| 458 | https://historysoa.com/items/show/458 | The Author, Vol. 04 Issue 08 (January 1894) | <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+08+%28January+1894%29"><em>The Author</em>, Vol. 04 Issue 08 (January 1894)</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> | 1894-01-01-The-Author-4-8 | | | | | 281–316 | | | | | | | | | | | | | | | | | | <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=1894-01-01">1894-01-01</a> | | | | | | | 8 | | | 18940101 | The Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT. <br />
<br />
Vou. IV.—No. 8.] JANUARY 1, 1804. [Prick SIXPENCE.<br />
CONTENTS.<br />
PAGE PAGE<br />
Notes, &c. aes eee oe se ae see Se se ... 283 Feuilleton—<br />
Li The Editor aie ses bis oe eee oat Ses wesc20D.<br />
iterary Property gf 985 Mr. Andrew Lang v. The Society... 3<br />
1—Walter v. Lowe... ce a alee oe = oe On Military Noms de Plume... car oi oe tae :<br />
a ee Scan en ne oa ey “ Bue ‘* At the Sign of the Author’sHead” ... oe sae ae e+e 300<br />
3.—Huskin v. Cope Sy ey ee me oS oa ee a Correspondence.—l. The Beginner.—2. Music Publishing.—3.<br />
4.—Harper v. Tillotson on tes ot wee eas +++ 287 ‘Minor Agents.”—4. Charles Lamb on Publishers.—5. The<br />
The French Academy and the Letter ‘‘ A.” By H. F. Wood _ ... 288 Small Bookseller.—6. The Penny Novelette.—7. More Con-<br />
Book Talk x 290 tradictory Criticisms.—8. A Stamp of Approval.—9.<br />
The Ameri x h me P Be ti a plishi 26 ase Sa oa 291 Anonymous Journalism.—10. Two Publics ne eet See 802<br />
See ut Crs One UOUa eee e = From the Papers.—l. The Destruction of Books.—2. Cockney<br />
A Ballade of Maistre Francoys Rabelais. By Showell Rogers ... 292 Pronunciations.—3. ‘‘Put your Pride in your Pocket.”—4.<br />
Modern Literature in Oxford us os: ang nae ons sega | Artists in Black and White ... ae cs ae eee eer OOe<br />
Notes and News. By the Editor... - —- ace cer ... 292 ' New Books and New Editions... tue aS oe ne wee 809<br />
<br />
<br />
<br />
<br />
<br />
PUBLICATIONS OF THE SOCIETY.<br />
<br />
<br />
<br />
1. The Annual Report. That for January 1893 can be had on application to the Secretary.<br />
<br />
9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members.<br />
<br />
3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br />
the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br />
<br />
4. Literature and the Pension List. By W. Morris Couuus, Barrister-at-Law. (Henry Glaisher,<br />
95, Strand, W.C.) 3s.<br />
<br />
5. The History of the Société des Gens de Lettres. By S. Squire Spriacz, late Secretary to<br />
the Society. 1s.<br />
<br />
6, The Cost of Production. | Tn 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 />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
<br />
7, The Various Methods of Publication. By S. Squiru Spricex. In this work, compiled from the<br />
papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br />
Authors are examined, and their meaning carefully explained, with an account of the various<br />
kinds of fraud which have been made possible by the different clauses in their agreements.<br />
Henry Glaisher, 95, Strand, W.C. 35.<br />
<br />
8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br />
ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre<br />
and Spottiswoode. ts. 6d. :<br />
<br />
9, The Society of Authors. A Record of its Action from its Foundation, By Watrrr Brsant<br />
<br />
(Chaiiman of Committee, 1888—1892). 1s.<br />
<br />
<br />
282 ADVERTISEMENTS.<br />
<br />
The Society of Authors (Bucorporafed).<br />
<br />
PRESIDENT.<br />
<br />
GEHEORGH MbERHDITE,.<br />
<br />
COUNCIL. :<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Sir Epwin ARNOLD, K.C.LE., C.S.1. THE EARL oF DESART. Lewis Morris.<br />
ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br />
J. M. Barriz. A. Conan Doytz, M.D. J. C. PARKINSON.<br />
A. W. A BEcKETT. A. W. Dusoure. Tur Ear. or PEMBROKE AND Mont-<br />
RoBERT BATEMAN. J. Enic ERIcusEn, F.R.S. GOMERY.<br />
Sir Henry Berene, K.C.M.G. Pror. Micuazrt Foster, F.R.S. Sir Freperick Potuock, Bart., LL.D.<br />
WALTER BESANT. Ricut Hon. HERBERT GARDNER, M.P.| Watrer Herrizs PoLock.<br />
AUGUSTINE BIRRELL, M.P. RicHaRD GARNETT, LL.D. A. G. Ross.<br />
Rev. Pror. Bonney, F-.R.S. EpmMuND GoOssE. GrorGE AUGUSTUS SALA.<br />
Rieut Hon. James Bryce, M.P. H. Riper HaGearpD. W. Bapriste ScOONES.<br />
Hau CAINE. Tuomas Harpy. G. R. Sms.<br />
Egerton Castue, F.S.A. JEROME K. JEROME. S. Squire SPRIGGE.<br />
P. W. CLAYDEN. RupYARD KIPLinea. J. J. STEVENSON.<br />
EDWARD CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br />
W. Morris CouuEs. J. M. Lery. Witi1am Moy THomas.<br />
Hon. JoHn COLLIER. Rev. W. J. Lorrie, F.S.A. H. D. Traruu, D.C.L.<br />
W. Martin Conway. Pror. J. M. D. MEIKLEJOHN. E. M. UnpERpDowy, Q.C. :<br />
F. Marion CRAWFORD. HERMAN C. MERIVALE. Baron HENRY DE Worms, M.P.,F.R.S.<br />
OswaLD CRAWFURD, C.M.G. Rev. C. H. MrippiEtTon- WAKE. EpMUND YATES.<br />
Hon. Cownsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FrELD, Roscoz, and Co., Lincoln’s Inn Fields.<br />
Accountants—Messrs. OscaAR BERRY and CaRR, Monument-square, E.C. Secretary—G. Henpert THRine, B.A.<br />
<br />
OFFICES: 4, Portucan STREET, Lincotn’s Inn Freips, W.C.<br />
<br />
BOOKS PUBLISHED BY HORACE COX.<br />
<br />
Cloth lettered, price 5s. | Crown 8vo., bevelled boards, gilt edges, price 5s.<br />
<br />
Te Fr cae | PRINCIPLES OF CHESS<br />
<br />
Dr. J. A. GOODCHILD<br />
THEORY AND PRACTICE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Cloth lettered, price 5s.<br />
<br />
TALES IN VERSE.<br />
<br />
BY<br />
BY<br />
Dr. J. A. GOODCHILD. JAMES MASOA.<br />
CONTENTS.<br />
<br />
<br />
<br />
Price One Shilling; by post, 1s. 33d. | 1.—Elements of Chess.<br />
<br />
| 2.—General Principles.<br />
H U E N AL 3.—Combination.<br />
a | 4.—Exposition of Master Play Complete.<br />
<br />
AND LADY'S CALENDAR FOR 1894.<br />
<br />
<br />
<br />
Among its Contents will be found Fully Illustrated, in crown 8vo., price 5s. 6d., by post, 5s. 10d.<br />
<br />
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A CHROMO-LITHOGRAPH PLATE OF IMITATION LIMOGES | THE FOURTH EDITION OF<br />
<br />
ENAMEL EN GRISAILLE.<br />
4 SUPPLEMENT OF WINTER COMFORTS IN KNITTING AND | A Sy St hi NM<br />
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Pocket Size, price 6d.; by post, 63d. |<br />
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<br />
THE LAWS OF GOLF, FIGURE SKATING.<br />
<br />
As Adopted by the Royal and Ancient Golf Club of | Being the Theory and Practice of the Art as Developed in<br />
St. Andrews. England, with a Glance at its Origin and History.<br />
<br />
Special Rules for Medal Play.<br />
By T. MAXWELL WITHAM<br />
<br />
Etiquette of Golf.<br />
Winners of the Golfing Championship.<br />
(Member of the Skating Club).<br />
<br />
Winners and Runners-up for the Amateur Championship.<br />
<br />
WINDSOR HOUSE, BREAM’S BULLDINGS, B.C.<br />
<br />
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Che Buthor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
CONDUCTED BY WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. IV.—No. 8.]<br />
<br />
JANUARY 1, 1894.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as ewpressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec.<br />
<br />
<br />
<br />
HE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
<br />
important communications within two days will write to him<br />
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 />
specs<br />
<br />
WARNINGS AND ADVICE.<br />
<br />
<br />
<br />
<br />
<br />
T is not generally understood that the author, as the<br />
vendor, has the absolute right of drafting the agree-<br />
ment upon whatever terms the transaction is to be<br />
<br />
carried out. Authors are strongly advised to exercise that<br />
right. Inevery other form of business, the right of drawing<br />
the agreement rests with him who sells, leases, or has the<br />
control of the property.<br />
<br />
<br />
<br />
EADERS of the Author and members of the Society<br />
are earnestly desired to make the following warnings<br />
as widely known as possible. They are based on the<br />
<br />
experience of nine years’ work by which the dangers<br />
to which literary property is especially exposed have been<br />
discovered :—<br />
<br />
1, SER1AL Ricuts.—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 />
<br />
VOL. IV.<br />
<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 toa joint venturein 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. LireraARy AGENtTS.—Be very careful. Yow cannot be<br />
too careful as to the person whom you appoint as your<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone.<br />
<br />
5. Cost or Propuction.——Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
<br />
6. CHOICE OF PuBLISHERS.—Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienved<br />
friends or by this Society.<br />
<br />
7. FutrurE Worx.—Never, on any account whatever,<br />
bind yourself down for future work to anyone.<br />
<br />
8. Rovatty.—Never accept any proposal of royalty until<br />
you have ascertained what the agreement, worked out on<br />
both a small and a large sale, will give to the author and<br />
what to the publisher.<br />
<br />
g. PERSONAL Risk.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
<br />
10. Resuct—ED MSS.—Never, when a MS. has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
<br />
11. AMERICAN Riguts.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign an)<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. CESSION OF CopyRiagHT.—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 />
z 2<br />
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284<br />
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14. Never forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy,<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man.<br />
<br />
Society’s Offices :—<br />
4, PorruGan Street, Lincoun’s Inn FIELps.<br />
<br />
po<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
<br />
<br />
rE | ie member has a right to advice upon his<br />
<br />
agreements, his choice of a publisher, or any .<br />
