />
miums. Can any friend tell me of an office<br />
willing to insure ?<br />
<br />
Reviewing.—In the August Jdler attention is<br />
very properly called by Mr. Jerome K. Jerome to<br />
the impropriety of the same reviewer dealing with<br />
a book in more periodicals than one. This practice<br />
<br />
R2<br />
<br />
<br />
200<br />
<br />
is unfair (1) to the author, (2) to fellow re-<br />
viewers, (3) to the owners of the various<br />
periodicals, and (4) to the public, and should be<br />
discouraged by editors.<br />
<br />
The Library of the Authors’ Club.—The<br />
Authors’ Club should possess a small (the space<br />
being very limited), good, and very carefully<br />
gelected reference library. Could not the<br />
members unite in making the selection? I very<br />
respectfully suggest the following : The best<br />
dictionary of Quotations, “ Haydn’s Dictionary of<br />
Dates,” the best directory of newspapers, the latest<br />
edition of the “ Universal Dictionary ” of English,<br />
French, German, and Italian; the Directory of<br />
Directors ; the Stock Exchange Year Book ; the<br />
latest Hazell, Dod, Whitaker, Crockford, &c. ; a<br />
small atlas; the Inder Expurgatorius; a<br />
Continental Bradshaw; ‘ Notes and Queries ”<br />
from the beginning; a Liddell and Scott’s<br />
Greek Lexicon, a Jo Miller. Besides these books<br />
of mere reference, which might well occupy the<br />
whole of the principal bookshelf (the present one<br />
having been exchanged for a better), we might<br />
surely get together in small hanging bookcases<br />
a model collection of single volume classical or<br />
epoch-making books, such as “ Mill on Liberty,”<br />
“The Religio Medici,’ Burton’s “ Anatomy of<br />
Melancholy,” “ Don Juan,” Rousseau’s ‘ Confes-<br />
sions,” Emerson’s “ Essays,” “ Childe Harold,”<br />
Macaulay’s ‘“ Essays,” Rousseau’s ‘“ Contrat<br />
Social,” a Tennyson, a Marcus Aurelius, an<br />
Augustine’s Confessions, 4 Shakespeare, ‘ Les<br />
Miserables,” “The Sorrows of Werther,” “ The<br />
Leaves of Grass,” a Homer, Punch from the<br />
beginning, a Virgil, “ Essays and Reviews,’<br />
Boswell’s “ Life of Johnson,” “ Pepys’ Diary ” (not<br />
the new edition), “ Vanity Fair,” “ Pickwick,” &c.<br />
I purposely omit the works of living authors, and<br />
attempt no order of merit in my humble selec-<br />
tion for our Wvxns Iatpeov. As for price, I<br />
observe that the first fifty of Sir John Lubbock’s<br />
celebrated ‘“ Hundred Books,” now in the course<br />
of publication by George Routledge and Sons,<br />
may be bought for £8 os. 6d., or @ little more<br />
than three shillings per book.<br />
<br />
Corrections of proofs.—A high official of the<br />
British Association complained at the annual<br />
meeting that the corrections on the proofs of the<br />
scientific contributions sent to him had greatly<br />
increased the printing expenses of the association,<br />
the cost of the corrections of one single contribu-<br />
tion alone amounting to £25. How could such<br />
waste be checked ? Corrections are rendered neces-<br />
sary by four main causes, being (1) bad writing or<br />
composition by author; (2) bad distribution, com-<br />
position, or reading by printer; (3) insufficient<br />
instructions of author or publisher to printer;<br />
and (4) after-thoughts of author, or after evens<br />
<br />
THE AUTHOR.<br />
<br />
or discoveries, as where a legal author has had<br />
his solution of some doubtful point cleared up<br />
by Act of Parliament. Of these causes the first<br />
three are all clearly preventible causes, ¢.g., the<br />
evils of bad handwriting may be avoided by<br />
taking lessons in handwriting or having the<br />
MSS. type-written. The evils of many after-<br />
thoughts or after events, &c., may be mitigated<br />
by giving instructions for proofs in slips instead<br />
of sheets. As to bad writing, I observe with<br />
satisfaction that the late Master of Balliol is<br />
spoken of in one of the many notices of him<br />
as having emphatically denounced it, as did the<br />
late Lord Palmerston and Sir Arthur Helps.<br />
<br />
Mottoes.—A motto on the title-page of a book,<br />
and even at the head ot each chapter, is, I think,<br />
a good appendage. What could be more happy,<br />
for instance, than Dr. Liddon’s “ Stemmata qud<br />
faciunt?” as a motto to the chapter of Dr.<br />
Pusey’s biography, which sets out his ancestry ?<br />
The difficulty, of course is to keep all your<br />
mottoes up to the mark; this is perhaps got over<br />
by little dashes into original poetry.<br />
<br />
Machine-cut pages and paged tables of contents.<br />
—By way of crambe repetita let me once more<br />
implore all authors and publishers to have their<br />
books machine-cut; the cost is but ten shillings<br />
for each thousand books. And let all the pro-<br />
prietors of newspapers follow the example of<br />
Truth and the Author, and have the pages of<br />
their newspapers machine-cut. And let all<br />
proprietors of newspapers follow the example of<br />
Bradshaw's Guide, the Saturday Review, Good<br />
Woods, and the Author, and have paged tables of<br />
contents on their front pages. It is no use to<br />
answer that these front pages are wanted for<br />
advertisers. These would, I contend, gladly give<br />
a little more than even they do now for front-<br />
page advertisements in consideration of the<br />
increase of front-page readers which a front-page<br />
table of contents would certainly bring.<br />
<br />
The Laureateship.—Though the greatest of the<br />
laureates has now been dead for more than a<br />
year, his place is still not filled up. Iam credibly<br />
‘nformed that the salary of £99 a year 1s not<br />
quite one-fifth of the amount expended on a<br />
single discharge of one of our heavy guns, and<br />
it has been said that each of our minor poets is<br />
so zealous for the public purse that he would<br />
rather that this £99 were no longer taken there-<br />
from, than that it should be handled by any poet<br />
but himself. For my own part (and auch’ to son<br />
poeta, as anybody who has seen my pathetic but<br />
unpublished lines on the death of a favourite cat<br />
can testify) I really think that somebody or other<br />
ought to be appointed without further delay.<br />
<br />
J. M. Ley.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
+ sau<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
M. ZOLA AND ANONYMITY.<br />
<br />
<br />
<br />
NW ZOLA has comeand gone. Mayall good<br />
M attend his visit! It seems to have<br />
<br />
® surprised the French that we should<br />
know anything about their great “realist,” and,<br />
knowing, that we should honour his genius. I<br />
fear that there are not many English authors who<br />
would receive in Paris the homage which has been<br />
paid to M. Zola in London. AS author, M. Zola<br />
is worthy of all the attentions which our own<br />
craftsmen have heaped upon him. His books sell<br />
by the hundred thousand, therefore he is a very<br />
proper man for authors to entertain. Nothing<br />
should be grudged to the literary man who has<br />
so gloriously upheld the market for books.<br />
<br />
But that the journalists should also have<br />
fallen prostrate before M. Zola, receiving instruc-<br />
tion in the art of public writing, was, I own, a<br />
little surprismg. M. Zola is not known as a<br />
great journalist. Even were he one of the kind<br />
which is bred in Paris, is it not a little<br />
too much that he should come over to lecture us<br />
on the first principles of journalism? Is Eng-<br />
land, the mother of newspapers, to be taught how<br />
articles should be written? For one kind of<br />
Press-man, the descriptive reporter, the works of<br />
M. Zola are doubtless a complete education. From<br />
them he will learn the art of saying common<br />
things to the best effect, of describing little<br />
things in so earnest and simple a manner as_ to<br />
make them seem great, of giving to fiction by the<br />
telling of it the air of truth. But journalism<br />
proper—which includes criticism, political and<br />
literary—is this also an art in which we islanders<br />
are so defective that we must get a first-rate man<br />
of letters from Paris to teach us?—I read with<br />
great interest that, immediately after landing for<br />
the first time in his life on these perfidious shores,<br />
M. Zola proceeded to lecture a select body of<br />
literary persons on the elements of journalism.<br />
Weare, it seems, in possession of an antiquated<br />
and quite obsolete institution called Anonymity,<br />
which destroys the personality of the writer, and<br />
makes it impossible for him to rise to the ‘level<br />
of the French newspaper man. While we are<br />
crushed under a brutal and soulless machine—<br />
brutal of course it must be, being English—the<br />
French, “‘ broken and turned up by incessant revo-<br />
lutions,” have arrived at that blissful state where<br />
the individuality of the writer is triumphant—<br />
where there is a ‘“‘ magnificent ardour of life with<br />
a generous expenditure of courage and of ideas,”<br />
A picture is drawn of the down-trodden British<br />
journalist, without hope of decorations or retir-<br />
ing pensions, uncheered by the casual duel or<br />
action at law, wearing out his soul as “a mere<br />
<br />
201<br />
<br />
wheel in a great machine’”—whom nobody<br />
knows, whom ‘nobody sees—fulfilling his d: aily<br />
task as a docile instrument, without even the<br />
hope of a little celebrity as a “ delicious reward<br />
for a life of effort.”<br />
<br />
As a contrast to this gloomy picture, M. Zola<br />
gives us the journalist of France, emancipated, as<br />
we are asked to believe, thr ough the uprising of<br />
amore generous national spirit, from anonymity.<br />
As a matter of fact, the transition from the<br />
anonymous to the signed article was effected, not<br />
because “ the nation would have nothing more to<br />
do” with the former, but because a decree of<br />
Napoleon III. in 1850 made the signing of the<br />
article in every French newspaper compulsory.<br />
This law was violently resented at the time as an<br />
encroachment on the national liberty. Thus it<br />
<br />
was not from choice but from necessity—not as<br />
the outcome of a long process of evolution, but as<br />
the arbitrarily- imposed command of their master,<br />
who certainly had no thought of cultivating any<br />
new ardour of life, that ibe French came to<br />
that condition ee with individuality, for<br />
which we are now called upon to exchange our<br />
old, effete, and brutal anonymity. All this fine,<br />
flowing talk about the signature to the article<br />
being a kind of new birth in France, the mark<br />
of a higher development, reached through per-<br />
petual revolutions—about “the craving to fight in<br />
the front rank, the face uncovered, and in the<br />
glory that is therefore to be won by hurling one’s<br />
name into the midst of the conflict’’—is mere<br />
flummery, and in itself a very good sample of<br />
the kind of journalistic stuff which “ individu-<br />
ality” tends to produce. This overflowing of the<br />
individual, this ardour of combat, limited only by<br />
the harmless rapier and the pistol at thirty yards,<br />
this expenditure of courage and of ideas, English<br />
readers have special opportunities for studying.<br />
For is it not mainly at their expense that the<br />
show is maintained ? There is not a day passes<br />
in which we do not see this admirable new French<br />
journalism in exercise How greatly superior in<br />
truth as in knowledge, in honesty as in intelli-<br />
gence, does not the state of France confess,<br />
where the stupid forgeries of an obscure mulatto<br />
could revive to a fever heat the old rage against<br />
perfidious Albion—where a Boulanger could<br />
seriously threaten a revolution—where the Panama<br />
Canal could be gravely upheld as a national under-<br />
taking, by the means that we know of—where, as<br />
the last “ardour of life,’ we see the newest of<br />
Republics in a frenzy of delight over the coming<br />
of the Russians.<br />
<br />
As Lord Beaconsfield said, every nation has the<br />
government it deserves. So every nation has the<br />
Press which it merits. But to hold up French<br />
journalism as the model which England should<br />
<br />
<br />
202<br />
<br />
follow is a little intrepid. We have more to<br />
teach than to learn in the way of journalism ; we<br />
had the essence of the thing, which is the right<br />
of free speaking, long before M. Zola’s country-<br />
men knew anything or cared anything about<br />
it. When the Roi-Soleil was still exacting<br />
from his people a homage which would be<br />
abject in Annam, De Foe, the first of jour-<br />
nalists proper, was working with his pen for<br />
the establishment of English liberties. In a<br />
generation later it was a journalist, Jonathan<br />
Swift, who changed the fortunes of Europe, and<br />
turned the whole current of the world’s history.<br />
The power of Junius in his time was greater than<br />
has been exercised in polities by any indi-<br />
vidual writer in France, under his own name<br />
or any other. In some of these cases, it is<br />
true, the writers were not wholly unknown,<br />
but it is not necessary for the preservation of<br />
anonymity that the individuality of the writer<br />
should be concealed. In England, even in<br />
political writing, it is seldom that absolute secrecy<br />
can be preserved, even as to the authorship of<br />
the individual article. The essence of the<br />
English system, which M. Zola does not appear<br />
to know, is that the individuality of the writer,<br />
whether known or not, is merged in that of the<br />
journal—the lesser and more imperfect responsi-<br />
bility in the larger and more complete. In one<br />
sense, and in the proper and legal sense, no news-<br />
paper in England is anonymous. All journalism<br />
is signed, for every journal bears, in the imprint,<br />
the name of the publisher. All beyond is un-<br />
necessary, and to seek to know more is imperti-<br />
nence. The theory of our system—the theory<br />
which is the life of every Free Press, where even<br />
before the writer comes the public—is, that the<br />
thing written, not he who writes it, should be the<br />
first object of regard. An English journal is a<br />
corporate body, which speaks with more than the<br />
authority, as it has necessarily more than the<br />
responsibility, of any single writer. Hence it<br />
comes about that the name of the individual<br />
writer is not wanted, which the public has no<br />
right to ask for, and in general does not care to<br />
know. This is our system, which as it has grown<br />
naturally out of our life in the process of the<br />
development of English liberty, we have a right<br />
to consider the best for ourselves—altogether<br />
declining to say whether it is the abstract best, or<br />
good for every nation.<br />
<br />
Certainly the experiment of the contrary prin-<br />
ciple in France is not likely to make us enamoured<br />
of itin England. Nor does it appear that M.<br />
Zola desires any immediate change in the Eng-<br />
lish system of anonymity in political writing.<br />
But in literary criticism, which is quite another<br />
thing, we are exhorted, with more show of reason,<br />
<br />
THE AUTHOR.<br />
<br />
to make a change. In criticism, we are told,<br />
there is *‘a creative function which distinguishes<br />
it from a mere summary or report,’ such as a<br />
“leader” is supposed to be. ‘It calls for per-<br />
sonal penetration, for logical power, not to<br />
mention a very wide erudition.” The assumption<br />
that the political article needs no penetration, or<br />
logic, or learning, comes naturally from a French<br />
journalist who knows no English. There is<br />
something doubtless in M. Zola’s argument,<br />
though scarcely enough to induce us to do away<br />
with the anonymous, even in literary criticism. We<br />
have tried the signed review, and I do not<br />
know that either literature or criticism is the<br />
gainer. Certainly the public is not. I doubt<br />
whether even the author prefers the signed<br />
review to the anonymous criticism for which the<br />
whole journal is responsible. After all, the<br />
freedom of literary opinion is of smaller im-<br />
portance than the freedom of political opinion;<br />
and if the public prefers its literary or its<br />
dramatic criticisms signed, signed they will be—<br />
though in most cases it will be hardly necessary.<br />
There is too much of the individual already, as<br />
some think, in our criticisms, which would be<br />
freer, and truer, and more honest, if they were<br />
more general—less personal and more abstract.<br />
We have experience of both systems in England,<br />
and there seems to be no good reason for pre-<br />
ferring the French to the English system.<br />
We have the critic who signs his name, and<br />
the critic who elects to remain anonymous,<br />
though not necessarily unknown. As one of<br />
the “old journalism,’ with a tolerably large<br />
experience of both states, having been reviewer<br />
and reviewed, I cannot understand why the<br />
author or the public, who are the two parties<br />
most concerned, should prefer to have their lite-<br />
rary reviews signed. For the critic himself, I can<br />
perceive that there are some reasons, not uncon-<br />
nected with self-advertisement, why he should be<br />
revealed in his own individuality.<br />
<br />
Certainly in M. Zola himself we have a product<br />
of journalism perhaps the most striking the age<br />
has yielded. He is a child of that very genius<br />
he has so gloriously depicted, with all its ardour<br />
of life, its fever of individuality, its break-neck<br />
gallop towards every glimpse of a new world.<br />
Yet the journalism which M. Zola represents is<br />
that French journalism which, with all its<br />
delights, its passions, and its ambitions, I do<br />
not know to be so good a thing for us English as<br />
that we should be in a hurry to give up in<br />
exchange the greatest work of our own freedom.<br />
<br />
H. E. W.<br />
<br />
<br />
<br />
<br />
<br />
wo<br />
<br />
<br />
Ke<br />
<br />
a<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
THE AUTUMN PUBLISHING SEASON.<br />
<br />
<br />
<br />
HE “announcements ”’ of the season have been<br />
iT appearing, as usual, in the Atheneum.<br />
The following is an analysis of the lists<br />
which seem now to have been completed. The<br />
order followed is the order of their appearance in<br />
the Atheneum :<br />
<br />
Ward, Lock, and Co.: Fiction, 6 works; travel,<br />
3; verse, 1; biography, 1; book for girls, 1<br />
technical book, 1; total, 13.<br />
<br />
Hutchinson: Fiction, 17; a Library for Boys,<br />
10; a Library for Girls, 10 ; general literature,<br />
3; total, 40.<br />
<br />
Cassell: Astronomy, 3; memoirs, 2; history,<br />
E; fiction, 14; science, 3; art, 2; religion, 2;<br />
geography, 2; miscellaneous, 7; total, 36.<br />
<br />
Macmillan: Poetry, 2; illustrated books, 6;<br />
new editions, 6; fiction, 4; “The Eversley<br />
Series,” 6; literary history and criticism, 3;<br />
biography, 6; history and archeology, 7;<br />
“Englsh Citizen Series,” 3; theology, 10;<br />
philosophy, 2; miscellaneous, 5; classics and<br />
education, 33; total, 93.<br />
<br />
Lawrence and Bullen: Two reprints, illus-<br />
trated.<br />
<br />
Blackie and Son: Educational, 10.<br />
<br />
T. and F. Clark: Science, 1; religion, 3.<br />
<br />
Sunday School Union: Fiction, 13.<br />
<br />
F. V. White and Co. : Fiction, 3.<br />
<br />
Clarendon Press: Theology, 10; Greek and<br />
Latin, 12; Oriental works, 5; general litera-<br />
ture, 3; history, biography, and law, 12; English<br />
language and literature, 5; philosophy, 5;<br />
sacred books of the Hast, 4; miscellaneous, 10;<br />
total, 66.<br />
<br />
Messrs. Heineman and Co.: Memoirs and<br />
biography, 7; “Great Educators” series, 2;<br />
general literature, 7; fiction, including transla-<br />
tion, 26; total, 42.<br />
<br />
Mr. Nutt: Reprints, 6; fairy and folklore, 3;<br />
miscellaneous, 7 ; total, 16.<br />
<br />
Messrs. W. and R. Chambers: Fiction, 8;<br />
reprints, 2; biography, 3 ; educational, 6 ; total, 19.<br />
<br />
Messrs. Bliss, Sands, and Foster: fiction, 8;<br />
illustrated books, 3; topography, 1 ; total, 12.<br />
<br />
Messrs. Oliphant, Anderson, and Ferrier :<br />
Fiction, 12; religion, 8; total, 20.<br />
<br />
Sonnenschein and Co.: Theology and philo-<br />
sophy, 12; history and topography, 7; belles<br />
lettres, 12; social science, 17; education, 14;<br />
fiction, 9 ; total 71.<br />
<br />
The 8.P.C.K.: History, 4 ; science, 2 ; theology,<br />
5; devotional, 4; books for girls, 29 ; total, 44.<br />
<br />
Putnam: History and topography, 15; social<br />
science 5 ; fiction, 18; religion and philosophy, 4;<br />
belles lettres, 7 ; miscellaneous, 3; total, 52.<br />
<br />
><br />
<br />
203<br />
<br />
A. and ©. Black: History and topography, 2 ;<br />
fiction and re-issues, 12; theology, 5; social<br />
science, 2; natural science, 2; total, 23.<br />
<br />
A. D. Innes and Co.: Religion,<br />
lettres, 2; fiction, 19; total, 24.<br />
<br />
Skeffington and Sons: Theo.ogy and devotion,<br />
I5 ; verse, 1; fiction, 2; total, 18.<br />
<br />
Griffith, Farran, and Co.: Books for the young,<br />
20; total, 20.<br />
<br />
Messrs. Henry and Co, : Fiction and drama, 8;<br />
miscellaneous, 4; total, 12.<br />
<br />
Chapman and Hall: Fiction, 3; history and<br />
topography, 5; sport, 2; science and art, 6;<br />
philosophy, 1; miscellaneous, 3 ; total, 20.<br />
<br />
Rivington, Perceval, and Co.: History and<br />
theology, 4; art, 2; travel, 1; schoolbooks,<br />
various, 59; total, 66.<br />
<br />
Fisher Unwin: Belles lettres, 5; verse, 1;<br />
biography, 8; history, 5; travel, 7; theology, 2;<br />
fiction, 28 ; total, 56.<br />
<br />
Allen and Oo.: Travel, 6; fiction, 5; natural<br />
science, 3; miscellaneous, 2; total, 16.<br />
<br />
Hodder and Stoughton: Theology and mission<br />
work, 17; biography, 3; belles lettres, 2; topo-<br />
graphy, 2; science, 1; stories, 4; total, 29.<br />
<br />
Walter Scott: Contemporary Science Series, 3 ;<br />
dramatic criticism, 3; fiction and fairy tales, 4 ;<br />
Scott Library, 4; total, 14.<br />
<br />
Elkin Matthews and John Lane: Verse and<br />
drama, 12; belles lettres, 23.<br />
<br />
Warne and Co.: General literature, 4; topo-<br />
graphy, 3 ; miscellaneous, 4; fiction, 4 ; Favourite<br />
Library, 1; Adventure Library, 4; Welcome<br />
Library, 7; total, 27.<br />
<br />
Cambridge University Press: Theology, 9 ; law<br />
and history, 4; Greek classics, 6; Latin classics,<br />
4; grammar and composition, 5; antiquities, 4;<br />
total 32.<br />
<br />
Methuen: Speeches, 1; fiction, 9; classics, 2;<br />
translations, 2; verse, 2; history, 3; grammar<br />
and composition, 3; Commercial Series, 2; social<br />
questions, 2; total, 26. :<br />
<br />
Wells Gardner and Co.: Theology, 7; topo-<br />
graphy, 1; verse, 1; social questions, 3; fiction,<br />
7; total, 19.<br />
<br />
Routledge and Sons: Reprints and re-issues,<br />
8; Popular Library, 2; history, 3; total, 13,<br />
<br />
Williams and Norgate: Science, 2; theology,<br />
4; biography, 1; German, 5; philology, 2;<br />
translations (Greek, 1; Arabic, 1; German, 1);<br />
3; total, 17.<br />
<br />
Nimmo: Fiction and romance, 2; botany, 1;<br />
topography, 1; total, 4.<br />
<br />
Blackwood and Sons: Memoirs, 3; travel and<br />
topography, 3; theology, 1; belles lettres and<br />
translations, 4; agriculture, 3 ; total, 14.<br />
<br />
Sampson Low and Co.: Travel and topo-<br />
<br />
3; belles<br />
204<br />
<br />
graphy, 11; fiction, 11; theology, 2; science, 3;<br />
memoirs, 3; belles lettres, 6; total, 36.<br />
<br />
Masters and Co.: Theological and devotional,<br />
11; tales, 2; miscellaneous, 1; total, 14.<br />
<br />
Clowes and Sons: Law, 6; total, 6.<br />
<br />
Gay and Bird: Book for girls, 1; general lite-<br />
rature, 4; fiction, 2; drama, 1 ; verse, 1; total, g.<br />
Bemrose and Sons: Theological, 4; total, 4.<br />
<br />
Partridge and Co.: Biography, 1; religion, 3 ;<br />
fiction, 12 ; natural history, 1; total, 17.<br />
<br />
Jones, Mac Lehose, and Sons: Theology, 2;<br />
science, 2; belle lettres, 3; total, 7.<br />
<br />
Nelson and Sons: History and biography,<br />
5; verse, 1; fiction, 6; natural history, 2;<br />
dictionary, 1; total, 15.<br />
<br />
Suzal and Co.: Educational, 1; theology, 1 ;<br />
history, 2; total, 4.<br />
<br />
The total, so far, is 1153.<br />
<br />
rec<br />
<br />
THE SIXTH CENTENARY OF BEATRICE.<br />
<br />
<br />
<br />
Not ours the rhythmic vesture, to array<br />
<br />
The Queen of Dante’s minstrelsy aright :<br />
<br />
No more the Master-singer’s harp of might<br />
<br />
May yield his deathless homage to her sway.<br />
Yet we, who watch this soft six-hundredth May<br />
Break into bloom o’er Arno’s banks, delight<br />
<br />
To hymn her praise, who mocks the ages’ flight,<br />
And whose pure Fame is young as yesterday.<br />
<br />
Still through the world’s. rough war, the foemen’s stress,<br />
Earth’s Pilgrims strain unconquered to the goal,<br />
Cheered by the Lady of all loveliness,<br />
And ever glorying in her sweet control.<br />
Still smiles for Poet hearts, who heavenward press<br />
Through purifying pain, the Woman’s soul.<br />
<br />
C. A. KELLY.<br />
<br />
Peoacs<br />
<br />
BOOK-TALK.<br />
<br />
<br />
<br />
HE “Society of English Bibliophilists”’<br />
announces a new translation of the Hepta-<br />
meron. Since the Society does not print<br />
<br />
its address we are not able to find out if it has<br />
published anything previously from which we<br />
could learn what to expect. Its advertisement in-<br />
forms us that the work is newly translated into<br />
English from the authentic text of M. Le Roux<br />
de Lincy, and quotes from an essay upon the<br />
Heptameron by Mr. George Saintsbury. It<br />
appears, however, that this must not be taken to<br />
mean that the translation is by Mr. Saintsbury,<br />
nor yet that an essay has been written by him<br />
specially for this edition. The name of the real<br />
translator does not appear, and Mr. Saintsbury’s<br />
essay, referred to in the advertisement, is one, or<br />
<br />
THE AUTHOR.<br />
<br />
the part of one, published by him some time<br />
ago.<br />
"tt may be well to consider the position of the<br />
English reader with regard to this sixteenth<br />
century classic. The English editions of the<br />
Heptameron are as follows :—The earliest trans-<br />
lation is by Codrington, published in 1654. The<br />
next, the work of several hands, and published in<br />
1750, and a third in one of Bohn’s libraries by<br />
Cc. A Kelly, published in 1840. In 1886 a trans-<br />
lation by A. Macheen, privately printed, with<br />
plates by Flamengo, and a bibliographical preface<br />
—a scholarly and beautiful edition, which claims<br />
to give the whole of the original. In 1887<br />
there appeared a selection of this translation,<br />
with a preface, historical and critical, by Miss<br />
A.M. F. Robinson. There is also an American<br />
edition, with plates by Flamengo, published at<br />
Philadelphia. To this list we must add the<br />
special note in Prof. Baird’s History of the<br />
Huguenots, in which the difficulties surrounding<br />
the original are noted and dismissed. He says:<br />
“Her (Queen Margaret’s) most sincere admirers<br />
would hail with gratification any satisfactory<br />
evidence that the Heptameron was written by<br />
another hand,” and concludes: “It is a riddle<br />
which I leave to the reader to solve, that a<br />
princess of unblemished private life, of studious<br />
habits, and of not only a serious, but even a<br />
positively religious turn of mind—in short, im<br />
every way a noble pattern for one of the most<br />
corrupt courts Europe has ever seen—should, in<br />
a work aiming to inculcate morality, and<br />
abundantly furnished with direct religious exhor-<br />
tation, have inserted not one, but a score of the<br />
most repulsive pictures of vice drawn from the<br />
impure scandal of that court.”<br />
<br />
The difficulties, then, which surround the Hep-<br />
tameron are, first, the difficulty of authorship, for<br />
Brantome contradicts himself; at one time he<br />
says that the Queen wrote it in her litter—his<br />
own grandmother holding her ink-horn, and at<br />
another (as quoted by Bayle) he writes: “ Je ne<br />
scay si ladette Princesse a composé le dit livre<br />
dautant quwil est plein de propos assez hardis et<br />
de mots chatouilleux.” There is also the diffi-<br />
culty of identifying the characters and the<br />
peculiarity of language. The same kind of thing<br />
meets us in studying the Fairy Queen, but we<br />
can enjoy the poem without troubling about the<br />
identity of the knights and ladies, or going 100<br />
deep into linguistic peculiarities. These diffi-<br />
culties, however, are of a very different order<br />
from that of which the American professor has<br />
written so regretfully and so justly. It would<br />
seem that the work is one of those classics, @<br />
translation of which is always justifiable, but<br />
which always has to be justified. To the<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
historian it is invaluable. It enables him to form<br />
a fair estimate of the material civilisation of<br />
the time, together with its deep corruption of<br />
morals, because the persons represented are 3 eal<br />
persons, and the stories they relate are true<br />
stories. Put together, perhaps, to amuse the king,<br />
they owed much of their popularity to the fact<br />
that the original audience were able to recognise<br />
to whom the incidents—scandalous enough many<br />
of them—had occurred. That particular reason<br />
for reading and liking the work is denied us,<br />
even if with the help of recent criticism we<br />
could identify some of the characters. The<br />
time is past for anyone really to care. The<br />
chief merit of the work is the skill with which<br />
the gross vice, and, above all, the hypocrisy of<br />
the time, are held up to ridicule. Its use at<br />
the present moment is that it quickly gives the lie to<br />
all attempts to make out that the necessity of<br />
the sixteenth century reformation in teaching<br />