<br />
dispute arising in the conduct of his business or<br />
the administration of his property. If the advice sought<br />
is such as can be given best by a solicitor, the member has<br />
a right to an opinion from the Society’s solicitors. If the<br />
case is such that Counsel’s opinion is desirable, the Com-<br />
mittee will obtain for him Counsel’s opinion. All this<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publisher’s agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This isin<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country. Remember that there are certain<br />
houses which live entirely by trickery.<br />
<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
<br />
8. Send to the Editor of the Awthor notes of everything<br />
important to literature that you may hear or meet with.<br />
<br />
ee<br />
<br />
THE AUTHORS’ SYNDICATE.<br />
<br />
EMBERS are informed :<br />
q 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 />
<br />
<br />
THE AUTHOR.<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 />
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 />
<br />
<br />
<br />
<br />
NOTICES.<br />
<br />
HE Editor of the Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write ?<br />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month. :<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 />
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 im<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 />
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 />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year? If they will do<br />
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THE AUTHOR.<br />
<br />
this, and remit the amount, if still unpaid, or a banker’s<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (7). It is a most foolish and a most<br />
disastrous thing to bind yourself to anyone for a term of<br />
years. Let them ask themselves if they would give a<br />
solicitor the collection of their rents for five years to come,<br />
whatever his conduct, whether he was honest or dishonest?<br />
Of course they would not. Why then hesitate for a moment<br />
when they are asked to sign themselves into literary bondage<br />
for three or five years?<br />
<br />
Those who possess the “Cost of Production” are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
£9 4s. The figures in our book are as near the exact truth<br />
as can be procured; but a printer’s, or a binder’s, bill is so<br />
elastic a thing that nothing more exact can be arrived at.<br />
<br />
Some remarks have been made upon the amount charged<br />
in the “ Cost of Production” for advertising. Ofcourse, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher’s own magazines,<br />
or in other magazines by exchange. As agreements too<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits<br />
eall it.<br />
<br />
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Pes<br />
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LITERARY PROPERTY.<br />
<br />
<br />
<br />
I.—Hiexu Court oF Jusrice.—CHANCERY<br />
Division.<br />
Friday, Dec. 8.<br />
(Before Mr. Justice KEkEewicu.)<br />
Watter v. Lowe.<br />
<br />
HIS was an action by Mr. Walter, on behalf<br />
3 of himself and all others, the proprietors of<br />
the Times newspaper, for an injunction to<br />
restrain the defendant, Mr. Charles Lowe, a<br />
secondhand bookseller in Birmingham, from<br />
further issuing or distributing a catalogue recently<br />
issued by him, purporting to contain an extract<br />
from a leading article in the Times. The leading<br />
article in question appeared in the Times of<br />
Sept. 26, 1866. It commenced by referring to a<br />
correspondence that had then recently been pub-<br />
lished in the Times on ‘‘auction knock-outs,” which<br />
the article characterised as “one of the most<br />
iniquitous abuses ever introduced into a respect-<br />
able trade.” Then, after pointing out the advan-<br />
tages of an ordinary bond fide sale by auction, the<br />
article went on to say, “In reality, under the<br />
present system, an auction is the most unfair of<br />
all sales, and is the most ruinous method of dis-<br />
<br />
285<br />
<br />
posing of any sort of goods.” Then the article<br />
went on to describe the “ knock-out system,”<br />
which is simply a device for excluding competition<br />
at auctions and enabling brokers to obtain things<br />
at less than their proper value. The article con-<br />
cluded as follows: “ As matters are now managed,<br />
no one will resort to an auction who can dispose<br />
of his goods by any other means.” In book cata-<br />
logues issued by the defendant he printed the<br />
following notice on the cover: “ Books wanted to<br />
purchase—libraries or smaller collections of books<br />
bought for cash at the maaimum market value<br />
without any deductions or delays. The danger of<br />
selling by auction—rather than disposing of<br />
libraries to respectable dealers—has been pointed<br />
out by a leading article in the Times, from which<br />
the following is an extract: ‘An auction is the<br />
most unfair of all sales, and is the most ruinous<br />
method of disposing of any sort of goods. As<br />
matters are now managed, no one will resort to<br />
an auction who can dispose of his goods by any<br />
other means.’”’ This so-called “extract” was, it<br />
will be observed, a combination of the two sen-<br />
tences above quoted from the Times leading<br />
article, but omitting the words “ In reality, under<br />
the present system” from the first sentence. The<br />
issue of the defendant’s notice having been com-<br />
plained of by various members of the Auctioneers’<br />
Institute of the United Kingdom, and also con-<br />
demned at a meeting of the council of the insti-<br />
tute, the secretary brought the matter to the<br />
notice of the manager of the Times, who, not then<br />
being aware of the existence of the article, at once<br />
wrote to the defendant requesting to be informed<br />
from what number of the Times the quotation was<br />
made. The defendant replied that the paragraph<br />
was a cutting taken by an assistant, and had<br />
appeared without his knowledge; and he expressed<br />
his regret that the remarks had appeared. The<br />
solicitors to the Times then wrote to the defen-<br />
dant, but as they received no reply to their com-<br />
munications, the writ in this action was issued,<br />
and notice of motion for an interim injunction<br />
was served upon the defendant. The motion now<br />
came on for hearing, which, by consent, was<br />
treated as the trial of the action. It was not until<br />
after the writ had been issued and notice of<br />
motion served that the manager of the Times for<br />
the first time became aware of the existence of<br />
the article published in 1866. He thereupon<br />
filed an affidavit, exhibiting a copy of the article,<br />
and stating that the defendant’s quotation from<br />
it was altogether misleading. The defendant<br />
filed an affidavit, maintaining that his extract was<br />
an accurate quotation from the article, and that<br />
he published it entirely bond side, and with no<br />
desire to injure the plaintiffs or any auctioneers.<br />
He further stated that as soon as his attention<br />
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286<br />
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had been called to the matter he had agreed not<br />
to print any further catalogues containing the<br />
extract, and had not done so, though he had dis-<br />
tributed the catalogues he had in stock.<br />
<br />
Mr. Warmington, Q.C., and Mr. MacSwinney<br />
for the plaintiffs, contended that the extract,<br />
appearing as it did, without any context, gave an<br />
entirely erroneous idea of what the article was<br />
about. A lie was all the worse that it was half<br />
the truth.<br />
<br />
Mr. Ashton Cross, for the defendant, denied<br />
that the extract was unfair. He contended that<br />
it was a perfectly accurate summary of the whole<br />
article.<br />
<br />
Mr. Justice Kexewicu.—Mr. Ashton Cross<br />
has argued this case for the defendant with the<br />
true instinct of an advocate—as if he thoroughly<br />
believed in his case. But when he says that this<br />
extract is obviously fair, that nothing could be<br />
more fair, that it is a perfect summary of the<br />
article, and so forth, his advocacy is taking a<br />
rhetorical form. It is unnecessary for me to go<br />
into the general question how fara leading article<br />
in the Zimes, given to the public and circulated,<br />
is public property, or how far there is private<br />
property remaining in the proprietors of the<br />
Times, or in other newspapers. But it is<br />
common knowledge that no one is entitled to<br />
reproduce the article itself, or any summary of it,<br />
or any extractor quotations from it, so as to give<br />
an unfair colour to it, to the prejudice of the<br />
original publisher. According to this extract, or<br />
so-called extract—for it consists of two extracts<br />
combined into one—which I have before me, the<br />
Times, on some day which has now been ascer-<br />
tained, attacked auction sales in the most (I may<br />
be allowed to say) improper manner, ran them<br />
down asa mode of disposing of property to<br />
which no honest man would resort; and, not<br />
only that, but warned everybody against ever<br />
attending an auction under any circumstances.<br />
That was not what the Times had under its con-<br />
sideration. That was not what the Zvmes was<br />
doing. Acting on behalf of the public, the Tvmes<br />
in this article calls attention to a particular class<br />
of auctions which are called “ knock-outs;”’ and<br />
they seem to have been brought to the attention<br />
of the newspaper and the public by a series of<br />
letters, many of which are mentioned here, and<br />
the evil of the system is pointed out and some<br />
remedies are suggested. It the Times had pub-<br />
lished anything like this extract, standing alone,<br />
they probably would have laid themselves open to<br />
very serious blame; and if they had not laid<br />
themselves open to legal proceedings, they<br />
certainly would have been highly culpable in<br />
thus describing a mode of sale which the court<br />
frequently resorts to, and very often highly<br />
<br />
THE AUTHOR.<br />
<br />
approves of—that is to say, sale by auction.<br />
This gentleman, the defendant, has ingeniously<br />
taken one sentence from about one-third down<br />
the article, tacked it on to the last sentence at<br />
the end, and then says that is a fair summary,<br />
Tt is rather astonishing, I suppose, for the writer<br />
of an article in the Times to be told that his<br />
article could be summarised in that way. But<br />
this article is not summarised by this extract.<br />
The extract does not give the slightest idea of<br />
what the article is. It is devoted to all auctions, —<br />
instead of to this particular class of auctions, and<br />
it trounces them all in this severe language. That<br />
is an injury to the Zimes. Mr. Cross dwells on<br />
the injury to the auctioneers. Indirectly, no<br />
doubt, auctioneers may complain; and if they<br />
complain that may affect the Zimes, of which,<br />
no doubt, the auctioneers are large customers by<br />
way of advertisements. But the Times itself<br />
has the right to say, “* You shall not publish our<br />
article, either wholly, partially, or by way of<br />
summary, or by way of extract, otherwise than<br />
fairly. Ifyou depart from that, and, still more,<br />
if, departing from the fair summary, you give an<br />
entirely different colour to our article, then you<br />
are saying that we have said something which we<br />
have not, and that you have no right to do.”<br />
The injunction must go; and, this being the trial<br />
of the action, it will be made perpetual, with<br />
costs.<br />
<br />
<br />
<br />
Il.—Barzy v. CoLEMAN.<br />
<br />
The plaintiff, Mr. F. C. Barley, journalist, of<br />
50, Threadneedle-street, sued the defendant, Mr.<br />
W. H. Coleman, stock and sharebroker, of St.<br />
Martin’s-lane, to recover £3 6s., balance of an<br />
account for work done. Plaintiff said he had<br />
written certain articles on defendant’s instruc-<br />
tions for a newspaper called The City, and defen<br />
dant agreed to pay him £2 2s. a week for his<br />
services. Cross-examined by Mr. Lovell (defen-<br />
dant’s solicitor), he said the remuneration was<br />
not dependent upon the amount of scurrilous and<br />
libellous matter that he wrote. Mr. Lovell sub-<br />
mitted that, as plaintiff had not produced the<br />
papers, he had not shown that he had rendered<br />
any services, The learned judge found for the<br />
plaintiff for the amount claimed.— City Press.<br />
<br />
<br />
<br />
It].—Rusxin v. Cope.<br />
<br />
An account of this action appeared in last<br />
month’s Author. We have received a circular<br />
signed “ Walter Codd’’ from the offices of Messrs.<br />
Mackrell and Ward, 1, Walbrook, City. We<br />
extract the following portion of this circular :—<br />
<br />
From time to time my clients have, since April, 1875,<br />
<br />
issued in their monthly periodical which they published at<br />
that time, various notices of your client’s life, work, and<br />
<br />
<br />
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THE AUTHOR.<br />
<br />
writings. Such notices were published in the issue of<br />
April, 1875, p- 731, on “A Private Periodical; ” in May,<br />
1875, p. 743, on “The Periodical with Latin Name;” in<br />
September, 1875, p. 793, on ‘“‘ Gleanings in an Unknown<br />
Field; in December, 1875, p. 826, on “ Mr. Ruskin’s<br />
Message;” in April, 1876, p. 885, on “Gleanings in the<br />
Field of Fors ;” in June, 1876, p. 907, on “ The Hermit of<br />
Fors ;” and in September, 1876, p. 944, on “The Wars of<br />
Mr. Ruskin.” These were all comments on the “Fors<br />
Clavigera,” when in course of publication. In December,<br />
1878, p. 262, and in May, 1879, p. 336, two articles<br />
appeared in the same periodical, on “The Bibliography of<br />
Ruskin,” which was being published at that time, and<br />
additions and corrections were made in such articles with<br />
reference to the publication of the Bibliography. It would<br />
have been quite easy for my clients, from these articles<br />
published in their periodical, to have compiled a booklet<br />
which would have contained sufficient for their purpose, and<br />
which could have been done at considerably less cost than<br />
was incurred in the preparation and publication of the<br />
booklet. This will show that for many years the whole of<br />
<br />
your client’s works have been carefully studied by my<br />
<br />
clients, and that they did not suddenly pounce upon his<br />
work without previous consideration, and attempt to make<br />
a profit by the publication of the said booklet.<br />
<br />
The notice of the Bibliography of Ruskin, published in<br />
my clients’ periodical in December, 1878, was a review of<br />
two works on the “Bibliography of Ruskin,’ by R. H.<br />
Shepherd, who was at that time contributor to my clients’<br />
periodical, “‘ Cope’s Tobacco Plant.”<br />
<br />
On the hearing of the motion my clients will consent to<br />
an injunction restraining them from selling, and offering for<br />
sale any books or works of the plaintiff, or infringements of<br />
his copyright, and especially ‘‘ Cope’s Smokeroom Booklet,<br />
No. 13, John Ruskin,” and also from parting with the<br />
possession of any of such books or works, but they reserve to<br />
themselves the right to use the cover of such booklet, the<br />
frontispiece, the title page, and the introductory notice,<br />
together with pages 58 and 59 of the said booklet.<br />
<br />
With reference to damage, I would beg to point out to<br />
you that my clients have made no profit by the issue of the<br />
booklet.<br />
<br />
<br />
<br />
IV.—Harper v. TILLOTSON.<br />
<br />
This was an action heard in the Bolton<br />
County Court, brought by plaintiff, an author<br />
and journalist, against the proprietors of the<br />
Wheeler, a cycling journal published in Bolton,<br />
to recover the value of certain articles and<br />
drawings contributed by him from time to<br />
time, and not used by the defendants, who<br />
denied their liability. In opening the case, Mr.<br />
E. H. Cannot, who appeared for the plaintiff,<br />
stated that Mr. Harper was invited by the<br />
defendants in March, 1892, to contribute to a<br />
new cycling journal which they contemplated<br />
establishing. The plaintiff was not, except by<br />
repute, previously known to the defendants. It<br />
was not contended by the plaintiff that the editor<br />
of the Wheeler was bound to accept everything<br />
sent, but he urged that the editor was bound to<br />
give a reasonably prompt attention and considera-<br />
tion to the work submitted by him as an invited<br />
contributor. Several of his articles and drawings<br />
had been used and paid for, but others had been<br />
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287<br />
<br />
allowed by the defendants to accumulate and lie<br />
unpublished for periods ranging from sixteen<br />
months to two months, during which time much of<br />
their interest was lost. The plaintiff had written<br />
repeatedly for a consideration of these items, but<br />
had received no replies respecting them. In<br />
course of time he, becoming tired of waiting,<br />
wrote to the defendants threatening legal pro-<br />
ceedings, when the defendants replied to him<br />
stating that the articles in question were not<br />
ordered, and could not be used. They offered to<br />
return them, but the plaintiff declined to receive<br />
any of them. He then brought an action (in<br />
August last) in the High Court for £56, the<br />
value of these items, and of some others that had<br />
been published, but the charges for which the<br />
defendants disputed. Application was made in<br />
due course under Order XIV. before Master Kaye<br />
to sign judgment for the whole amount, and the<br />
defendants were ordered to pay £26, partly in<br />
satisfaction of the items published, and partly on<br />
account of certain electrotypes supplied by the<br />
plaintiff with the defendants’ consent. The<br />
defendants admitted their orders for these<br />
electrotypes, and their lability in respect of<br />
them. The action for the £30 balance still in<br />
dispute was remitted by Master Kaye to be tried<br />
in the Bolton County Court. The defendants did<br />
not admit their liability for any of this balance,<br />
but it was shown that £20 of it was for the<br />
articles to which the electrotypes belonged, and<br />
that the admitted liability for these electrotypes<br />
necessarily carried liability for the articles, of<br />
which they formed an integral part. Therefore<br />
there remained only £10 as to which there could<br />
possibly be any contention, and as to the contri-<br />
butions forming this balance, it was proved that<br />
they had been in the defendants’ possession for<br />
many months, and that they had not exercised<br />
their powers of rejection.<br />
<br />
The defendants wished now to call witnesses<br />
as to the custom of the journalistic profession,<br />
but his Honour ruled that as the correspondence<br />
produced proved these matters to be of contract<br />
and arrangement, evidence as to custom was<br />
inadmissible. He held that these contributions<br />
were sent at the defendants’ request for their<br />
acceptance or rejection, such acceptation or<br />
refusal to be decided upon within a reasonable<br />
time. Mr. William Brimelow, a partner in the<br />
defendant firm, had stated in cross-examination<br />
that he considered they had a right to retain con-<br />
tributions for an indefinite period (even for years)<br />
before they decided what they would do with<br />
them, but his Honour scouted this plea as ridi-<br />
culous. He should give judgment to the plain-<br />
tiff. Costs were allowed to the plaintiff on the<br />
higher scale.<br />
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288<br />