morals was due to the faults of the laity and<br />
not of the clergy. The latter may not have<br />
been so bad as has been stated, but they were<br />
certainly worse than they should have been.<br />
Professor Huxley’s new book, called ‘ Methods<br />
and Results,” consists of a short biography<br />
and nine essays published at different times<br />
between 1866 and 1870. It is in every way<br />
pleasant Sestae In the interesting biography,<br />
Professor Huxley tells us to what aims and<br />
duties he has always devoted his energies.<br />
He instances the popularisation of science, the<br />
development of scientific education to the endless<br />
series of battles and skirmishes over evolution,<br />
and tothe untiring opposition to that ecclesias-<br />
tical spirit, that clericalism which in England, as<br />
everywhere else, and to whatever denomination it<br />
may belong, is the deadly enemy of science. Of<br />
the nine papers, we are told that one—which treats<br />
of Descartes and his famous discourse—is to be<br />
considered as justifying the title methods, and that<br />
the remaining eight are results Of these the<br />
‘Physical Basis of Life” is perhaps the most w idely<br />
known, unless it be the “ Progress of Science,”<br />
brought out in the year 1887. “Professor Huxley<br />
shows that Descartes was the originator «f much<br />
of the now accepted teaching of the physiology of<br />
nerve and muscle. If the paper on animal<br />
autonation be too scientific for some readers, they<br />
may console themselves with the account of a<br />
soldier—a patient of Dr. Mesnet—which would<br />
seem to countenance the possibility of the divided<br />
personality, and consequently divide! moral<br />
responsibility, with which the reader is familiar<br />
in the story of Dr. Jekyll and Mr. Hyde. The<br />
final essays are political as well as_ scientific,<br />
“ Administrative Nihilism” deals with political<br />
philosophy, with a keen eye to practice in the<br />
VOL. Iv.<br />
<br />
205<br />
<br />
defence of the educational and scientific institu-<br />
tions of our day. But it is one of those remark-<br />
able essays which turn people into non-voters.<br />
For if the evolutionists cannot agree as to the<br />
limits of state action, how shall those to whom<br />
the cell as an individual, and the cell as a member<br />
of a group present difficulties enough, be able<br />
to grasp the conception of duty amongst<br />
the higher groups? With the “ coming slavery,’<br />
and the sins of legislators clear in our<br />
recollection, no contrast could be so complete as<br />
the Professor’s advocacy of State interference, but<br />
we must leave it to the reader to follow out for<br />
himself how the author justly claims to be a<br />
friend to the State and an enemy to clericalism.<br />
As a past president of the Royal Society, as the<br />
possessor of a literary style which Darwin envied,<br />
the words in which the Professor expresses “a<br />
hope that he had somewhat helped that move-<br />
ment of opinion, which has been called the New<br />
Reformacion,” are modest enough. Those who<br />
have been constant readers of Professor Huxley’s<br />
papers, and intend to revive their acquaintance<br />
in this and succeeding volumes, will think it a<br />
very large ‘‘ somewhat ”’ for one man.<br />
<br />
“ A History of New York, by Diedrich Knicker-<br />
bocker.”’ By Washington ‘Irving. Two new<br />
editions of this book are announced, the Van<br />
Twiller edition and the Peter Stuyvesant edition,<br />
each in two volumes. The latter is limited to<br />
281 copies, of which twenty-five are secured for<br />
sale in Europe. This is a work of which many<br />
would say that it deserves all the luxury that<br />
print, binding, and paper can do for it. But it<br />
cannot be denied that, of Irving’s works, it is not<br />
so much read—at least among the younger gene-<br />
rations—as the Alhambra and the Sketch Book.<br />
To the dwellers on the shores of the Hudson<br />
river, and to the descendants of the early colonists<br />
of Connecticut and Rhode Island, the book will<br />
always have a personal interest, but, admirable<br />
literary tour de force though it be, we fear its sun<br />
as a Classic has a little waned.<br />
<br />
A revised and annotated edition of the con-<br />
versations of Lord Byron and the Countess of<br />
Blessington has appeared with two memoirs of<br />
the Countess, one a contemporary sketch by her<br />
sister, the other written especially for this book<br />
by an editor whose name does not appear. The<br />
two memoirs supplement each other, and with<br />
the help of the notes there is little in the work<br />
which should not be clear even to those who have<br />
not made themselves familiar with the extensive<br />
literature upon Lord Byron, “ his friends, and his<br />
relations.” Now that Lord Byron’s fame as a<br />
poet is regularly assailed by the essayist, it is<br />
very interesting to try to estimate how much the<br />
atmosphere of scandal in which le moved, and<br />
<br />
8<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
206<br />
<br />
his habit of self-advertisement, had to do with<br />
his immense popularity. After reading this book<br />
there can be no doubt that they counted for<br />
much. The work has another use, as its title will<br />
suggest—we may make of it a test of the social<br />
refinement of the present time. We have no<br />
literary salons to-day, and we have no conversa-<br />
tion—on this subject hear Professor Mahafty—<br />
but if anyone chooses to compare the tall talk in<br />
this volume with our more ordinary chit-chat,<br />
though he may find the latter less worth record-<br />
ing, surely he must find it more amusing, owing<br />
its increased pregnancy, of course, to the much<br />
larger chvice of subjects now at our disposal. In<br />
1823 society talked about Lord Byron, and Lord<br />
Byron talked about himself. Practically there<br />
was no other topic. And yet again we are ahead<br />
of our grandfathers ; if we take up a chance<br />
volume of society memoirs of to-day, we shall<br />
find that, whether malicious things still be said or<br />
no, we have in the main acquired the better taste<br />
of not recording them. The editor of this<br />
edition is much to be congratulated on the re-<br />
issue of a work which must raise our opinion of<br />
society in the century’s last decade.<br />
J. W.S.<br />
<br />
(To be continued.)<br />
<br />
Pes<br />
<br />
LADY EASTLAKE.<br />
<br />
<br />
<br />
OME of us were children fifty years ago, and<br />
many of the children of fifty years ago still<br />
remember certain volumes which bore the<br />
<br />
name of John Murray, of Albemarle-street.<br />
They were covered in paper of a peculiarly ugly<br />
grey colour—a livid grey, —and, if I mistake not,<br />
they were described as forming “ The Traveller’s<br />
Library.” I remember Acland’s delightful letters<br />
from India, with their tragic ending, and Mrs.<br />
Poole’s “ English Woman in Egypt,” and others ;<br />
but, of them all, there was no volume to which my<br />
parents were so much attached as “ Letters from<br />
the Baltic.’ It was published in 1841, and at<br />
once placed Miss Rigby, who was then about<br />
twenty-five, in a good rank in literature. She<br />
immediately became a member of the little<br />
society, as it might be called, of which Sir William<br />
Smith, also just gone from us, was the chief. She<br />
shone chiefly as an art critic, not so much because<br />
she could draw herself, as because she had a very<br />
universal appreciation and enjoyment of what was<br />
good in any style, and had, besides, a remarkable<br />
faculty, too rare by far, for describing what she<br />
saw. She could do much more—she could discrimi-<br />
<br />
THE AUTHOR.<br />
<br />
nate. Her knowledge stood her in good stead<br />
when she married Mr. Eastlake, then an R.A.,<br />
but afterwards Director of the National Gallery,<br />
and a knight. She was thirty-three at the time<br />
of the marriage, and it is well known that her<br />
judgment and advice were frequently and freely<br />
invoked down to 1865, when Sir Charles died,<br />
That she was a judge of pictures was frequently<br />
proved when she exhibited one or another of her<br />
possessions, as, for instance, at the Royal<br />
Academy, in the winter shows of old masters ; but<br />
it seems strange that in none of the obituary<br />
notices, nor yet in the letters that have appeared<br />
in the papers, is her munificent gift mentioned—a<br />
memorial of her husband in the scene of his chief<br />
labours—a picture which was long considered to<br />
be unique. This is the “ St. Anthony and St.<br />
George” (No. 776 in the Catalogue of the Foreign<br />
Schools), painted by Pisano of Verona, who is so<br />
much better known for his bronze portrait medals.<br />
One other picture from his hand is in England,<br />
and a portrait at Bergamo may be his. This con-<br />
cludes the list of his works now extant, and demon-<br />
strates, apart from its beauty and finish, the<br />
priceless character of Lady EHastlake’s contribu-<br />
tion to the completeness of our National Gallery.<br />
<br />
Lady Eastlake continued, almost to the day of<br />
her death, to contribute to contemporary litera-<br />
ture, writing both in the Quarterly and the<br />
Edinburgh Reviews, chiefly on artistic subjects.<br />
She also corrected and continued Mrs. Jameson’s<br />
works for Messrs. Longman. Her “ Letters from<br />
the Baltic” were supplemented by some stories of<br />
“Tivonian Life.’ Her sister had married an<br />
Esthonian nobleman, which led to her taking<br />
much interest in a region so little known to most<br />
of us. Since her widowhood she lived in compara-<br />
tive retirement, surrounded, nevertheless, by a<br />
circle of enthusiastic friends. They could never<br />
sufficiently extol her personal beauty or her<br />
mental powers, which were in no way abated by<br />
her seventy-seven years and long illness. One<br />
gentleman (Mr. Flower) writes to the Times of<br />
Oct. 13: “Such characters are among the glories<br />
of English society, and should be thankfully<br />
remembered.” :<br />
<br />
<br />
<br />
W. J. 1.<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 />
NOTES AND NEWS.<br />
<br />
<br />
<br />
from the New York Evening Post, and to<br />
<br />
the opinions advanced by Mr. George<br />
Haven Putnam on the further amendment of the<br />
American copyright law. No one, outside the<br />
profession of the law, has a better right to be heard<br />
than Mr. Putnam, who has done so much already<br />
for the amendment of American copyright law.<br />
<br />
ET me call attention to the paper reprinted<br />
<br />
<br />
<br />
The Report of the Society for the Promotion of<br />
Christian Knowledge informs its supporters that<br />
it has circulated during the year a vast quantity<br />
of literature in many millions of books. It also<br />
states, with the complacency of the successful<br />
merchant, that a great circulation is the one thing<br />
most important. It is now two years since I<br />
pointed out in a little pamphlet, and in these<br />
columns, that there was another thing even more<br />
important than circulation, in a religious trading<br />
company, viz., that its methods of trading should<br />
not be such as might lay its directors open to a<br />
charge of sweating or of dishonesty. And Iasked,<br />
in general terms, what is thought of a man in<br />
trade who gives the producer a shilling for an<br />
article which he knows he is going to sell for<br />
ten or twenty shillings. I also quoted no less an<br />
authority than the Archbishop of Canterbury<br />
himself, who lays down as the first evil of the<br />
sweating system, “arate of wages inadequate to<br />
the necessities of the worker, or disproportionate<br />
to the work done.’’ Then cases were cited, three<br />
or four out of many. In one of these the society<br />
bought for £12 (!)—with a promise of more if the<br />
book was successful—a historical work, of which<br />
they sold 7000 copies at a profit of—how much?<br />
about £200, and then refused to give any more,<br />
Is £12 arate of wage proportionate to the work<br />
done ? There were other cases, but the leading<br />
charge brought by me was that the society<br />
deliberately, knowingly, and with open eyes, and<br />
in the sacred name of the Founder of our religion,<br />
buys books from their authors at prices which,<br />
compared with the profits they make on them, are<br />
as one to five, six, ten, or anything you please.<br />
This practice they have never disavowed, or con-<br />
fessed, or, so far as I know, changed. And again<br />
Task those who read these pages what they think<br />
of such a practice ?<br />
<br />
It is absurd to say that the imprint of the<br />
letters S.P.C.K. causes the sale of the books,<br />
because such may be said by any great firm with<br />
equal truth. But the great firm does not,<br />
in consequence, cut down the miserable author’s<br />
pay; on the contrary, the auth »r enjoys, in its<br />
<br />
207<br />
<br />
hands, not only terms which would make this<br />
committee jump out of their chairs, but the<br />
prestige of their name. I reproduce what was<br />
said in that pamphlet on the sweating pub-<br />
lisher. If the words can no longer be applied<br />
to the §.P.C.K. I shall unfeignedly rejoice :—<br />
<br />
The sweating publisher, then, is one who grinds down the<br />
faces of his unfortunate authors ; who offers a miserable sum<br />
for work which is going to bring him in a hundredfold<br />
profit; who scruples not to toss an author a ten-pound<br />
note for his labour, and without a pang of shame or<br />
remorse makes £50 or £100 or £500 profit for himself;<br />
who knows no law but the cruel law of supply and demand,<br />
and recognises no other right in an unfortunate author but<br />
his right to receive meekly the highest sum that he can<br />
obtain.<br />
<br />
There are many of these people abroad. They deal largely<br />
with the productions of women. The sweater, it is well<br />
known, works more comfortably by means of women.<br />
They are helpless, they are ignorant of business, they are<br />
yielding ; if they cannot be frightened they can be cajoled.<br />
And literary women, again, are timid about their own work,<br />
not knowing what amount of stability they have achieved or<br />
what is the extent of their popularity. Therefore the sweater<br />
can do what he pleases with them. If they venture gently<br />
to remonstrate, he bullies them; if they weep and entreat<br />
he threatens. He enjoys making them feel that he is their<br />
master; he is never so happy as when he has them at his feet,<br />
humiliated and submissive. The sweater is always a bully<br />
as well as a sweater.<br />
<br />
He has got all kinds of excuses for hissweating. His first<br />
excuse—in fact the words are seldom out of his mouth—is<br />
that there is perfect freedom of contract between himself<br />
and his authors. Itis take it or leave it. Here is a sum<br />
of money, there is the M.S. Thatisall. There is no other<br />
consideration.<br />
<br />
Freedom of contract! It is freedom of contract when the<br />