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THE FRENCH ACADEMY AND THE<br />
LETTER A.<br />
<br />
N I RENAN informed his countrymen, some<br />
e<br />
<br />
<br />
<br />
six years ago, that the Académie Fran-<br />
<br />
caise would be completing its Dictionary<br />
in about twelve hundred years from that time.<br />
“The real truth is far more cruel,” commented<br />
M. Emile Bergerat thereupon: “M. Renan talks<br />
of only twelve centuries as being enough for the<br />
purpose, in order to keep up our spirits.” There<br />
was a sens tronique rather indignantly charged<br />
against the author of the “ Vie de Jésus” at the<br />
moment, the irony which hinted that the notion<br />
of finality in such a work could not prove other-<br />
wise than chimerical, and that after twelve more<br />
centuries both France and her language might be<br />
dead. But M. Renan himself, “our little<br />
Chateaubriand, aua pommes,’ as M. Bergerat<br />
styled him facetiously, had participated im a<br />
fraction of the labours under the first letter of<br />
the alphabet. Himself a member of the Forty,<br />
he had spoken as a confident des dieux ; and the<br />
Immortals would appear to have shaped a rough<br />
estimate of the task yet remaining to them by<br />
the proportions of the task already accomplished.<br />
The Academy entered upon the first letter of the<br />
alphabet little less than half a century ago. They<br />
have just disposed of that first letter. At their<br />
initial weekly session for the month of October<br />
last, they triumphantly wound-up A.<br />
<br />
This onerous undertaking by the Académie<br />
Francaise formed the tardy execution of a project<br />
originating with Voltaire. It has not infrequently<br />
been confounded with the Dictionary proposed or<br />
encouraged by Richelieu, writers of popular pas-<br />
quinades having no doubt contributed to the error<br />
by their willing pictures of an Academy engaged<br />
since 1638 upon a Dictionary which still halts at A.<br />
The Richelieu lexicon, however, begun by the<br />
“‘ docte assemblée”’ four years after its establish-<br />
ment in 1634, and four years prior to the Car-<br />
dinal’s decease, was compiled from one end to<br />
the other within the same century. Issued again<br />
in 1718, 1740, 1762, 1813, and 1835, as the<br />
Dictionnaire de ]’Académie, the fabric has under-<br />
gone revision and extension without cease.<br />
Neologisms have never gained admittance into its<br />
pages until—this is perhaps the sole fact widely<br />
known in connection with the work—debate has<br />
explored all credentials and scruples; but the<br />
designation borne by the collective volumes has<br />
of late years changed to “ Dictionnaire de l’Usage.”<br />
It was of the famous Dictionnaire Historique de<br />
la Langue Francaise that M. Renan spoke, when<br />
placidly allotting to the cyclopedic toil twelve<br />
centuries still to come. More sanguine persons<br />
<br />
have ventured to reduce that forecast by one-<br />
<br />
THE AUTHOR.<br />
<br />
half. They hazard the opinion that, not two, but<br />
—with diligence—four letters may be not unsafely<br />
reckoned as the rate of continuous progress per<br />
future century.<br />
<br />
The Quarante were eventually persuaded to<br />
commit themselves to the Dictionnaire Historique<br />
by Charles Nodier, the grammarian. Nodier died<br />
in 1844, but he had seized upon the opportunity<br />
provided by the publication of the Dictionnaire de<br />
lUsage, sixth edition, in 1835, to press forward<br />
his favourite scheme with renewed vigour.<br />
According to the custom observed at the<br />
Academy, at least fifteen or twenty years must<br />
elapse before the appearance of a further edition.<br />
Nodier’s colleagues consented to forego their<br />
usual long respite and repose; and the following<br />
expressions, under the signature of Villemain,<br />
permanent secretary, accompanied their announce-<br />
ment of the erudite design: ‘‘Sans confondre<br />
Pusage et l’archaisme, sans prétendre renouveler<br />
la langue en la vieillissant, on peut en rechercher<br />
Vhistoire dans un travail qui, profitant des<br />
notions nouvelles acquises 4 la science étymo-<br />
logique, marquerait la filiation graduelle, les<br />
transformations de chaque terme, et le suivrait<br />
dans toutes les nuances d’acception, en les justi-<br />
fiant par des exemples empruntés aux diverses<br />
époques et a toutes les autorités du langage<br />
littéraire. Le premier essai de quelque partie<br />
dun tel recueil pourra seul en montrer tout le<br />
piquant interét et l’utile nouveauté.” Voltaire<br />
had outlined the Dictionnaire Historique as a<br />
thesaurus of “natural and incontestable ety-<br />
mology, the various meanings and employments<br />
of each word, the strength or weakness of the<br />
corresponding word in foreign languages, the<br />
applications of the word by the best authors, the<br />
relations of each word to prose or poetry.” A<br />
main principle of the plan which the colleagues<br />
of Charles Nodier adopted and bequeathed to<br />
their successors, excludes all terms not con-<br />
clusively defined. The Dictionnaire de Usage<br />
doubtless furnishes the ‘“ conclusiveness ;” but if<br />
so—and it cannot be otherwise, for the only<br />
words recognised and acknowledged by the<br />
Academy are those which they have voted into<br />
their successive editions — the Dictionnaire<br />
Historique will give no history of anything<br />
either non-classical or non-sanctioned by the<br />
philological purist.<br />
<br />
La Commission du Dictionnaire act as the<br />
pioneers for both enterprises. At present, MM.<br />
Jules Simon, Alexandre Dumas, Gaston Boisser,<br />
Gréard, Francois Coppée, and Camille Doucet, the<br />
last named the permanent secretary, are the<br />
academicians constituting the committee. They<br />
hold their meetings regularly every Thursday,<br />
and sit from two o’clock until three, the hour for<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
the session of the full Academy; the material for<br />
their scrutiny and deliberations having been<br />
prepared for them most carefully in advance by<br />
the salaried archivist and his subordinates. It<br />
would seem that the younger and more sensa-<br />
tional undertaking has usurped an undue share<br />
cf time and regard. The seventh and latest issue<br />
of the Dictionnaire de l’Usage appeared in 1878,<br />
and more than a thousand “novelties” have<br />
been allowed to accumulate for academical<br />
inquisition—are “applicants at the Palais<br />
Mazarin,” to quote a phrase from one of the<br />
Forty, “for their letters of naturalisation.”<br />
The Academy have now decided that, with the<br />
letter A at length out of the way, the Thursday<br />
conclaves from two to three shall be devoted to the<br />
Dictionnaire de l’ Usage alone, the latter’sre-advent<br />
in its eighth edition to take precedence of every-<br />
thing. A certain weariness, indeed, had latterly<br />
hetrayed itself. The committee were a-weary of the<br />
letter A; they may have been a-weary with the<br />
weariness of Mariana, but for an opposite reason.<br />
It was not that he would not come; he would<br />
not go. They approached their fellow academi-<br />
cians with an appeal. They besought their<br />
colleagues to grant them temporary severance<br />
from the Dictionnaire Historique.<br />
<br />
A glance at the quarto volumes, in the two<br />
cases, shows that from “ A, substantive,” to “‘ ac-<br />
tuellement,’ the contents of the Dictionnaire<br />
Historique extend to 779 pages, as compared with<br />
24 in the Dictionnarie de Usage. The word<br />
“ Académie”—which the Duc d’ Audiffret-Pas-<br />
quier, a member of the learned corporation,<br />
insisted upon writing with two ‘“c’s””—demanding<br />
but fifty lines in the Dictionnaire de l’Usage,<br />
engrosses half-a-score of the double-column pages<br />
in the newer work. Bois-Robert’s oft-cited<br />
epigram—<br />
<br />
Depuis dix ans, dessus 1’F on travaille,<br />
<br />
Et le destin m’aurait fort obligé<br />
<br />
Sil m’avait dit: “Tu vivras jusqu’au G’—<br />
has evidently acquired a robustness of satirical<br />
flavour not anticipated by that favourite of the<br />
Cardinal. When the Abbé Bois-Robert and his<br />
fellow academicians proclaimed themselves in<br />
1634 “ ouvriers en paroles, travaillant 4 l’exalta-<br />
tion de la France,” they added that they meant<br />
their dictionary to “ serve as a treasury and store-<br />
house of simple terms and accepted phrases.”<br />
They cherished the hope of extirpating faults of<br />
grammar as well as of banishing “ offences<br />
against taste.” Their reformers’ ardour led<br />
them unfortunately to the rejection of innu-<br />
merable idioms.<br />
<br />
Although the more useful of the excised<br />
“phrases and simple terms”’ held their place in<br />
the vernacular, and a fair proportion penetrated<br />
<br />
VOL. Iv.<br />
<br />
<br />
<br />
AUTHOR.<br />
<br />
289<br />
<br />
gradually into subsequent editions of the Aca-<br />
demic standard lexicon, the loss of many is undis-<br />
puted. A severe orthodoxy had been set up;<br />
fashion and favour were the creatures of the<br />
“ énurement ;” long the influence reigned, and<br />
patent was its effect. Something from the<br />
buried residuum the Décadents of our own day<br />
have recovered; and the jeune littérature sym-<br />
boliste, astonishing by an array of unfamiliar<br />
locutions, astonished divers of its hasty censors<br />
still more when it referred them to nooks and<br />
crannies in the Dictionnaire de |’Usage itself.<br />
Adonc, algide —“ qui fait éprouver des sensations<br />
de froid”’—aouté, over-ripe, become examples,<br />
under A, of old French thus restored—and<br />
restored to the current prose and verse of a<br />
school mingling in daily journalism, not merely<br />
to literary experiments and imitations such as<br />
those of Balzac. Similar instances have been the<br />
hiémal and icelui dear to the Décadents. The<br />
embarrassments besieging the Academy, however,<br />
include the dread subject of phonetic spelling.<br />
M. Malvezin, at the head of the Moderates in<br />
spelling reform, is said to have recruited even<br />
amongst the Forty; whilst M. Clédat, of the<br />
Lyons Academy, chose for his inaugural address<br />
in 1890, and printed afterwards in the Revue de<br />
Siecle, an uncompromising denunciation of the<br />
system which, in. the Dictionnaire de lUsage<br />
as elsewhere, abolishes the “¢” in scavotr, and<br />
the “g” in froigde and roigde, but retains the<br />
“ d” in poids, and the “g” in doigt. During the<br />
past two or three years the Moderates have gaine |<br />
ground considerably in France. They comprise<br />
MM. Francisque Sarcey, Auguste Vacquerie, H.<br />
de Bornier, Lockroy, Scholl, Michel Bréal, Havet,<br />
&c., together with masters of the higher schools,<br />
and Government education inspectors. On the<br />
other side stands the French Academy, offering<br />
what names, clothed with what authority ?<br />
Beside the half-dozen already mentioned, here<br />
are a few from the heterogeneous Forty :—MM.<br />
Ferdinand de Lesseps, Pasteur, Emile Ollivier,<br />
Léon Say, de Freycinet, Sardou, Meilhac, Halévy,<br />
Claretie, Sully-Prudhomme, Pierre Loti, poli-<br />
ticians, engineers, a chemist, a financier, a respec-<br />
table poet, two first-rate comic dramatists, a<br />
playwright who can always fill theatres, a<br />
theatrical manager who has written everything,<br />
and a naval officer fond of scenery. The Ma!-<br />
vezin campaign has up to the present aimed at<br />
little beyond the suppression of double conso-<br />
nants, and the substitution of “f” for ‘ph.’<br />
The Moderates will be discontented with the<br />
letter A in the Dictionnaire Historique because<br />
abbé is not spelt abé, because abattre is not spelt<br />
abatre, with abatial, abandoner, &c. The<br />
Extremists, headed by MM. Paul Passy and<br />
AA<br />
<br />
<br />
<br />
<br />
<br />
<br />
290<br />
<br />
Fourts, would turn out the word autre altogether,<br />
so far, transferring it from the first to the<br />
fifteenth letter of the alphabet, as ofre.<br />
<br />
Not inaptly has this toil of the Académie<br />
Francaise been compared to Penelope’s web.<br />
Unsparing critics have derived therefrom an<br />
argument for the extinction of the society.<br />
Barbey @’Aurévilly, however, one of its bitterest<br />
adversaries, penned the reflexion that, “toute en<br />
décadence quelle soit, the Academy is an institu-<br />
tion against which nothing will prevail, because<br />
it clings to the very roots of human vanity.” So<br />
far as the limits of the letter A have permitted,<br />
the Academy have erected a real “treasury and<br />
store-house ” of history, proverb, folk-lore, and<br />
analogy, as the outcome of its fifty years’ task ;<br />
but, with the eighth edition of the Dictionnaire<br />
de Usage monopolising at least the next seven<br />
or eight years, we shall have crossed the threshold<br />
of the twentieth century before the Dictionnaire<br />
Historique can make acquaintance with the<br />
letter B. H. F. Woop.<br />
<br />
Des<br />
<br />
BOOK TALK.<br />
<br />
<br />
<br />
HE true nature of the connection between art<br />
and letters seems to be one of the most<br />
difficult problems of literature. We are<br />
<br />
reminded of it by the Hon. Mrs. Tollemache’s<br />
translation of some of the artistic criticisms of<br />
Diderot. The translator calls her work ‘‘ Diderot’s<br />
Thoughts on Art and Style,” and has written a<br />
preface which adds greatly to the interest of the<br />
work, because she has been able to indicate<br />
beforehand the chief reasons which have influenced<br />
her in her selections. The question whether the<br />
art criticism of the 19th century is in any way<br />
superior to that of the 18th, is one which the<br />
whole tenor of this work thrusts upon us. Time<br />
has changed the foremost critics of the 18th cen-<br />
tury almost into old masters, but it is as well to<br />
note afresh with what criticism it is that the<br />
moderns have to compete. The century which<br />
produced Reynolds’ “Discourses,” Hogarth’s<br />
“ Analysis of Beauty,” and, above all, the work of<br />
Winckelmann, is not likely to be considered in<br />
after times as in any degree lower than our own,<br />
so far as esthetics are concerned. The translator<br />
tries to make out a case for the present day by<br />
saying that “the moral standard changes, and<br />
gradually rises from generation to generation, so<br />
that we stand ona higher moral platform than<br />
our ancestors of the 18th century.” This seems<br />
to us to beg the whole question of artistic pro-<br />
gress, whether in performance or. criticism by com-<br />
paring it with morals. In the first place we do<br />
<br />
THE AUTHOR.<br />
<br />
not know if the remark is to apply to Europe at<br />
large, to modern French art and criticism, or to<br />
Great Britain and Ireland; and even if we did<br />
know to what country to apply it, what settled<br />
judgment can there yet be as to the average<br />
morality of the century in which we still live.<br />
Further, there is Diderot’s own question, How far<br />
has the artist a separate morality of his own? It<br />
would seem that most writers—e.g., Mr. Poynter's<br />
criticism in his “Lectures on Art” of Mr.<br />
Ruskin’s views—are agreed that there is some<br />
relation between morality and art, though what<br />
that relation is remains to be demonstrated. It<br />
is not in the choice of subject, for then we should<br />
never have had great artists painting “The<br />
Massacre of the Innocents,” nor would Michael<br />
Angelo have painted a“ Leda.” Nor is it neces-<br />
sarily in the person—painter, poet, critic, whatever<br />
he may be—for Diderot’s known want of morality,<br />
both in his life and writings, does not appear when<br />
he is writing his artistic criticisms. Another inte-<br />
resting point in this connection is Mrs. Tolle-<br />
mache’s quotation from Ste. Beuve, that Diderot<br />
was the first great writer of democratic society,<br />
for he protests against luxury. An art-critic<br />
to-day protesting against luxury is not to be<br />
found—for one who would even think it necessary<br />
to justify luxury, there would be nine who<br />
would assume it to be perfectly moral, from the<br />
point of view of art—whatever that may be. If<br />
the reader will put aside the disputed points<br />
in the relation between art and letters, he will<br />
find much else in this volume which is worth<br />
knowing and worth thinking about. As a student<br />
of Diderot he naturally turns first to read again,<br />
«A Lament for my old dressing-gown ”—the best<br />
known of all Diderot’s work, though the letter<br />
about “ the Blind for the use of those who cannot<br />
see” seems to us to be of almost equal value. If<br />
we call to mind what Mr. Collier tells us, in his<br />
“Manual of Oil Painting,” that the painter of<br />
to-day feels bound to study his art in the same<br />
methodical scientific spirit with which the<br />
physicist deals with physical science, the art-<br />
critic will have to follow suit. It is not<br />
merely “This likes me more, and this affects me<br />
less,” but why this is so. And here Diderot has<br />
laid the foundation-stone. Speculation as to the<br />
mental condition of the blind formed a great part<br />
of the eighteenth century philosophy. It was<br />
stimulated, if not started, by Cheselden’s well-<br />
known contribution to the Royal Society, record-<br />
ing the case of a boy who was blind from birth,<br />
and upon whom, at the age of fourteen, he<br />
operated (in 1729) with success.<br />
<br />
Diderot’s letter is dated 1749, so that it<br />
would be hardly possible to believe that he had<br />
not heard of Cheselden’s case, which was con-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
sidered so important. Commenting on the boy’s<br />
<br />
. af indifference as to whether he would be operated<br />
<br />
. on or not, Voltaire wrote: “Il vérifiait par cette<br />
4) indifference qw il est impossible U'étre malheureux<br />
1.4 par la privation des biens dont on na pas @idée :<br />
<br />
» verité bien importante.” Allied to the paper<br />
.» on the blind is one equally suggestive on the<br />
| deaf and dumb, in which Diderot shows an<br />
interesting experimental method of trying to<br />
get at their habits of mind. He says: “I often<br />
employed another mode of studying gestures<br />
<br />
=» and actions when I went to the _ theatre.<br />
<br />
7 There were many pieces which I knew by heart,<br />
‘.. and I would climb to the gallery, as far as<br />
; possible from the actors, and as soon as the<br />
» curtain drew up I put my fingers in my ears,<br />
<br />
» much to the astonishment of my neighbours, and<br />
* | kept them there as long as the gestures and<br />
<br />
. actions corresponded with the dialogue which I<br />
< remembered. When the gestures puzzled me I<br />
il ¢ took my fingers from my ears and listened. How<br />
‘1) >} few actors can stand such a test and how<br />
i | humiliated they would be if I were to publish<br />
»7 9 wy criticisms.” And, generally speaking, we find<br />
Diderot devoting his energies to an attempt to<br />
arrive at the origin of the perception of the<br />
sie J beautiful in man by trying to demonstrate the<br />
<br />
4 probable condition of those deprived of any<br />
special sense.<br />
<br />
The translator has also given a rendering of<br />
2 Sainte Beuve’s essay on Diderot, which, together<br />
» with her own preface, and a few scattered notes<br />
and quotations, makes this small octavo volume<br />
» one of great interest; in fact, Mrs. Tollemache<br />
<br />
| has done more than make good her claim to have<br />
»{ puilt a bridge between the English reader and<br />
. the French writer. She has chosen her materials<br />
« well.—J. W. S.<br />
<br />
<br />
<br />
<br />
<br />
ry The committee of the Special Pension for the<br />
a Benefit of Aged and Infirm Correctors of the<br />