wretched seamstress toils all day long—a day of sixteen<br />
hours—for 11}d.—or less. She is free to take it or to leave<br />
it. Itis freedom of contract when the poor woman who<br />
<br />
“writes for her bread submits a manuscript which has cost<br />
<br />
her weeks and months of labour ; yes, and that of a kind<br />
which requires, before it can be produced, a pure heart, a<br />
lofty soul, a brain rich with knowledge and a-glow with ideas,<br />
fancies, and imaginings, and a trained hand. Such a<br />
woman is a most precious gift and blessing to the generation<br />
in which she lives and works. She may be a most potent<br />
force in the advancement of humanity. But she is alsoa<br />
most sensitive and delicate instrument. And she has to<br />
deal with a sweater! She goes to him trembling, because<br />
she knows what to expect. He will toss her £10, £20, £30,<br />
£50, whatever it may be. And out of her book he will make<br />
to himself a profit of ten, twenty, fiftyfold.<br />
<br />
Freedom of contract! No greater mockery, no greater<br />
cruelty than to speak of such a woman driven to such<br />
necessities, is free to choose—free to accept or to reject.<br />
She is not free, she is the slave of the sweater.<br />
<br />
<br />
<br />
From a letter. “Is it not time to leave off<br />
exposing frauds? Have we not exposed them<br />
enough? And will not the Society proceed to<br />
something practical — become publishers for<br />
authors on terms recognised as fair, with open<br />
books, and no secret profits?” Answer: It is<br />
never time to leave off exposing frauds until the<br />
practice and the possibility both become things of<br />
<br />
<br />
<br />
a<br />
208<br />
<br />
the past. Until then the Society must always act<br />
as a kind of police. As regards the third question,<br />
it must be remembered that the Society has certain<br />
specified objects, for which it is incorporated,<br />
expecially the defence of literary property ; that<br />
it has no power to go outside, or beyond, objects<br />
laid down in the memorandum of its Articles, I<br />
do not think, for instance—but it is for a lawyer<br />
to determine—that the Society could, under its<br />
Articles of Association, become a publishing<br />
company. Some day—perhaps very soon— unless<br />
some of the existing machinery is modified, a<br />
company of authors—men and women whose<br />
position is assured-—will form a publishing union<br />
of their own—just for theirown books. It would<br />
be perfectly simple to establish; there would be<br />
no possible risk about it, provided a manager<br />
could be found both honest and capable; and it<br />
would cost, to start, little more than the first<br />
year’s salaries and wages of a small stat. This<br />
work is not, I think, for the Society, but for<br />
authors when they have learned at last their<br />
individual strength and the power of Association.<br />
<br />
<br />
<br />
Quite a common gibe to cast at the Society is<br />
that it “helps” no one, meaning that it gives<br />
money to no literary person in trouble. A<br />
certain person, writing in the Daily Chronicle<br />
last July, stated, with admirable taste and feeling,<br />
that he himself had “helped” more literary<br />
people in distress than the whole Society of<br />
Authors. Very likely. If he ever gave a literary<br />
man in trouble a single half-crown he was quite<br />
justified in his boast. But the Society “ helps ”<br />
many literary men and women ina much more<br />
lasting manner when it keeps them from robbery<br />
and from robbers. Which is better, to teach a<br />
whole class of workers what their work means,<br />
and to make it increasingly difficult to overreach<br />
them, or to give a shilling to a man in distress ?<br />
The relief of distress is not one of the objects of<br />
the Society, and it cannot spend any portion of its<br />
funds for that purpose.<br />
<br />
<br />
<br />
=——<br />
<br />
“Are we right to encourage young men and<br />
maidens into the fields of literature?” This is<br />
a question which has been often put. Answer:<br />
Do we so encourage them? It is true, as we<br />
have stated over and over again, that literary<br />
property, meaning the property produced by<br />
the traffic in work which is produced by us,<br />
and is our property unless we part with it,<br />
is of prodigious extent; to state the real facts<br />
is, surely, always advisable. It is also true that<br />
<br />
authors of successful educational books, above all;<br />
of scientific books, by men of reputation ;<br />
of historical books, by well-known scholars; of<br />
<br />
THE AUTHOR.<br />
<br />
fiction, when it is by a popular writer, command,<br />
each and all,a market which for extent and for<br />
certainty has never yet been equalled in the<br />
history of literature. It is also true that this<br />
market is enlarging rapidly, even daily, and that<br />
there appears to be no limit to its enlargement ;<br />
and that the position of the popular author in any<br />
of the departments named above will, unless the<br />
author sink into the mere hack of the publisher,<br />
whicha few years ago seemed possible and _pro-<br />
bable, become the most enviable in the world, not<br />
only for the reputation he will enjoy but for the<br />
revenues he will command.<br />
<br />
<br />
<br />
Se<br />
<br />
All this is true, and it is good to state it<br />
openly and often, and to keep on repeating it, so<br />
that it may never be forgotten. Unfortunately,<br />
the number of those who can ever occupy a posi-<br />
tion so enviable will always remain very, very<br />
small; and the number of books which every<br />
year can hope to obtain anything like a popular<br />
success will also be very small. For instance, in<br />
to-day’s Times there are advertised eighty new<br />
books. The list includes about a dozen paid for<br />
by the author. Of the rest, all, I should think,<br />
will pay their expenses and something over; but<br />
there are probably not half a dozen which can<br />
be looked upon as likely to increase literary pro-<br />
perty.<br />
<br />
<br />
<br />
Aspirants, whatever one says, well crowd in.<br />
If one dissuades them, they think, and say, that<br />
we want to make a ring. If we point to the last<br />
paragraph, they return to the previous paragraph.<br />
Well; they must crowd in if they like. When<br />
they fail, as most must do, they may console<br />
themselves with the reflection—also true—that<br />
literary merit and popular success are things<br />
which cannot be measured, or compared, and then<br />
they may further solace their disappointed souls<br />
with the thought that popular success is cheap<br />
success, which is always a comforting thing to<br />
say; and that, after all, the real genius is the<br />
man who fails to #:hieve that success.<br />
<br />
Water Besant.<br />
<br />
ee<br />
<br />
THACKERAY’S WOMEN.<br />
<br />
<br />
<br />
II.<br />
TOO, am a great admirer of Thackeray’s<br />
| genius; and I, too,am a woman, and cannot -<br />
but wish, with the correspondent: in .the<br />
Author for October, that Thackeray had drawn<br />
his portraits of women with a more generous hand.<br />
For it has been his good pleasure to draw us either<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
coldly base orangelically inane. An American lady<br />
once asked Thackeray why he made his women<br />
either knaves or fools? To which he replied,<br />
“Madam, I paint your sex as I have found<br />
them.”<br />
<br />
Yet I do not think he was the harsh cynic<br />
these wor’s imply him to have been. I imagine<br />
rather his meagre portraits of women to have<br />
arisen from two causes—firstly, the sadness of<br />
his personal lot; and, secondly, that he painted<br />
only from one narrow section of social lite—the<br />
artificial society phase of it—upon whose barren<br />
soil blossoms little feminine mental or moral<br />
loveliness. It is true that, amid the same condi-<br />
tions of life, his men emerge far nobler than his<br />
women; yet may this not be due to the fact of<br />
men, even in fashionable life, being called to the<br />
more active business of life—the fighting branch<br />
—in for-ign countries, and winning their way in<br />
professions more or less arduous. His finest<br />
men—the characters for whom he seems to have<br />
had the greatest love—are oftenest old soldiers,<br />
such as Colonel Newcome and Major Dobbin.<br />
Their lives, even amidst wordly surroundings,<br />
were redeemed from the futility and pettiness of<br />
those of their wives and daughters.<br />
<br />
Thackeray’s business was to portray the women<br />
of his fashionable world—‘‘the world which<br />
amuses itself’? most generally at its neighbour's<br />
expense; and though he dwelt much upon the<br />
traditional weakness of the sex—its jealousies,<br />
small deceits,envy,and petty spite—still, at times,<br />
who has written more tenderly more reverently,<br />
with loftier moral justice, of women, than he?<br />
Take, for instance, for simple tenderness and<br />
reverence, those words from ‘ Vanity Fair,”<br />
when George leaves Amelia in the cold dawn of<br />
Waterloo :<br />
<br />
‘‘Heart-stained and shame-stricken, he stood<br />
at the bed’s foot and looked at the sleeping girl.<br />
How dared he—who was he—to pray for one so<br />
spotless? God bless her! God bless her! He<br />
came to the bedside and looked at the hand, the<br />
little soft hand, lying asleep, and he bent over<br />
the pillow noiselessly towards the gentle pale face.<br />
Two fair arms closed tenderly round his neck as<br />
he stooped down. ‘I am awake, George,’ the<br />
poor child said, with a sob.”<br />
<br />
His heroines had, indeed, a fatal knack of<br />
loving blindly the wrong man, when a better<br />
might have been theirs “for a word or a look.”<br />
But even George Eliot, with her larger-brained,<br />
more generously moulded woman, makes her<br />
nobler heroines fall into the same error. Tina<br />
loves a brainless fop, with loyal Mr. Gilfit<br />
standing by ; Maggie Tulliver loves the somewhat<br />
shallow Stephen instead of sensitive Philip. I<br />
doubt, herves and heroines would have to be drawn<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
209,<br />
<br />
quite irrespective of human reality could they be<br />
made to love only that which were worth the<br />
loving.<br />
<br />
I have not space to give extracts from<br />
Thackeray’s Miscellanies, in which there are<br />
passages showing how ethically just he was to<br />
women,-and fearlessly outspoken upon moral<br />
questions. This sentence, only, proves how pure<br />
of heart he was and loyal: “This supreme act of<br />
scoundrelism has man permitted to himself—to<br />
deceive women.”<br />
<br />
So little of Thackeray’s inner life is known: he<br />
revealed himself most in his letters to Mr. and<br />
Mrs. Brookfield. oe<br />
<br />
Perhaps he loved too deeply, and felt too<br />
keenly, the baseness of average human nature,<br />
for “the deepest truth blooms only out of the<br />
deepest love,” and that, by the irremediable<br />
sorrow of his life, was denied to him.<br />
<br />
GRACE GILCHRIST.<br />
<br />
Treganhoe, Penzance, Oct. 5.<br />
<br />
—$—<—So<br />
<br />
Il.<br />
<br />
The writer of a short article on ‘“ Thackeray’s<br />
Women” in last month’s Author says, at the end,<br />
that she should like very much to have someone<br />
else’s opinion on the subject. May I offer a few<br />
remarks concerning two, at least, of these women<br />
—the two heroines of “ Vanity Fair?” for it is<br />
they who (as in “‘ Ninguna’s ” article) are generally<br />
cited as typical instances of Thackeray’s inability<br />
to portray a real, lifelike woman. “ Ninguna’s”<br />
complaint that this great master of fiction did<br />
not understand women, and seemed to think that<br />
they were always either angels of kindness and<br />
goodness, or demons of wickedness, is a very<br />
common complaint, but, to my mind, a very<br />
unreasonable one. Iam not going to attempt to<br />
show that Thackeray did understand women, or<br />
to prove that Amelia Sedley and Becky Sharp<br />
are not, the one unnaturally angelic, the other<br />
unnaturally the reverse; but simply to suggest<br />
that they are not intended to represent realistic,<br />
lifelike characters, or even idealised characters,<br />
such as one expects to find in novels pure and<br />
simple.<br />
<br />
“Vanity Fair” is not only a novel; it is first<br />
and foremost a work of satire. Asa mere novel, I<br />
think it would be open to much other criticism<br />
than the unreality of its women; but as a work<br />
of satire it seems to me faultless.<br />
<br />
Its unnaturalness is the unnaturalness of cari-<br />
cature, and car:cature is an essential element of<br />
satire. It would be as unreasonable to look in<br />
Punch’s journal for perfectly well-proportioned,<br />
realistic drawings of human figures, as it is to<br />
find fault with Amelia Sedley and Becky Sharp<br />
<br />
<br />
210<br />
<br />
for being caricatures of goodness and wickedness.<br />
To interpret the nature and experiences of women,<br />
to expose their special grievances, to make him-<br />
self the champion of their rights and wrongs, was<br />
not the primary intention of the author of<br />
“Vanity Fair,’ and whether he could or could<br />
not do this is beside the mark: his object was to<br />
show up the vices, follies, and meannesses of<br />
society and humanity at large. The more we<br />
study “ Vanity Fair” as a great work of satire,<br />
the more I think shall we see how perfect it is as<br />
a whole and in all its parts, and how everything<br />
in it which seems exaggerated, unnatural, impos-<br />
sible, and which we may be inclined at first sight<br />
to condemn, is in reality essential to the complete-<br />
ness of the whole, and serves to emphasise the<br />
lessons intended to be conveyed. We must not<br />
fasten on particular incidents or traits of cha-<br />
racter, and criticise these independently of the<br />
author’s intention, any more than in examining<br />
the caricature of a face we should object to some<br />
one feature for being unnaturally large or small.<br />
Were we in the latter case to work up all the<br />
other features into proportion with the exag-<br />
gerated one, we should, no doubt, have before us<br />
a more harmonious and lifelike picture, but one<br />
in which the artist’s original intention would be<br />
entirely lost.<br />
<br />
eS<br />
<br />
SMALL BOOKSELLERS’ SHOPS.<br />
<br />
<br />
<br />
HILST various animadversions are pretty<br />
\ \ freely exchanged between authors and<br />
publishers, publishers and authors alike<br />
forbearingly refrain from any impeachment of a<br />
personage who is doing his uttermost to diminish<br />
the profits of both. That personage is the small<br />
retail bookseller. Just at present this individual<br />
is possibly “in a tight place.’ But his tactics<br />
are certainly directly inimical to the interests of<br />
both authors and publishers, as well as to his<br />
own interests, and to the advance of letters.<br />
<br />
It is strange that a bookseller should turn his<br />