Press and their Widows has issued a report and<br />
balance-sheet, which shows that in two years the<br />
members of the committee were able to raise<br />
é £600, which had been vested in the Printers’<br />
I Pension, Almshouses, and Orphan Asylum Cor-<br />
| poration. The charity has had the support of<br />
f many distinguished names in literature and<br />
‘<br />
i<br />
i<br />
j<br />
f<br />
<br />
<br />
<br />
journalism, and its success has tempted the com-<br />
mittee to issue an appeal for a second pension in<br />
favour of those ineligible for the first. We think<br />
the appeal would be better received if the com-<br />
mittee would state more clearly how it comes<br />
“+ about that widows were not included in the first<br />
“{ pension, and on what grounds the thirty years<br />
<br />
qualification in some cases and twenty years in<br />
others was arrived at. With regard to the<br />
management of the charity, it appears that Mr.<br />
<br />
VOL. Iv.<br />
<br />
<br />
<br />
<br />
<br />
291<br />
<br />
Joseph Knight, presiding at a dimner held to in-<br />
augurate the first readers’ pension, said: ‘‘ The<br />
working expenses absorbed less than 1 per cent.<br />
of the subscriptions, and therefore 99 per cent. of<br />
the amount subscribed had been vested in the<br />
corporation to found the pension. Such economy<br />
was unique.’ The hon. treasurer is Mr. J. H.<br />
Murray, 14, Marquis-road, Stroud Green, N.<br />
<br />
oc<br />
<br />
THE AMERICAN AUTHORS’ PROTECTIVE<br />
PUBLISHING COMPANY.<br />
<br />
President, KarHERINE Hopeess; Secretary,<br />
E. M. SovuviE.te.<br />
Address, 14, The Potomac, Michigan Avenue,<br />
Chicago, Il.<br />
(ue following is part of a letter from the<br />
<br />
<br />
<br />
<br />
<br />
President of this new company to the<br />
Editor of this paper :—<br />
Nov. 14, 1893.<br />
<br />
The heading of this paper will be indication that no time<br />
has been lost, after the close of the Exposition, in reducing<br />
to practice the plan mentioned to you of forming an authors’<br />
publishing company.<br />
<br />
This is now an accomplished fact. The company is regu-<br />
larly chartered under the laws of Illinois. It has a full<br />
paid up capital stock of 150,000 dollars to begin with; the<br />
stock divided into ten dollars per share, held at par without<br />
deviation. One object in view is to demonstrate the exact<br />
cost of book production, showing clearly by this what may<br />
in fairness be the share of the author, after an equitable<br />
proportion deducted to cover the cost—all the cost involved<br />
in manufacture, &c.<br />
<br />
Gail Hamilton’s book—that which you saw when you<br />
were here-—we shall soon reproduce. This is a campaign<br />
document, so to speak; the subject-matter of it a complete<br />
record of the treatment of which she was made the victim,<br />
together with an account (which would follow) of the<br />
excessive charges made by the publisher in issuing that<br />
book.<br />
<br />
This procedure is in consonance with our outlined plan of<br />
work, of which you may have remarked the expression in<br />
the last paragraph of our circular, distributed in our exhibit<br />
place in the Woman's Building at the Fair—a copy<br />
of which circular you had at that time. Nearly 200,000<br />
saw our exhibit. Legislators and intelligent men and women<br />
from all sections, at home and abroad, were led to examine<br />
the statement of Grace Greenwood, giving names, time, and<br />
place, together with all the circumstances.<br />
<br />
These things have had a telling effect, and now the Pro<br />
tective Publishing Company must do its work in destroying<br />
permanently the system of pillage so long done upon writers<br />
in this country.<br />
<br />
A strong light shed upon any wickedness must of neces-<br />
sity aid in the obliteration of such iniquity. Nowhere else<br />
than here in Chicago—this centre of the great West—could<br />
such a light be so well upheld to do its appointed work in<br />
this direction.<br />
<br />
It is lit, and we engage to keep it trimmed and brightly<br />
burning, and to keep you fully informed of progress.<br />
<br />
Herein I have the honour to enclose you five shares of the<br />
capital stock, voted to you at a directors’ meeting recently<br />
held under the following resolution.<br />
<br />
Resolved that: ‘‘ For the valuable consideration of the<br />
<br />
AA 2<br />
<br />
<br />
292<br />
<br />
aid in the inception of the work which<br />
necessarily preceded the formation of this company, that<br />
the secretary is hereby ordered to issue five shares of its<br />
the estestock to Walter Besant as a slight recognition of<br />
capital em in which we hold his valued co-operation.<br />
<br />
On the issue of a journal, an organ of this society, we<br />
shall have great pleasure in offering it in exchange for<br />
yours, the better to keep the societies in touch on each side<br />
of the water.<br />
<br />
encouragement and<br />
<br />
<br />
<br />
<br />
<br />
eS<br />
<br />
BALLADE OF MAISTRE FRANCOYS<br />
RABELAIS.<br />
<br />
“‘ Over a jolly chapter of Rabelais.”<br />
R. BRuWNING, ‘‘ Garden Fancies.”<br />
<br />
Come down, old friend; too long you've lain<br />
<br />
On yon high shelf. You're dusty ? Phew !<br />
Certes, I hear you answer plain,<br />
<br />
“A judgment for neglect, pardiew es<br />
<br />
Ne’er fear, you'll always get your due,<br />
Tho’ times go not the easy way,<br />
<br />
When lusty clerics gave the cue ;<br />
Eh? Master Francois Rabelais ?<br />
<br />
Fair abbey gardens of Touraine<br />
Long spoil’d, bloom in your page anew ;<br />
Old France unrolls her wide champaign<br />
For great Gargantua’s jovial crew,<br />
Sly Panurge, Pantagruel too,<br />
And proud Thelema’s mad array :<br />
Their legend—“ What thou Wilt, that Doe ”—<br />
Yours, Master Francois Rabelais.<br />
<br />
And tho’ you seek your shelf again,<br />
<br />
Happier with dusty tomes than new,<br />
Know this: whate’er new lights may reign,<br />
<br />
You'll find fit company tho’ few.<br />
<br />
Tho’ prudes with pain your volumes view,<br />
Whate’er folk unco’ guid may say,<br />
<br />
The world will have its laughter through<br />
With Master Francois Rabelais.<br />
<br />
Envoy<br />
<br />
Doctor, Franciscan, tho’ tis true<br />
<br />
Bookmen have all, like dogs, their day ;<br />
Long lease of life belongs to you,<br />
<br />
Good Master Francois Rabelais.<br />
<br />
SHOWELL ROGERS.<br />
<br />
<br />
<br />
eo<br />
<br />
MODERN LITERATURE IN OXFORD.<br />
<br />
<br />
<br />
URING Michaelmas Term, 1893, the<br />
following public lectures on modern<br />
literature were held at the Taylor<br />
<br />
Institute, in the University of Oxford: The<br />
Professor of Poetry continued lecturing on the<br />
minor poets of the Elizabethan age by giving one<br />
lecture on the subject; the Reader for Slavonic<br />
lectured twice on Russian writers ; Mr. Markheim<br />
recited, and commented on, scenes from Molitre ;<br />
and Dr, Lentzner delivered two lectures on Scan-<br />
dinavian literature, Danish and Norwegian. At<br />
<br />
°0, High-street, a course of six lectures on<br />
Lessing’s “ Nathan ” was delivered in German by<br />
Dr. Lentzner.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
HE letter published in another column<br />
'y announcing the foundation of an American<br />
Authors’ Publishing Company will be<br />
received and its progress will be followed with<br />
great interest. It is an outcome first of the<br />
Chicago Exhibition and secondly of the Literary<br />
Conference. Its foundation must be considered<br />
as very largely the work of Mrs. Katherine<br />
Hodges, the President. She invented and suc-<br />
cessfully carried through, a means of making the<br />
subject widely known. It was simple, but it<br />
required resolution, patience, and perseverance.<br />
She engaged a stall or compartment in the<br />
Women’s Building of the Chicago Exhibition.<br />
She furnished this as a quiet morning-room,<br />
where she sat and entertained all comers with a<br />
few selected stories concerning the treatment of<br />
authors by their publishers—American authors<br />
and American publishers, it must be understood.<br />
It was much as if we had taken a similar space<br />
and conversed all day out of our book, “ Methods<br />
of Publishing.’ She had leaflets printed, which<br />
she distributed to everybody who called upon<br />
her—nearly 200,000 in all. I had one, but I have<br />
unfortunately mislaid it. Further, during the<br />
week of the Literary and Librarians’ Conference<br />
she engaged a room in the building, and held a<br />
conference of her own, which was crowded. The<br />
Publishing Company must be regarded, [ think,<br />
as an outcome of all this activity. The five<br />
shares which their directors have presented to me<br />
I transfer to the Society. May they prove profit-<br />
able!<br />
<br />
<br />
<br />
How would such a company succeed in this<br />
country ? First of all, the capital seems needlessly<br />
creat. I have often discussed the subject. with<br />
those who ought to be able to form and to give an<br />
opinion: the result has always been a conclusion<br />
that, with careful administration, the sum of<br />
£15,000 should be ample, and that there are<br />
very few publishing houses in London which<br />
were originally started with so large a capital.<br />
<br />
Let us consider how such a company would<br />
work. It would adopt, with this Society, some<br />
recognised method of publication as a basis—it<br />
might be a method to be subsequently modified<br />
in the face of facts, though we believe that at<br />
the Society we understand by this time all the<br />
facts of the case. It would, of course, concede<br />
the three first principles of honesty in publishing,<br />
viz., (1) the right of audit; (2) the abolition of<br />
secret profits ; and (3) an open division of profits<br />
whatever system be adopted.<br />
<br />
Next, in the case of commission books it would<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 293<br />