hand against bookselling. What is to become of<br />
the tradesman who obstructs the sale of his own<br />
wares ? What of the market in which the sellers<br />
discourage the demand? Well—exactly what is<br />
becoming of the small retail book trade. But the<br />
ruin of this trade is a literary calamity.<br />
<br />
The importance of the retail bookseller cannot<br />
be exaggerated. He is the distributor by whose<br />
immediate agency almost every book must pass<br />
into the ha‘.ds of the reader. This work of dis-<br />
tribution is, at present, being performed by the<br />
large retail houses better than ever before—more<br />
intelligently, more widely, and upon more liberal<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
terms. But the lesser towns and the suburbs of<br />
the larger ones cannot maintain these expensive<br />
establishments. In such places the work of dis-<br />
tribution falls to the smaller booksellers. These<br />
men are serving a population in the aggregate<br />
much exceeding that served by the large houses.<br />
Unhappily, to this large population the small<br />
shops are distributing pretty nearly nothing.<br />
<br />
The reason is easily stated. The small book-<br />
seller will uot “stock.” He freely confesses,<br />
sometimes even boasts, that he keeps as little as<br />
possible upon his shelves. Consequently he sells<br />
as little as possible. The public at large do not<br />
buy what they cannot see; and a mean display of<br />
wares discourages purchase as directly as a good<br />
show attracts that curiosity which so greatly<br />
assists the retailer to sell. It is vain for the<br />
bookseller to plead that he is always ready to<br />
execute orders. Few people know how to order a<br />
book. The ordinary customer far oftener desires<br />
to be shown something new than to purchase a<br />
work with which he is already acquainted. And<br />
the enterprising tradesman does not merely meet<br />
demand, he fosters it. Nor does it seem possible<br />
that the trader himself should enter with the same<br />
zest into the execution of orders (at small com-<br />
missions) as into the busy enterprise of<br />
“placing” his own selected stock. It is in con-<br />
sequence of this last fact that the bookseller of<br />
the small town conducts his book trade half-<br />
heartedly—of course to his own detriment. Did<br />
he manage his collateral business of stationer,<br />
especially the “ fancy stationery’ department, in<br />
the same unenterprising fashion, his sales of<br />
paper and envelopes, photographs, and “fancy<br />
articles” would soon be as unsatisfactory as his<br />
sales of books.<br />
<br />
The man pleads in excuse that the policy which<br />
he is pursuing is one which dire necessity has<br />
forced upon him. Everyone with any knowledge<br />
of business will feel the seriousness of his state-<br />
ments. He says that people will not buy books.<br />
Even if they do so the discount leaves him no<br />
sufficient profit to make the transaction remune-<br />
rative. He must let the book trade slide, and<br />
fall back upon his “fancy stationery ”—or put up<br />
the shutters. There is some truth in what he<br />
says. It is also true that some publishers, know-<br />
ing the price at which he is compelled to sell,<br />
supply him on terms not quite so hard as he<br />
represents; whilst several first-class houses are<br />
bringing out works at “net” prices. Do those<br />
<br />
firms find that the smaller booksellers are proving,<br />
by the manner in which they “push” these<br />
volumes, that their gratitude is as great as it<br />
ought to be ?<br />
<br />
The circumstances of the small bookseller are<br />
at the present moment undeniably hard; but it<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. Qi<br />
<br />
is impossible to exonerate him from the charge<br />
of being, to some extent at least, the cause of<br />
his own misfortunes.<br />
<br />
Not half-a-century since, the country bookseller<br />
did a quiet, little, profitable trade. Books were<br />
dearer then. But purchasers were also fewer.<br />
The little country printing-press was much less<br />
in requisition. There were no photographs to<br />
sell; and booksellers did not deal in china. But<br />
the bookseller himself was a different man. He<br />
took an interest in his goods. He stood behind<br />
his own counter. His customers strolled into his<br />
shop, sometimes to make a purchase, often only<br />
to talk, and he encouraged their coming, as to a<br />
place of resort. They chatted with each other<br />
and with him. He showed them new works, and<br />
listened to what they said. In consequence he<br />
knew a great deal more about books than anyone<br />
else in the neighbourhood. And his knowledge<br />
of his wares, and of the tastes of his customers,<br />
made him a successful man.<br />
<br />
At present the bookseller of the small country<br />
town too often knows nothing about his wares.<br />
He is more ignorant of what he is selling than<br />
his customers are of what they are buying. Too<br />
often he knows so little about his own business that<br />
he makes the most foolish blunders in executing<br />
orders. Far too often he leaves his shop to be<br />
served by girls less acquainted with his goods,<br />
and with the art of disposing of them, than he is<br />
himself. He has a business which is the most<br />
intellectual of all businesses. He manages it<br />
in a way more unintelligent than any other<br />
retailer.<br />
<br />
People, he says, will not buy books. It is his<br />
place to help them to buy. Every man who buys<br />
books knows how great is the assistance given<br />
him by his bookseller. Could he do without it ?<br />
Let him consider the hopeless position of the<br />
country and suburban customer, who has no<br />
bookseller either willing or competent to assist<br />
him to purchase.<br />
<br />
A man keeps a shop for his own advantage. It<br />
is right that he should do so. It is right that<br />
every person concerned in a commercial transac-<br />
tion should find that he makes a profit. But if<br />
the small booksellers of England would return<br />
to bookselling, by themselves knowing something<br />
of their trade and their wares, and by intelli.<br />
gently persuading the people of England, m<br />
every corner of the land, to be book-buyers,<br />
they would do a great deal more than create<br />
for themselves a trade as profitable as highly<br />
creditable to their commercial enterprise. They<br />
might create a market of incalculable value to<br />
publishers and authors. They would advance<br />
throughout the land letters, learning, and that<br />
highest of all educations, the education which<br />
<br />
men and women give themselves by reading.<br />
They would be, instead of obstructors, bene-<br />
factors of their age and country.<br />
<br />
Let anyone only consider what would be the<br />
effect of booksellers’ shops in every little town,<br />
conducted with the same intelligence, the same<br />
enterprise, the same care to please, and the same<br />
skill in making a market which is invariably<br />
exhibited in the shop of the haberdasher.<br />
<br />
Henry CRESSWELL.<br />
<br />
<br />
<br />
“THE BOOK OF THE FUTURE” AND “THE<br />
HOROSCOPE OF BOOKS”: ACOINCIDENCE!<br />
<br />
<br />
<br />
‘JN the spring of this year we drew attention<br />
to a lecture by Mr. Blackburn, in which he<br />
tried to forecast the book of the future,<br />
<br />
with respect to its mechanical parts. The con-<br />
clusion he came to was that in order to stamp<br />
the author’s individuality on his work it should<br />
be in his own handwriting—beautifully written,<br />
and that it should be published to the world by<br />
means of photographic copies of this MS.<br />
<br />
The Pall Mall Gazette of Oct. 11 has also<br />
tried to forecast the future of literature, and erect<br />
the horoscope of books. By a curious coinci-<br />
dence, after going over some of the same ground,<br />
the writer comes to nearly the same conclusion as<br />
Mr. Blackburn so far as the mechanics of<br />
literary production are concerned. He, too, looks<br />
forward to a time when by a book will be meant<br />
some cherished original MS. passed from hand<br />
to hand. He is careful to tell us nothing about<br />
publication, because, fortunately or unfortu-<br />
nately, according to him, the profession of<br />
letters will have died out, as will be seen by<br />
the ensuing vaticination: ‘Then will come the<br />
days when men will write books for the love<br />
of it, will do so merely to read them again, or<br />
lend them to a choice soul now and then; and<br />
writing will be its own sole reward.’ The book<br />
of the future is thus described: ‘Your ideal<br />
book should flourish gaily when the author was<br />
merry, having then laughing scrolls in its §’s and<br />
L’s, and playful twiddles and quaint humorous<br />
dashes about the R’s and the Y’s and G’s. It<br />
should be plain, and keep to the lines when his<br />
argument was grave, and become heavy and<br />
large as thought or sorrow crept into his dis-<br />
course. Passionate emotion should shake his<br />
writing into an expressive illegibility. Every<br />
word in a properly constructed sentence should<br />
have its certain weight, which were best shown by<br />
the size of the writing.’ In either instance,<br />
<br />
<br />
212<br />
<br />
whether we consider the matter satirically with<br />
the P.M.G., or seriously with Mr. Blackburn,<br />
there remains a noble opening for forgery.<br />
<br />
CORRESPONDENCE.<br />
[.<br />
<br />
AutTHors AND PUBLISHERS.<br />
<br />
<br />
<br />
I.— BY ANDREW LANG.<br />
<br />
N the August Author (p. 70) I find a note on<br />
the “inimitableness ” of my remark that a<br />
writer may think his publishers offer him<br />
<br />
too much money. But the case has occurred in<br />
my experience ; mine is first-hand evidence, and<br />
good enough to prove a ghost story. Then Mr.<br />
Besant, in the Author for September, writes<br />
on myself and Mr. Buchanan. 1 have not seen<br />
Mr. Buchanan’s remarks, and can only take<br />
Mr. Besant’s word for it that his methods and<br />
opinions coincide with mine, and that mine<br />
include ‘the perversion of words.” Great wits<br />
jump. And here I find my sin. I said that the<br />
critic in the Author “decided” that there was a<br />
prejudice, and so forth, wt supra. But it seems<br />
that the critic did not decide that there was a<br />
prejudice, “he lamented the fact of a prejudice.”<br />
I did not say that he rejoiced in it. The verbal<br />
question seems to me a—verbal question. I meant<br />
that he stated (constatait) the fact (as he thinks<br />
it) that a prejudice exists—and what a prejudice !<br />
As to the generosity of publishers, we do not<br />
appeal to the “ generosity” of publishers. Nor<br />
are we dependent on publishers. They, and we,<br />
are alike dependent on the public. If the public<br />
does not want my poems, the publisher, if he<br />
accepts them, only does so from love of poetry.<br />
If the public does want them, so does the pub-<br />
lisher, unless they are improper .in any sense, or<br />
otherwise offensive to his private taste. In that<br />
event, there are other publishers. How in the<br />
world would authors be “independent,” if only<br />
dependent on the public? Surely the vast<br />
majority of persons who try to write would, still,<br />
under any arrangement, be utterly unbought and<br />
unread by the public. The whole contention is a<br />
mystery tome. Being a writer, naturally I know<br />
plenty of the profession. I never knew one who<br />
adopted the attitude of “the bending back ” and<br />
so forth, nor would that attitude do a man any<br />
<br />
ood. As to the author’s ignorance of the sum<br />
which should be his due, I presume that he finds<br />
out his market value, like other people, as soon<br />
as he is “ quoted,” in all senses. His first effort<br />
<br />
ig a shot in the dark. Let it even “ make an<br />
outer,” and he begins to know what he should be<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
paid Iam presuming that an author is not an<br />
idiot ; nay, that he can, if he chooses, do a simple<br />
sum in arithmetic. As long as publishers are<br />
publishers, and are employed by authors, an<br />
author has a middleman, as a_ barrister has.<br />
The arrangement is not ideal, but, till some<br />
other method be discovered, I conceive that, while<br />
author and publisher remember to act like honest<br />
and honourable men, we shall do very well. Inmy<br />
poor opinion, the author has the happier, the more<br />
free, and the better position—the best of the<br />
bargain. Even if the public be indifferent, still<br />
the author has the better of it. His vanity is<br />
comforted by being in print, and he may have<br />
admirers. ‘The publisher’s vanity is not soothed<br />
in any way when he puts forth a book of which<br />
the public is wholly independent. As to any<br />
system of “yecognised terms and proportions,”<br />
it might, to my knowledge, sometimes end in the<br />
author’s having to pay a recognised proportion of<br />
the cost of his whistle. However, as I think this<br />
very proper, when there is loss on a book, I have<br />
no objection whatever to seeing literature placed<br />
“on a footing of recognised terms and propor-<br />
tions;” I do not want to retard such a condition<br />
of affairs, for then we should be quite sure that<br />
we are not being overpaid. An author does not<br />
wish his publisher to lose by his book. Perhaps<br />
the Author thinks that this never happens. I<br />
am too well convinced of “the odious contrary.”<br />
I do not wish to “attack the Society.” “I wished<br />
to criticise some remarks about Literary Men and<br />
Mendicants, by a member of the Society. If the<br />
whole Society agrees that literary men go kneeling<br />
to publishers for “ generosity,” then their expe-<br />
rience is unlike my own. The cause of the<br />
Society, in my opinion, cannot be helped by state-<br />
ments of which, if I apprehend the meaning, I<br />
fail to observe the accuracy.<br />
<br />
As to the “ perversion of words,” my intellect is<br />
so blunt that I cannot understand wherein my per-<br />
version lies. Did the critic in the Author not assert<br />
the existence of a “ prejudice”? Ifhe “ lamented<br />
the fact” that a prejudice existed, was that not<br />
asserting, or, as I said, “ deciding” that there zs<br />
a prejudice ? His very words were: “ There is no<br />
doubt that some of the contempt which has | een<br />
freely poured upon the calling of letters, and is<br />
still poured upon it, is due to the prejudice which<br />
regards literary men as a set of needy mendicants.”<br />
T have stared at these words till the process would<br />
hypnotise me, if staring could hypnotise. And<br />
still they seem to me to “ decide,” to “ state,” to<br />
“affirm,” to “ assert,” to “maintain,” the exis-<br />
tence of this prejudice. If I pervert their<br />
meaning, as I am said to pervert it, what do they<br />
mean? Do they mean that there is not a preju-<br />
dice ? Tf they mean that their author “ laments<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ah<br />
<br />