<br />
be as active as in the case of the company’s<br />
“own” books.<br />
<br />
Thirdly, it need not begin business by costly<br />
premises and armies of clerks, but it must begin<br />
fully equipped from the outset, with travellers<br />
and managers of experience.<br />
<br />
Fourthly, it would begin with getting together,<br />
which such a company could easily do, a good list<br />
of good books.<br />
<br />
Fifthly, it should aim from the outset at com-<br />
manding the respect and the con, fidence of literary<br />
men and women. When writers really under-<br />
stand that they are going to be treated with the<br />
most complete fairness and with a perfect under-<br />
standing of what the publishers propose to make<br />
for themselves by his books, there can be very<br />
little doubt that they will flock in hundreds to<br />
such a company. Who would have anything to<br />
do with agreements such as those two published<br />
in the last number of the Author, when he could<br />
get a simple agreement in half a dozen lines<br />
according him certain terms which has been<br />
recognised as fair? What would become,<br />
then, of the ten per cent. royalty on a six<br />
shilling book; of the deferred royalty; and of<br />
all the various dodges and tricks which are daily<br />
attempted ?<br />
<br />
Sixthly, such a company must be conducted on<br />
strictly business principles. That is to say, the<br />
company would not pretend to be the patrons of<br />
literature, or to exist only for the purpose of<br />
advancing the highest form of literature ; it<br />
would publish no rubbish on any terms, but it<br />
would not publish “ high class” books on losing<br />
terms, and the company would never knowingly<br />
incur any serious risk; it would exercise its right<br />
of buying copyrights if authors wish to sell<br />
them; and it would aim, before anything else, at<br />
declaring a dividend.<br />
<br />
Seventhly, the company must always enforce<br />
upon its servants the abandonment of “tricks,”<br />
especially the tricks of the counting house, and<br />
the tricks of the traveller.<br />
<br />
To establish and to be always jealous of its<br />
good name for strictly honourable and open<br />
treatment would be the essential for success.<br />
<br />
Why, then, has not the Society itself long since<br />
started such an enterprise ? For two reasons : @)<br />
Because the work of the Society is not to adminis-<br />
ter literary property, but to defend it; (2) because<br />
the literary world has had to be educated in the<br />
facts of its own property, and because we are still<br />
educating the world; and (3) because, if literary<br />
men undertook such a company, and tried to<br />
manage it by themselves for themselves, failure<br />
would be certain, because literary men are, beyond<br />
any doubt, the least fit for business of any class<br />
im the world. ©<br />
<br />
The secretary has shown me a letter from a<br />
lady, resigning membership of the Society on two<br />
grounds, (1) that the Society was of no use to her,<br />
and (2) that her works had not been praised in<br />
the Author. On the first point one would reply<br />
that it is for the good of other people that suc-<br />
cessful authors mostly become members; for that,<br />
and for the general support of the objects<br />
originally proposed by the Society. As to the<br />
second reason, one hardly knows what to say.<br />
This journal is not a review ; it does not pretend to<br />
underteke critical work at all. Yet, from tbe<br />
nature of things, those who write in it sometHnes<br />
talk of books and their contents. Now we have<br />
nearly 1200 members, all of whom write books, or<br />
have written them. Some hundreds have written<br />
books this last year. If members would suggest<br />
any plan by which these books can all be noticed,<br />
I should be very pleased indeed to adopt it if<br />
possible. For instance, would members prefer to<br />
have a running string of books not reviewed, but<br />
briefly described—neither praised nor “ slated,”<br />
but described—much as the books are described<br />
in Longman’s monthly circular? I have some-<br />
times thought that such a list might be more<br />
useful than the bare list of publications which we<br />
issue every month. And, personally, I should<br />
be very grateful if readers and members of the<br />
Society would advise me to making the Author<br />
more helpful in this, as in every other respect.<br />
But if members resign on the groun dof not being<br />
praised, we must either dissolve the Society or<br />
stop this paper—the latter for choice.<br />
<br />
Another member writes to say that the Society<br />
ig no use to him because it cannot find a pub-<br />
lisher willing to produce his work. He states<br />
also that he cannot belong to a society which<br />
does not carry out what it professes. But he<br />
should first find out what the Society professes.<br />
For instance, it has never professed to find pub-<br />
lishers for its members. It can no more do that<br />
than it can find a public to appreciate their work.<br />
Tt can, and does, keep authors out of bad hands,<br />
and it can keep them from signing unfair agree-<br />
ments. It can, and does, spread abroad every<br />
kind of information concerning literary property.<br />
If this ex-member will look into the papers of the<br />
Society he may set himself right about its pro-<br />
fessions. It is, however, rather disheartening to<br />
think that any one could believe anything so<br />
utterly and wildly foolish as that the socie'y<br />
should undertake to place MSS.—good or bad—<br />
for members.<br />
<br />
<br />
<br />
Every year there is a certain percentage of<br />
members elected, who, as it afterwards appears,<br />
enter in the hope of being helped to publishers<br />
<br />
<br />
<br />
<br />
292 THE<br />
<br />
encouragement and aid in the inception of the work which<br />
necessarily preceded the formation of this company, that<br />
the secretary is hereby ordered to issue five shares of its<br />
the este stock to Walter Besant as a slight recognition of<br />
capital em in which we hold his valued co-operation.<br />
<br />
On the issue of a journal, an organ of this society, we<br />
shall have great pleasure in offering it in exchange for<br />
yours, the better to keep the societies in touch on each side<br />
<br />
of the water.<br />
<br />
<br />
<br />
=e <<br />
<br />
BALLADE OF MAISTRE FRANCOYS<br />
RABELAIS.<br />
<br />
—=<br />
<br />
‘¢ Over a jolly chapter of Rabelais.”<br />
R. BRuWNING, ‘‘ Garden Fancies.”<br />
<br />
<br />
<br />
Come down, old friend; too long you've lain<br />
On yon high shelf. You're dusty ? Phew !<br />
Certes, I hear you answer plain,<br />
“ A judgment for neglect, pardiew !”<br />
Ne’er fear, you'll always get your due,<br />
Tho’ times go not the easy way,<br />
When lusty clerics gave the cue ;<br />
Eh ? Master Francois Rabelais ?<br />
<br />
Fair abbey gardens of Touraine<br />
Long spoil’d, bloom in your page anew ;<br />
Old France unrolls her wide champaign<br />
For great Gargantua’s jovial crew,<br />
Sly Panurge, Pantagruel too,<br />
And proud Thelema’s mad array :<br />
Their legend— What thou Wilt, that Doe” —<br />
Yours, Master Francois Rabelais.<br />
<br />
And tho’ you seek your shelf again,<br />
<br />
Happier with dusty tomes than new,<br />
Know this: whate’er new lights may reign,<br />
<br />
You'll find fit company tho’ few.<br />
<br />
Tho’ prudes with pain your volumes view,<br />
Whate’er folk unco’ guid may say,<br />
<br />
The world will have its laughter through<br />
With Master Francois Rabelais.<br />
<br />
Envoy<br />
Doctor, Franciscan, tho’ tis true<br />
Bookmen have all, like dogs, their day ;<br />
Long lease of life belongs to you,<br />
Good Master Francois Rabelais.<br />
SHOWELL ROGERS.<br />
<br />
po<br />
<br />
MODERN LITERATURE IN OXFORD.<br />
<br />
<br />
<br />
URING Michaelmas Term, 1893, the<br />
following public lectures on modern<br />
literature were held at the Taylor<br />
<br />
Institute, in the University of Oxford: The<br />
Professor of Poetry continued lecturing on the<br />
minor poets of the Elizabethan age by giving one<br />
lecture on the subject; the Reader for Slavonic<br />
lectured twice on Russian writers ; Mr. Markheim<br />
recited, and commented on, scenes from Molitre ;<br />
and Dr. Lentzner delivered two lectures on Scan-<br />
dinavian literature, Danish and Norwegian. At<br />
°0, High-street, a course of six lectures on<br />
Lessing’s “ Nathan ” was delivered in German by<br />
Dr. Lentzner.<br />
<br />
AUTHOR.<br />
<br />
NOTES AND NEWS.<br />
<br />
<br />
<br />
<br />
<br />
HE letter published in another column<br />
TP announcing the foundation of an American<br />
Authors’ Publishing Company will he<br />
received and its progress will be followed with<br />
great interest. It is an outcome first of the<br />
Chicago Exhibition and secondly of the Literary<br />
Conference. Its foundation must be considered<br />
as very largely the work of Mrs. Katherine<br />
Hodges, the President. She invented and suc-<br />
cessfully carried through, a means of making the<br />
subject widely known. It was simple, but it<br />
required resolution, patience, and perseverance,<br />
She engaged a stall or compartment in the<br />
Women’s Building of the Chicago Exhibition.<br />
She furnished this as a quiet morning-room,<br />
where she sat and entertained all comers with a<br />
few selected stories concerning the treatment of<br />
authors by their publishers—American authors<br />
and American publishers, it must be understood.<br />
Tt was much as if we had taken a similar space<br />
and conversed all day out of our book, “ Methods<br />
of Publishing.” She had leaflets printed, which<br />
she distributed to everybody who called upon<br />
her—nearly 200,000 in all. I had one, but I have<br />
unfortunately mislaid it. Further, during the<br />
week of the Literary and Librarians’ Conference<br />
she engaged a room in the building, and held a<br />
conference of her own, which was crowded. The<br />