<br />
<br />
THE<br />
<br />
the fact,” he still asserts the facet, decides that it<br />
is a fact. Of course I never denied that some<br />
persons, calling themselves literary men, write<br />
begging letters. ‘Who knows it if not I?”<br />
What I denied, and deny, and will deny if you<br />
put me in the pilniewinks, is that literary men<br />
are, or are considered, mendicants “‘ with bending<br />
back,” in their dealings with publishers. And I<br />
also deny the statement that a literary man, when<br />
offered a price, must take that sum. “He has to<br />
take that sum, because, you see, a man cannot go<br />
hawking literary wares about.” A man can, a<br />
man often does, either personally or by his agent.<br />
These extraordinary facts are within my personal<br />
knowledge, and I have known cases in which the<br />
author whose wares are “hawked” has been<br />
among the most successful, and deservedly suc-<br />
cessful, of modern writers.<br />
<br />
I don’t say that the process of ‘ hawking,” or<br />
of being “hawked” is agreeable. I don’t say<br />
that I practise it myself. But I do say that it is<br />
done; I do say that a literary man, like any other<br />
man—say a painter—need not accept the sum<br />
which is first offered to him. To advance the<br />
opposite theory seems to me to be the result of<br />
some sort of misapprehension. Perhaps this<br />
expression of opinion is an attack on the Society.<br />
<br />
II. BY WALTER BESANT.<br />
<br />
1. If the writer means by “too much” that<br />
the book in question was bought outright for a<br />
sum of money which its sale did not afterwards<br />
cover, his experience may be matched by hundreds<br />
of others. Publishers (now very few) who buy<br />
outright must sometimes make mistakes and bad<br />
bargains. I suppose that no one will contend<br />
that they ever consciously give more than they<br />
expect to make, unless for charitable purposes.<br />
<br />
2. About “perversion.” If Mr. Lang did not<br />
intentionally mean to pervert my meaning, there<br />
is nothing more to be sa'd. My words themselves ;<br />
and his words and his explanation are now before<br />
the reader.<br />
<br />
3. Selling may certainly be mendicancy. In the<br />
case of an author who has to beg and pray for better<br />
terms I do call it mendicancy. But, of course, any-<br />
body may call it what he pleases. Andas regards<br />
the bending back, I know of plenty whose<br />
necessities, alas! have compelled the bending<br />
back. Should it not be allowed in such a question<br />
that one who for four years has given up at least<br />
the half of his time to a constant study of the<br />
literary profession in all its branches—to the<br />
methods of publishers—to the ways and needs<br />
needs of authors—who has, further, sat for two<br />
years on the council of the Royal Literary Fund,<br />
where these needs are treated, must know some-<br />
thing of this subject? I write from my own<br />
<br />
AUTHOR. 213<br />
<br />
very large experience when I write about ways and<br />
necessities and miseries of the literary profession.<br />
<br />
4. Authors are “dependent on the public.”<br />
Very true. Ifanyone likes to sayso,hemay. Yet<br />
they are wholly dependent upon the publisher.<br />
Put it this way. A. and B. are two persons who<br />
have a share in a common fund. They are<br />
therefore both dependent on the person C. who<br />
supplies that common fund, on which they live.<br />
But it is B. who administers the fund. He takes<br />
it all into his own hands; he will not let A. know<br />
even how much it is; he gives him out of it as<br />
little, or as much, as he pleases. Is, or is not, A.<br />
dependent on B.? A. is the author, B. is the<br />
publisher, C. is the public. I believe this state-<br />
ment of the case is exactly correct, and it shows<br />
that authors, as I said, are, on the present<br />
system, wholly dependent on publishers.<br />
<br />
5. “So long as author and publisher remember<br />
to act like honest and honourable men, we shall<br />
do very well.” Quite so. The opinion of every-<br />
one. We shall do very well so long as this<br />
happens, or continues, or begins. At present the<br />
area over which it exists is a great deal too narrow<br />
for comfort. But there is something beautifully<br />
childlike in this blind confidence after all the<br />
exposures published by the Society.<br />
<br />
6. Nobody ever said, or thought, in these pages,<br />
or in any utterance of the Society, that the pub-<br />
lisher never loses money by a book.<br />
<br />
7. When does an author “ begin to know what he<br />
should be paid?”’ I don’t like the word “ paid.”<br />
The author should not be, and never be spoken of,<br />
asa paid servant of the publisher. I prefer to say<br />
“begin to know the value of the property which he<br />
produces.” Now, I repeat, the first elements of<br />
any valuation of such property are (1) the exact<br />
cost of production, ¢.e., print, paper, binding, and<br />
advertisements ; (2) the price at which the<br />
book is issued to the trade. It is perfectly<br />
impossible without this knowledge to arrive at<br />
any valuation whatever. This first ascertained,<br />
the question of circulation follows as the next<br />
determining factor. As to finding out your<br />
“value” in the vague way indicated by Mr. Lang,<br />
it seems to me meaningless and unpractical.<br />
<br />
8. About taking an offer, I said, exactly as<br />
quoted, that a man cannot go hawking his wares<br />
about. Some men may do so, but to most men<br />
such a thing is intolerable. That is, of course,<br />
the sole ground for saying that a man must take<br />
the first offer. Those who can so hawk their<br />
wares, may doso. For my own part, my constant<br />
advice and my private practice is to use the<br />
friendly offices of an agent.<br />
<br />
g. About the ‘contempt of letters,” I find the<br />
literature of the last hundred years full of it—<br />
full of Grub Street and of hacks. I find it every-<br />
<br />
<br />
214<br />
<br />
where even at the present day. It is not the<br />
contempt of literature—very far from it. It is<br />
the contempt which this modern world — a<br />
fighting, busy, quick-witted world which puts its<br />
own interests first—feels towards a calling whose<br />
members are, and continue quite needlessly to be,<br />
the dependents—as I have shown above—of the<br />
men who administrate their property for them.<br />
<br />
Lastly, since Mr. Lang is as anxious as I am<br />
—no matter what his reasons—no matter what<br />
may be, as he fears, the disastrous effect upon<br />
authors—of finding and adopting some recog-<br />
nised system of terms and proportions—let us<br />
agree to cease discussion on points of minor<br />
differences, and to work together for that object.<br />
It is the main object of the Society, and it is the<br />
only reason for the discovery and exposure of<br />
facts, frauds, and abuses which Mr. Lang<br />
has certainly not realised, and probably never<br />
read. Yet are they not written in a book—not<br />
my book—ealled ‘“ Methods of Publishing ?”’<br />
<br />
<br />
<br />
<br />
<br />
II.<br />
West Inp1Ian STORIES.<br />
<br />
The note at p. 180 of the Author of Oct. 2 in-<br />
duces me to mention that excellent one-volume<br />
West Indian story, “‘ Captain Clutterbuck’s Cham-<br />
pagne,” which originally appeared anonymously<br />
many years ago in Blackwood, and was afterwards<br />
separately published. By the way, can anyone<br />
tell me who its author was? Of course no one<br />
forgets “Tom Cringle’s Log ” nor “The Cruise of<br />
the Midge,” nor Marryatt’s continual West Indian<br />
episodes. Jes SLINTER.<br />
<br />
Ii.<br />
Sone PuBLISHING.<br />
<br />
A correspondent writes :—Some years ago I<br />
tried to set some verses to music, but left the<br />
composition unfinished. Ten years later I put it<br />
into the hands of a professor, who advised me to<br />
take it to a publisher. I went to one of the first<br />
publishing firms in London, and was fortunate<br />
enough to see one of the head men. He under-<br />
took to publish the song for £4 or £5. “And<br />
what about advertising it?” Lasked. ‘“ We should<br />
not advertise it,’ he replied, ‘it would not be<br />
worth our while. We should not take any steps<br />
to let your song be known. We should not put<br />
it in the windows or on the counter, or do any-<br />
thing but sell copies to anyone who should ask for<br />
them. We don’t care about having good songs ;<br />
there is no sale for them, and we have to pay as<br />
much as ros. a time to geta song sung,” and so on.<br />
The question remains. Is there no firm of pub-<br />
lishers enterprising enough to take a song of more<br />
than average merit from an unknown composer<br />
and bring it before the public? AMATEUR.<br />
<br />
THE AUTHOR.<br />
<br />
IV.<br />
James DEFOE.<br />
<br />
Should not the proposition of “J. 8. L.”<br />
(p. 174) as to a provision for James W. Defoe be<br />
made rather wider than an appeal solely from<br />
novelists? Defoe was, as “J. S. L.” intimates,<br />
a great benefactor to England, for he was not<br />
solely a novelist and a prince of novelists. We<br />
are largely indebted to him as one of the real<br />
founders of the periodical press, and a contri-<br />
butor to the English school of economic science.<br />
On the press, therefore, Defoe has also a strong<br />
claim.<br />
<br />
It is not necessary on this subject to depreciate<br />
the great services to England of John Churchill,<br />
but it is time to remember those of Defoe. In<br />
London, the city of his birth, the memorials of<br />
him are scanty. One of the few is a painted<br />
window dedicated to him in Butchers’ Hall on<br />
my suggestion, and assuredly his claims deserve<br />
more. Hype CLarke.<br />
<br />
V.<br />
RevieweD Books.<br />
<br />
I can cap even Mr. Cyril Haviland’s story.<br />
Some years ago I—then a raw novice—was placed<br />
in sole charge of the reviewing department of an<br />
evening newspaper. I found the task onerous<br />
enough so long as I was permitted to do the work<br />
in my own way, which—I was very young—<br />
actually involved reading the books. Consider.<br />
All the books! All the poetry! all the fiction!<br />
That is, all that were sent in to that authoritative<br />
journal and were selected—and by me — for<br />
review. But conceive my position when I<br />
received this communication from the secretary:<br />
“Dear Mr.—The editor desires me to ask<br />
you not to cut the books quite so much, as it<br />
seriously depreciates their value.” I tried it for<br />
a time; but it proved too much for my nerves to<br />
review books unread. I resigned that appoint-<br />
ment. XY. Z.<br />
<br />
<br />
<br />
VI.<br />
Lirgrary PAYMASTERS.<br />
<br />
Yet another growl on that most fertile of topics,<br />
the evil doing of editors e¢ hoc genus omne. Cruel<br />
fate having ordained that Iam to earn a living<br />
by my pen, I am forced to write for sundry papers<br />
and periodicals whose owners for the most part<br />
pay quarterly. Now, it is a curious fact that,<br />
although I am well aware of their terms, yet the<br />
sums I receive seldom or never come up to my<br />
calculations. Sometimes when the discrepancy<br />
<br />
is very glaring I write in remonstrance, and<br />
occasionally the result is an extra cheque. More<br />
often, however, my letters are treated with con-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
temptuous silence, and, as I cannot afford to<br />
quarrel with my bread and margarine, so the<br />
matter ends.<br />
<br />
On one occasion I received a reply to the effect<br />
that since my contributions were unsolicited, I<br />
ought to accept with gratitude whatever they<br />
(the proprietors) thought fit to send me.<br />
<br />
Yes, that is all very true; but why is it true?<br />
Why do literary men submit to such unbusiness-<br />
like treatment? That is a question I should very<br />
much like to hear answered satisfactorily.<br />
<br />
In my humble opinion, when payment for con-<br />
tributions is made, a detailed statement should<br />
be attached. Such and such an article, so much ;<br />
the essay entitled - so much; and so on.<br />
We should know then exactly how we stood, and<br />
maledictions, both loud and deep, would be<br />
spared. H. R. G.<br />
<br />
<br />
<br />
NEL<br />
““SeconD Epition.”’<br />
<br />
Some time ago a friend of mine had a one-<br />
volume book published. The first edition of 500<br />
was reported to her as exhausted, and a second<br />
was to appear. She then decided to add a dedica-<br />
tion, which she sent to the publishers, requesting<br />
them to insert it in the forthcoming 500. This<br />
they demurred to do, protesting that they did not<br />
want a dedication, saw no use in it, &c. The<br />
author insisted, however, and the firm then re-<br />
quested her to remove the words “ second edition,”<br />
which it chanced to include, “ say further edition<br />
or new edition’ they directed. My friend asked<br />
why they objected to her mentioning that the<br />
forthcoming edition was the second! “ Well,<br />
you see we had ‘second edition’ stamped across<br />
the last two or three hundred sold,” they replied.<br />
So out of a first edition of five hundred “two or<br />
three hundred” had been going about stamped<br />
“second edition.’ My friend was very wrath,<br />
but felt powerless, and substituted another word<br />
in place of the “second” objected to. I should<br />
be glad, sir, to know if this be an old trick or an<br />
original one, and also what steps should be taken<br />
to prevent the recurrence of such a fraud ?<br />
<br />
DanrEL Dormer.<br />
<br />
<br />
<br />
VII.<br />
A ContTRisuToR’s EXPERIENCE.<br />
<br />
I would like to relate my experience with the<br />
Westminster Review.<br />
<br />
On May 4 last I sent an article to the office<br />
of that magazine in Bouverie-street, inclosing<br />
with it a stamped and addressed envelope. Not<br />
having heard anything about the article by<br />
May 29, I wrote asking about it ; and, as by June 7<br />
no reply had arrived, I wrote again, this time<br />
<br />
215<br />
<br />
inclosing again a stamped and addressed enve-<br />
lope. The next day I received a reply stating<br />
that the article had been sent to the editor in<br />
Paris, and that he would communicate with me<br />
from there.<br />
<br />
I waited till June 18, and on receiving no<br />
reply then wrote once more, this time asking for<br />
the MS. to be returned. As by June 26 neither<br />
the MS. nora reply had come to hand, I called<br />
at the offices of Messrs. Henry and OCo., from<br />
which the Westminster Review 1s published, and<br />
saw one of the representatives. I was informed<br />
that my letters had been received and forwarded<br />
to the editor in Paris, but that the editor did not<br />
pay for articles in the Review. I then stated<br />
that I did not want my article to appear, but<br />
desired merely to have my MS. returned. I was<br />
told that the editor would again be communi-<br />
cated with.<br />
<br />
Thinking that there might still be some diffi-<br />
culty in the matter, I placed the case in the hands<br />
of the Secretary of the Society, who, after a fair<br />
delay, wrote to the editor of the Review on July 11,<br />
and asked for the return of the MS. Receiv-<br />
ing no answer to this letter, he again wrote on<br />
July 20, asking for an answer as a matter of<br />
courtesy.<br />
<br />
In reply, on July 20 the Secretary received a<br />
letter from Messrs. Henry and Co. stating that<br />
the editorial office was in Paris; that the MS.<br />
had been declined by the editor, but through a<br />
mistake in the address had been returned through<br />
the post, and that the editors have every reason<br />
to believe that it has since reached its destina-<br />
tion.<br />
<br />
On July 21 the Secretary wrote thanking them<br />
for the information, and stating that he had for-<br />
warded the letter to me.<br />
<br />
On July 29, not having received the MS., I<br />
notified the Secretary, who again wrote to the<br />
offices in Bouverie-street. A representative from<br />
Messrs. Henry and Co. then called at the offices<br />
of the Society, and gave him the address of the<br />
editor in Paris. On Aug. 2 the Secretary wrote<br />
to the editor in Paris a similar letter to that first<br />
written to the London office. Receiving no reply,<br />
he again wrote on Aug. 16 asking that his letter<br />
of the 2nd should be attended to.<br />
<br />
No notice whatever being taken of either of<br />
these letters, on Sept. 30 he wrote again to the<br />
editor in Paris, and to Messrs. Henry and Co.<br />
asking them if they would expedite matters. On<br />
Oct. 13 a letter was received from the editor<br />
regretting the loss of the MS., and not offering<br />
any suggestion of remedy or compensation.<br />
<br />
Husert Hass.<br />
IX.<br />
<br />
Anonymous CRITICISM.<br />
<br />
Perhaps there are no two persons more impor-<br />
tant to authors than “readers” and “ critics.”<br />
Now, both are anonymous. I see no reason why<br />
the first should be any other than nameless, for<br />
really when we submit our MS. to a publisher to<br />
see if he will buy it of us, on the proviso that he<br />
employs a cultivated, large minded, and impartial<br />
man, there is no reason why he should not be as<br />
unknown to us as any of the members of the<br />
publisher’s staff. On the publisher devolves the<br />
loss of profit if his “reader” should make any<br />
egregious blunder. But the “ critic” is another<br />
person altogether, and many think his name<br />
ought to be published at the foot of his review.<br />
However, I am of opinion that he is quite wel-<br />
come to retain his anonymous state. He is the<br />
man behind the hedge. He does not choose to<br />
step forth and make himself known, give us his<br />
counsel, tender us his remonstrances, or offer his<br />
praise. As we do not know him or see him, he<br />
can call names, or behave in any unseemly way.<br />
Giving no name, he is at perfect liberty. You<br />
may find, standing for criticism, that your work<br />
is by the clearest evidence unread, or he delights<br />
to tell you he did not read it. He may miscall<br />
your personages, and he may quote you out of<br />
your sex. He may show he does not distinguish<br />
what was in your several volumes. Vol. 1 he<br />
confuses with vol. 3; vol. 2 he will playfully<br />
ignore altogether. One thing nevertheless<br />
delights him, that is, if you have any speciality<br />
about you; if your garb, manner, or diction in<br />
any way betray you as foreign—as not the name<br />
of the street he comes from—then you are his<br />
sport. To enter upon the subject of disagree-<br />
ment among critics with reference to anonymity<br />
were useless. There is nothing in the circum-<br />
stance that one critic may flatly contradict<br />
another about your work, but you have the right<br />
to feel that, whether approved or not, the work<br />
has been thoroughly examined and weighed<br />
before being rejected or commended. Even then<br />
the individual critic can do but little for you<br />
either way, so let him be anonymous still. He<br />
is by nature of sufficient anonymity, for he never<br />
establishes your book or otherwise. It is the<br />
great public which does that, and therefore this<br />
casts back the single person as a critic into<br />
practical anonymity. INGENUE.<br />
<br />
“Ingenue” forgets that behind the anonymous<br />
critic is the editor, who will not generally allow<br />
“unseemly ways.” The experience of “ Ingenue 2<br />
is surely unusual and unfortunate.—Ep. |<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
X.<br />
Ports AND ORITICS.<br />
<br />
Tf it is good to hear the truth in all plainness,<br />
or the truth according to the anonymous critic,<br />
contemporary poets ought to be happy. The<br />
Edinburgh Review makes one wish that one<br />
was a modern poet, and they must have been<br />
delighted with a notice on their place and work,<br />
which appeared in the Pall Mall Gazette otf<br />
Oct. 21. It is an article inspired by the paper<br />
in the Edinburgh Review, and it contains the<br />
following passage, referring to the writer of<br />
that article: “His hand is not so heavy as we<br />
should wish to see it, nor is his tongue suffi-<br />
ciently caustic. His wounds, hard and sore as<br />
they may be, will scarcely rankle as we could<br />
wish. He has a fine native ferocity. He has not<br />
the art of sarcasm by which the poetling can be<br />
taught his proper place.” He then goes on to<br />
show what this art of sarcasm is by remarking:<br />
“Most of our contemporary poets, we rejoice to<br />
say, are bad. If they were otherwise than bad<br />
we should be compelled to read them, and no one<br />
can imagine a more dismal fate.”<br />
<br />
There is, to paraphrase his own words, “‘a fine<br />
native imbecility”” about this Jast sentence, for<br />
it places us in a very obvious dilemma. Hither<br />
our critic has read these poets, in which case he<br />
says what is false by implying that he has not, or<br />
else he has not read them, and confesses to having<br />
written an article upon poems which are unknown<br />
to him. Are we returning to the bludgeon and<br />
the dark ages of criticism?<br />
<br />
A WRITER OF PROSE.<br />
<br />
—<br />
<br />
WHAT THE PAPERS SAY.<br />
<br />
<br />
<br />
L<br />
DrRuMMOND OF HawTrHORNDEN.<br />
<br />
HE ceremony of unveiling a memorial to the<br />
poet William Drummond, of Hawthornden,<br />
took place in the churchyard of Lass-<br />
<br />
wade, Mid Lothian. The memorial consists of<br />
a bronze medallion, set in a block of freestone,<br />
tastefully carved in the Elizabethan style, and<br />
built into the wall immediately over the en-<br />
trance to the Drummond mausoleum. Below<br />
the medallion is the following inscription:—<br />
“William Drummond, Hawthornden, born 1585,<br />
died 1649.” The following lines by the poet are<br />
also given:<br />
<br />
Here Damon lies,<br />
<br />
Whose songs did sometimes grace the murmuring Esk.<br />
<br />
May roses shade the place!<br />
<br />
Lord Melville, chairman of the committee, ex-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THe AUTHOR.<br />
<br />
plained the steps that had been taken for the<br />
erection of the memorial, and said he thought<br />
they had produced a monument worthy of the<br />
poet. He then unveiled the memorial, and form-<br />
ally handed it over to the custody of Sir James<br />
Drummond, of Hawthornden. Sir James, in<br />
returning thanks, said he felt it a very great<br />
honour as the representative of the Drummonds<br />
of Hawthornden to be entrusted with the custody<br />
of the memorial, which would be handed down<br />
to future generations as showing the high appre-<br />
ciation of the poet’s many virtues. Mr. A. S.<br />
Purves, honorary secretary, said the movement<br />
to erect the memorial originated after the publi-<br />
cation of Professor Masson’s life of the poet.<br />
Professor Masson, on behalf of the subscribers,<br />
delivered an address, and said that Drummond was<br />
the almost solitary literary star of pure radiance<br />
in a singularly darksome time of Scottish literary<br />
history. In the interval between Sir David<br />
Lyndsay and Allan Ramsay there was a singular<br />
destitution of pure poetry or literature of any<br />
sort in Scotland. Drummond, of Hawthornden,<br />
was seen as the soft Italian star, twinkling in<br />
that comparatively long night of darkness.<br />
Drummond was a pure poet, one of the sweet<br />
descriptive, reflective order. He was probably<br />
the first man in Scotland who had in his pos-<br />
session some of the works of Shakespeare, which<br />
he bought in London. He turned out in a<br />
controversial age what was the purest in lite-<br />
rature. Mr. John Cowan, of Beeslack, Professor<br />
Campbell Fraser, and others took part in the<br />
proceedings.— Times.<br />
<br />
<br />
<br />
II.<br />
Bust or TENNYSON.<br />
<br />
A life-size bust of the late Lord Tennyson has<br />
just been executed by Mr. F. J. Williamson, of<br />
Esher, for the Corporation of the City of London.<br />
It will be placed in the Guildhall, and will pro-<br />
bably be unveiled about the end of the present<br />
month. It represents the Poet Laureate in his<br />
later years, and is pronounced by his family to be<br />
an excellent likeness. The Queen, to whom the<br />
work has been submitted by the sculptor,<br />
has expressed her admiration of it, and has com-<br />
manded a replica for Windsor Castle. As a work<br />
of art and as a representation of the late poet at<br />
the period of life at which he was at the height of<br />
his popularity and renown, the bust appears<br />
likely to commend itself alike to artistic and to<br />
popular tastes, and if copies of it on a smaller<br />
scale than the original could be obtained they<br />
would no doubt be welcomed as a companion to<br />
the well-known bust of Shakespeare.— Times.<br />
<br />
<br />
<br />
217<br />
<br />
ITI.<br />
Port-Pinerims In SUFFOLK.<br />
<br />
A party of pilgrims, representing the Omar-<br />
Khayyam Club, and other admirers of the Persian<br />
poet, went to Boulge Church, near Woodbridge,<br />
Suffolk, on Saturday, the 14th, in order to plant on<br />
the grave of Edward Fitzgerald a rose tree from<br />
the tomb of Omar Khayyam.<br />
<br />
Mr. William Simpson began the proceedings<br />
with the following statement :—<br />
<br />
“ Gentlemen,—It may be as well to explain to<br />
those present the circumstances that have led to<br />
the simple ceremony that has, in the name of the<br />
Omar-Khayyam Club, taken place to-day. As far<br />
back as 1884 I accompanied the Afghan Boundary<br />
Commission from Teheran eastwards to Central<br />
Asia. Our route passed through Naishapur, which<br />
was the capital of Khorassan in the time of Omar<br />
Khayy4m. In this city Omar was born, and in<br />
it he died. Before reaching Naishapur I began<br />
making inquiries about the poet. Our ‘Guest-<br />
Conductor,’ who seemed well acquainted with<br />
the place, told me that the grave of Omar<br />
Khayyam still existed, and promised to take me<br />
to it. The city of Omar’s period is now only a<br />
mass of mounds, about a couple of miles distant<br />
from the present Naishapur. The tomb is only a<br />
part of a larger tomb. Knowing that the poet<br />
had expressed the wish that the wind might<br />
scatter rose leaves on his grave, I was much struck<br />
on reaching the spot by finding that rose bushes<br />
were growing close to,it, and I naturally guessed<br />
that these had been planted there in fulfilment of<br />
the poet’s wish by some fond admirer. Our visit<br />
took place at the end of October, too late for the<br />
roses, but luckily, as it has turned out, the flowers<br />
had turned to seed, and I secured some of the<br />
hips, as well as a few of the leaves. Knowing<br />
that Mr. Quaritch had been so intimately con-<br />
nected with the publishing of the Quatrains, I<br />
sent him some of the leaves and the seed.<br />
<br />
“The idea in my mind at the time was that<br />
Mr. Quaritch might perhaps plant the hips in<br />
a pot at home, and that it would be a satis-<br />
faction to have growing beside him a_ rose<br />
from the grave of Omar Khayyam. He did not<br />
plant it himself, but sent it to Mr. Thistelton<br />
Dyer, at Kew, to whom our best thanks are<br />
due for the great care and attention he has<br />
devoted to this plant. He succeeded in growing<br />
a bush from the seeds, but after a year or<br />
two of expectation, it became evident that in this<br />
climate the rose would not flower; and at last,<br />
to realise this result, he grafted it on to an<br />
English rose. By this means the Persian rose<br />
here planted will now bloom on English soil, a<br />
fitting emblem of the manner in which the<br />
<br />
<br />
218 THE<br />
<br />
Persian rhymes, by being grafted on to English<br />
verse, have flourished, and wafted to us the fine<br />
scent of Omar’s poetic words.<br />
<br />
“T need scarcely say that I feel a satisfaction<br />
in having thought of sending home those seeds,<br />
which have led to this meeting at the grave of one<br />
to whom we all feel such a debt of gratitude for<br />
bringing to us the poetry of the old poet of<br />
Khorassan. The two names, Omar Khayyam and<br />
Edward Fitzgerald, are now inseparable. There<br />
was much that was similar in the two men, and<br />
had they met here, they would have been friends.<br />
If they have met above—and I hope they have—I<br />
feel sure that the old ‘ tent maker’ is producing a<br />
quatrain on the event of this day. If such is the<br />
case it has not reached us; but a quatrain has been<br />
communicated from another source, which I think<br />
you will agree with me is well fitted for the occa-<br />
sion, We are indebted for it to Grant Allen,<br />
who deeply regrets that he is not with us to-day.<br />
<br />
“ Here on Fitzgerald’s grave from Omar’s tomb,<br />
To lay fit tribute, pilgrim sinners flock ;<br />
Long with a double fragrance let it bloom,<br />
This rose of Iran on an English stock.”<br />
<br />
Two small but healthy-looking rose bushes,<br />
about a foot in height, were then unpacked and<br />
carefully planted at the head of the tombstone.<br />
<br />
Mr. Moncure D. Conway siid: “It gives mé<br />
very great pleasure as an American from old<br />
Virginia, to say how dear to us over there, or to<br />
many of us, is the poetry of Omar Khayyam, and<br />
how much gratitude we have always felt to Edward<br />
Fitzgerald for having not merely translated him,<br />
but interpreted him, so that it is almost like the<br />
reappearance of Omar Khayyam in an English<br />
heart and an English brain. There is about the<br />
man who lies in the grave before us, as may be<br />
seen in his poetry, a certain personality which<br />
wins the affection and touches the heart, so that<br />
I never read his verse without feeling a sort of<br />
pain that I cannot take his hand and tell him<br />
how much I love him—how much I feel the<br />
peculiar perception, the fine nature, the delicate<br />
thought which were required to reveal such a<br />
wonderful genius as Omar Khayyam. That may<br />
have been to a certain extent due to the inspira-<br />
tion he derived from that wonderful poem, for<br />
in reading Omar-Khayyim we feel the same<br />
thing—that charm of personality, that feeling<br />
when we read his quatrains, that we are convers-<br />
ing with a soul, with a heart—not with mere<br />
literature, not with a book, but with a man. It is<br />
wonderful to find how many people in various parts<br />
of the world, of various minds, have been touched<br />
by the poetry of Omar Khayy4m as he has been<br />
interpreted by Fitzgerald. The poet was dear to<br />
Emerson, my old master, when I was at Harvard,<br />
and from all parts of my country; indeed, if we<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
could see and read the hearts of individuals, and<br />
they knew we were here, we might feel that we<br />
are surrounded by a large group and company of<br />
friends and fellow-sympathisers. Here we are in<br />
large-hearted England that takes us all in,<br />
whether from America, from Persia, or India—<br />
England which with sweet toleration includes<br />
millions of Bhuddists, Brahmins, and Parsees—<br />
here we are, symbolising in a small way that<br />
large-heartedness which is now, I believe, the<br />
great and living breath of the world, which is<br />
keeping peace between jarring religions, stopping<br />
their civils wars, and promoting, especially<br />
amongst the millions of the East, that mutual<br />
toleration and affection which are attended with<br />
such vast and beneficial results to mankind.”<br />
<br />
Mr. Edward Clodd then read the following<br />
inscription by Edmund Gosse:—<br />
<br />
Reign here, triumphant rose, from Omar’s grave,<br />
<br />
Borne by a fakir o’er the Persian wave ;<br />
<br />
Reign with fresh pride, since here a heart is sleeping,<br />
That double glory to your master gave.<br />
Hither let many a pilgrim step be bent<br />
To greet the rose, re-risen in banishment ;<br />
Here richer crimsons may its cup be keeping,<br />
Than brimmed it ere from Naishapur it went.<br />
<br />
At luncheon, after the ceremony, some further<br />
quatrains were read, which had_been written by<br />
Mr. Justin Huntly McCarthy. These verses were<br />
in poetic harmony with the style and spirit of<br />
Fitzgerald’s translation, as the following example<br />
will show :—<br />
<br />
Wedded with rose of England, for a sign<br />
That English lips transmitting the divine<br />
<br />
High-piping music of the song that ends<br />
As it began, with wine, and wine, and wine.<br />
Across the ages caught the words that fell<br />
From Omar’s mouth, and made them audible<br />
To the unnumbered sitters at life’s feast<br />
Who wear their hearts out over Heav’n and Hell.<br />
<br />
Ipswich Paper.<br />
<br />
ee<br />
<br />
“AT THE SIGN OF THE AUTHOR'S HEAD.”<br />
<br />
——+ +<br />
<br />
R. THEODORE BENT will publish in<br />
November (Longmans) a record of a<br />
journey in Abyssinia last winter, entitled<br />
<br />
“The Sacred City of the Ethiopians,” being an<br />
account of Aksum and the ruins in its vicinity.<br />
Professor D. H. Miiller, of Vienna, has supplied<br />
a chapter on the inscriptions brought home by<br />
Mr. Bent, the archeological results evolved from<br />
them being of the highest interest.<br />
<br />
The title of Mrs. Spender’s new story is “A<br />
<br />
Strange Temptation,” three vols. (Hutchinson<br />
and Co.)<br />
<br />
<br />
<br />
<br />
%<br />
<br />
ed<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Mrs. Visger (“J. A. Owen”) has two new<br />
books this autumn, the first being ‘‘ With the<br />
Woodlanders and by the Tide,’ published by<br />
Messrs. Blackwood, is joint work with the work-<br />
man naturalist now so well known as ‘A Son of<br />
the Marshes.” “J. A. Owen’s” other book is<br />
called ‘‘ Forest, Field, and Fell,” and it is pub-<br />
lished by Messrs. Lawrence and Bullen.<br />
<br />
Two new book by Mrs. L. C. Skey, entitled<br />
‘Anime Fidelium” and “That Mrs. Grundy,”<br />
are now ready, and may be had from the Arundel<br />
Printing and Publishing Company Limited, 3,<br />
Arundel-street, Strand, W.C. Price 1s. each.<br />
<br />
Mr. J. J. Haldane Burgess, M.A., the author<br />
of “Rasmie’s Biiddie,” a book of Shetlandic<br />
poems, a second edition of which was published<br />
last year by Mr. Gardner, Paisley, and Pater-<br />
noster-row, London, is at present engaged upon a<br />
story of the Scandinavian occupation of the<br />
Shetlands. The title of the tale is “ Ragnarok :<br />
a Tale of the White Christ.”<br />
<br />
Mr. Frederick Boyle has collected his scattered<br />
writings “ About Orchids,” and this volume will<br />
be published by Messrs. Chapman and Hall,<br />
under that title early m this month. Itis nota<br />
gardening book, but a “ Chat by a literary man”<br />
—facts, history, gossip, and stories—upon the<br />
most interesting of botanical orders. Messrs.<br />
Sander allow Mr. Boyle to illustrate his work<br />
with reductions from the superb drawings by<br />
Mr. Moon in their famous “ Reichenbachia,”’<br />
the first time such permission has been granted.<br />
At the same date Messrs. Chapman and Hall<br />
will issue “The Prophet John,’ a romance, by<br />
Mr. Frederick Boyle.<br />
<br />
Will be issued, early in December, a volume of<br />
Idylls, “The Way they Loved at Grimpat,’ by<br />
G. Rentoul Loler. Mr. J. M. Barrie says,<br />
“Further work from this writer will be looked<br />
for with lively interest.’’ The publishers Sampson<br />
Low and Co.<br />
<br />
Another of Mr. Bertram Mitford’s tales of<br />
South African adventure is announced. Its title<br />
is “The Luck of Gerard Ridgeley,” and it will<br />
be published this month, in one volume, by<br />
Messrs. Chatto and Windus.<br />
<br />
The Arundel Printing and Publishing Com-<br />
pany, of Arundel-street, W.C., are about to pub-<br />
lish as a one shilling novel “ That Mrs. Grundy,”<br />
by L. C. Skey.<br />
<br />
In the Ex libris series a second edition of English<br />
Book Plates, by Mr. Egerton Castle, is announced,<br />
with a coloured frontispiece and additional plates.<br />
It includes many examples used by distinguished<br />
men of the day. Also “A Hand-book of Printers’<br />
Marks,” by Mr. W. Roberts, which ought to be<br />
<br />
219<br />
<br />
valuable to the collector. We hope Mr. Gleeson<br />
White, the editor of this interesting series, will<br />
see his way to a work explaining the various<br />
forms of “ Imprimatur.”<br />
<br />
A new and revised edition of Professor<br />
Buchheim’s “ Balladen and Romanzen”’ has<br />
recently been published by Messrs. Macmillan in<br />
their cheap issue of the “Golden Treasury<br />
Series.” The first edition appeared not quite<br />
two years ago.<br />
<br />
Miss Helen M. Burnside’s new story for<br />
children, “A Day with the Sea Urchins,” is pub-<br />
lished by Messrs. Warne and Co., of Bedford-<br />
street, Strand. It contains many little songs set<br />
to music by Mr. Myles Birket-Foster, late<br />
organist of the Foundling Hospital.<br />
<br />
“ Tieut. De Brion, R.N.R.,” is the title of the<br />
first publication of a new and unknown writer,<br />
Alan Oscar. In the criticisms of the book it is<br />
pronounced clever and interesting. The book is<br />
published by Remington and Co. Price, half-a-<br />
crown.<br />
<br />
A serial story, “For Love or Money,’ now<br />
running in the lady’s paper Morget-me-not, is by<br />
Miss Marie Connor, joint author with Mr. Connor<br />
Leighton of “ Convict 99” and “ Michael Dred,”<br />
which have recently been so successful in Answers.<br />
<br />
A Sussex magazine, entitled Southward Ho!<br />
will make its first appearance in December. It is<br />
edited under the nom de plume of “ Raymond<br />
Jacberns,” the office being at 13, Clyde-road, St.<br />
Leonards-on-Sea. A serial story by James Stanley<br />
Little will run through the first numbers.<br />
<br />
The Rev. J. Hamlyn Hill, M.A., formerly<br />
Senior Scholar of St. Catherine’s College,<br />
Cambridge, has made a complete translation into<br />
English of “ Tatianss Diatessaron.’’ No complete<br />
translation has yet appeared in our tongue,<br />
though two attempts have been made. He has<br />
made it, in the first place, from Ciasca’s Latin<br />
version, and then the result has been compared<br />
word for word with the Arabic. The extracts<br />
found in Ephraem’s Commentary have also been<br />
translated by Mr. Hill from Dr. Moesinger’s<br />
Latin; and Professor Armitage Robinson is now<br />
at Venice correcting this translation by means<br />
of the Armenian MSS. there. The work will be<br />
published by Messrs. T. and T. Clark in the<br />
autumn, in a binding uniform with the Ante-<br />
Nicene Library.<br />
<br />
“A Life Awry”’ is the title of a three-volume<br />
novel by Perceval Pickering. There are<br />
pathetic notes in the book, but a deformed and<br />
ugly heroine requires the touch of a Charlotte<br />
Bronté to make the reader sympathetic. The<br />
publishers are Messrs. Bliss, Sands, and Foster.<br />
<br />
<br />
220<br />
<br />
Mr. Francis Henry Cliffe has sent us a volume<br />
of translation of the poems of Leopardi and a<br />
tive-act tragedy in blank verse “ The Fatal Ring”<br />
—that is, the ring Queen Elizabeth gave to Essex<br />
It is fully copyrighted, and permission to perform<br />
it must be obtained from the author.<br />
<br />
We have received “ A Child’s Religion,” by the<br />
author of “Jesus, the Carpenter of Nazareth”<br />
(Kegan Paul), a work intended to assist in teach-<br />
ing religion to the young. It deserves a trial if<br />
only for its evident sincerity.<br />
<br />
The “ Confessions of a Woman”? is the title of<br />
an anonymous volume to be published by<br />
Messrs Farran and Co.<br />
<br />
Professor Hales has brought out, under the<br />
title of “Folia Litteraria: Essays and Notes on<br />
English Literature,” a collection of his literary<br />
productions during the last twenty years. The<br />
longer critical essays were contributed to the<br />
Contemporary, Fraser, and Macmillan’s Maga-<br />
zine, and the rest are contributions to the<br />
Athenseum and Academy, dealing with linguistic<br />
and other subjects requiring minute research. The<br />
varied range of Professor Hales’s studies renders<br />
it impossible that any reader should fail to find<br />
the work of great interest.<br />
<br />
We have received “The Strange Adventures of<br />
Anelay Moreland,” by R. Shelton Gresson ; “ The<br />
Sin and the Woman,” by Derek Vane; and<br />
“The Poems of Leopardi,’ a translation by<br />
F. H. Cliffe. Published by Messrs. Rivington<br />
and Co.<br />
<br />
« God’s Will and other Stories,” by Ilse Frapan,<br />
translated by A. Macdonald (Fisher Unwin), is a<br />
volume of a little more than 200 pages, in which<br />
are six stories. ‘“God’s Will ’ is the first, occu-<br />
pying haif the book. It is a romance of village<br />
life, in which the reader is not conscious of there<br />
having been any suggestion of a plot till almost the<br />
last page. The conflicting love interests are so<br />
skilfully concealed that one sister has to take the<br />
place of another as a bride during the marriage<br />
service, The five other stories are very slight,<br />
“The Qld Bookkeeper” and “A Christmas<br />
Story” being especially pretty and romantic.<br />
<br />
ee<br />
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THE AUTHOR.<br />
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NEW BOOKS AND NEW EDITIONS.<br />
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Exewt, Rev. J.S. The Biblical Illustrator. The Acts,<br />
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Farrar, F. W., D.D. The Lord’s Prayer: Sermons<br />
<br />
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<br />
Gipson, Rev. J.G. Stepping Stones to Life : a series of<br />
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GowEn, Rev. H. W. The Kingdom of Man: Sermons.<br />
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ROBERTSON, ProrEessor, D.D. The Old Testament and its.<br />
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Simcox, Rev. W.H. The Revelation of St. John, with<br />
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Smitu, Rev. J. BarnpripGe. English Orders: whence<br />
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Auucrort, A. H. The Making of the Monarchy: A<br />
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AUTOBIOGRAPHY OF THEOBALD WOLFE TONE, 1763-1798,<br />
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lishing Company, Boston, Mass.<br />
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British East AFRICA OR Ippa. A History of the Forma-<br />
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Kinesrorp, Witiiam, LL.D. The History of Canada.<br />
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Ler, SIDNEY. Dictionary of National Biography.<br />
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LeLanp, C. Goprrey. Memoirs. In 2 vols. Portrait.<br />
Heinemann.<br />
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LELAND, CHARLES G. The Life and Adventures of James<br />
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Nation of Indians. New edition, edited, with preface,<br />
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Lippon, H. P., D.D. Life of the Rev. E. B. Pusey, D.D.,<br />
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Wilson, M.A., with portraits and illustrations. 4 vols.<br />
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Lire oF Ropert RopoLtPH SuFFIELD, THE. Williams<br />
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Lon@uanp, Henry. The Golden Transvaal, an illustrated<br />
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Mackay, ALEXANDER. Missionary Hero of Uganda, by<br />
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Matuock, W. H., anp RamspEN, Lapy G. Letters and<br />
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Moertier, Dr. WiLtHELM. History of the Christian<br />
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schein, and Co.<br />
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MourxKe, Count von. Essays, Speeches, aud Memoirs of<br />
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SremMENS, WERNEL VON. Personal Recollections of Werner<br />
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SKELTON, JoHN. Mary Stuart. With illustrations from<br />
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Srrvens, H. Morse. European History, 1789-1815, period<br />
VII. Rivington and Co. 6s.<br />
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TrenceR, Mariam. Recollections of Countess Theresa<br />
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Translated by Gertrude Russell. With portraits.<br />
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THEaL, GeorGE M‘Caun. History of South Africa,<br />
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mew and Co. I5s.<br />
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Bentiey, Rev. W. H. Life on the Congo. New edition<br />
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BrRiGHTWEN, Mrs. Wild Nature Won by Kindness.<br />
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Landmarks of a Literary Life,<br />
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