Publishing Company must be regarded, [ think,<br />
as an outcome of all this activity. The five<br />
shares which their directors have presented to me<br />
I transfer to the Society. May they prove profit-<br />
able!<br />
<br />
<br />
<br />
How would such a company succeed in this<br />
country ? First of all, the capital seems needlessly<br />
great. I have often discussed the subject with<br />
those who ought to be able to form and to give an<br />
opinion: the result has always been a conclusion<br />
that, with careful administration, the sum of<br />
£15,000 should be ample, and that there are<br />
very few publishing houses in London which<br />
were originally started with so large a capital.<br />
<br />
Let us consider how such a company would<br />
work. It would adopt, with this Society, some<br />
recognised method of publication as a basis—it<br />
might be a method to be subsequently modified<br />
in the face of facts, though we believe that at<br />
the Society we understand by this time all the<br />
facts of the case. It would, of course, concede<br />
the three first principles of honesty in publishing,<br />
viz., (1) the right of audit; (2) the abolition of<br />
secret profits ; and (3) an open division of profits<br />
whatever system be adopted.<br />
<br />
Next, in the case of commission books it would<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
be as active as in the case of the company’s<br />
“ own” books.<br />
<br />
Thirdly, it need not begin business by costly<br />
premises and armies of clerks, but it must begin<br />
fully equipped from the outset, with travellers<br />
and managers of experience.<br />
<br />
Fourthly, it would begin with get ting together,<br />
which such a company could easily do, a good list<br />
of good books.<br />
<br />
Fifthly, it should aim from the outset at com-<br />
manding the respect and the con fidence of literary<br />
men and women. When writers really under-<br />
stand that they are going to be treated with the<br />
most complete fairness and with a perfect under-<br />
standing of what the publishers propose to make<br />
for themselves by his books, there can be very<br />
little doubt that they will flock in hundreds to<br />
such a company. Who would have anything to<br />
do with agreements such as those two published<br />
in the last number of the Author, when he could<br />
get a simple agreement in half a dozen lines<br />
according him certain terms which has been<br />
recognised as fair? What would become,<br />
then, of the ten per cent. royalty on a six<br />
shilling book; of the deferred royalty ; and of<br />
all the various dodges and tricks which are daily<br />
attempted ?<br />
<br />
Sixthly, such a company must be conducted on<br />
strictly business principles. That is to say, the<br />
company would not pretend to be the patrons of<br />
literature, or to exist only for the purpose of<br />
advancing the highest form of literature; it<br />
would publish no rubbish on any terms, but it<br />
would not publish “ high class” books on losing<br />
terms, and the company would never knowingly<br />
incur any serious risk; it would exercise its right<br />
of buying copyrights if authors wish to sell<br />
them; and it would aim, before anything else, at<br />
declaring a dividend.<br />
<br />
Seventhly, the company must always enforce<br />
upon its servants the abandonment of “tricks,”<br />
especially the tricks of the counting house, and<br />
the tricks of the traveller.<br />
<br />
To establish and to be always jealous of its<br />
good name for strictly honourable and open<br />
treatment would be the essential for success.<br />
<br />
Why, then, has not the Society itself long since<br />
started such an enterprise ? For two reasons: (1)<br />
Because the work of the Society is not to adminis-<br />
ter literary property, but to defend it; (2) because<br />
the literary world has had to be educated in the<br />
facts of its own property, and because we are still<br />
educating the world; and (3) because, if literary<br />
men undertook such a company, and tried to<br />
manage it by themselves for themselves, failure<br />
would he certain, because literary men are, beyond<br />
any doubt, the least fit for business of any class<br />
in the world. |<br />
<br />
293<br />
<br />
The secretary has shown me a letter from a<br />
lady, resigning membership of the Society on two<br />
grounds, (1) that the Society was of no use to her,<br />
and (2) that her works had not been praised in<br />
the Author. On the first poimt one would reply<br />
that it is for the good of other people that suc-<br />
cessful authors mostly become members; for that,<br />
and for the general support of the objects<br />
originally proposed by the Society. As to the<br />
second reason, one hardly knows what to say.<br />
This journal is not a review ; it does not pretend to<br />
undertake critical work at all. Yet, from tbe<br />
nature of things, those who write in it sometHnes<br />
talk of books and their contents. Now we have<br />
nearly 1200 members, all of whom write books, or<br />
have written them. Some hundreds have written<br />
books this last year. If members would suggest<br />
any plan by which these books can all be noticed,<br />
I should be very pleased indeed to adopt it if<br />
possible. For instance, would members prefer to<br />
have a running string of books not reviewed, but<br />
briefly described—neither praised nor “ slated,”<br />
but described—much as the books are described<br />
in Longman’s monthly circular? I have some-<br />
times thought that such a list might be more<br />
useful than the bare list of publications which we<br />
issue every month. And, personally, I should<br />
be very grateful if readers and members of the<br />
Society would advise me to making the Author<br />
more helpful in this, as in every other respect.<br />
But if members resign on the ground of not being<br />
praised, we must either dissolve the Society or<br />
stop this paper—the latter for choice.<br />
<br />
ee<br />
<br />
Another member writes to say that the Society<br />
ig no use to him because it cannot find a pub-<br />
lisher willing to produce his work. He states<br />
also that he cannot belong to a society which<br />
does not carry out what it professes. But he<br />
should first find out what the Society professes.<br />
For instance, it has never professed to find pub-<br />
lishers for its members. It can no more do that<br />
than it can find a public to appreciate their work.<br />
Tt can, and does, keep authors out of bad hands,<br />
and it can keep them from signing unfair agree-<br />
ments. It can, and does, spread abroad every<br />
kind of information concerning literary property.<br />
Tf this ex-member will look into the papers of the<br />
Society he may set himself right about its pro-<br />
fessions. It is, however, rather disheartening to<br />
think that any one could believe anything so<br />
utterly and wildly foolish as that the socie'y<br />
should undertake to place MSS. good or bad—<br />
for members.<br />
<br />
<br />
<br />
<br />
<br />
Hvery year there is a certain percentage of<br />
members elected, who, as it afterwards appears,<br />
enter in the hope of being helped to publishers<br />
<br />
<br />
<br />
<br />
294<br />
<br />
and a public. One would refuse them admission<br />
if they would let us know their motives and their<br />
hopes at the outset. What can be done for these<br />
writers? About forty retire from the Society<br />
every year, either by resignation or by ceasing to<br />
pay their annual subscription. Most of the forty<br />
seem to belong to this mistaken class. Now there<br />
is no royal road to literary success. It is an<br />
elementary thing to say, but it has to be said<br />
over and over again. Neither a society, nor an<br />
agent, nor private influence can make a writer<br />
popular, or can induce a publisher to produce<br />
him unless he thinks he will acquire some kind of<br />
popularity and demand. If by chance anyone<br />
who is thinking of joining the Society for this<br />
reason should read these lines, let him instead<br />
call upon the Secretary and talk over the situation<br />
with him. It will save him a guinea for certain,<br />
and a disappointment in all probability.<br />
<br />
Ss<br />
<br />
I would also remind readers, with a view to the<br />
new year, that we invite contributions on subjects<br />
connected with any of the various branches and<br />
aspects of literature, but on no other subject<br />
whatever.<br />
<br />
<br />
<br />
There is a club of the roughest lads in<br />
London — riverside lads— who live, and will<br />
always live, by odd jobs; who have nothing<br />
but their hands; who have never learned any<br />
trade. This club is held in the evening;<br />
the lads amuse themselves with boxing gloves,<br />
bagatelle boards, and a small library. The<br />
club is under the superintendence of a young<br />
lady, who visits the place nearly every night.<br />
Concerning this club she wrote the other day, “I<br />
wish we could get another set of ’s novels.<br />
They are worn to rags with constant reading.<br />
They are by far the greatest favourites with the<br />
boys.” If this were a weekly journal, one might<br />
offer a prize for the first person who guessed the<br />
name. Here, you see, is the problem. Quite<br />
rough lads; who loaf all day long in search of<br />
odd jobs by the riverside; who have been caught<br />
and brought in here and persuaded to read; at<br />
first against their will; lads wholly ignorant of<br />
style, of the world, of history, of everything.<br />
Given these conditions, find an answer to this<br />
question. Among living novelists, who is the<br />
most likely to catch their fancy? I cannot offer<br />
you a prize for guessing, but I will give the<br />
answer. The favourite writer of these lads is<br />
Edna Lyall.<br />
<br />
<br />
<br />
<br />
<br />
I remember a certain review of Richard Jefferies,<br />
published in a certain leading literary journal, in<br />
which the remark was made that before long his<br />
name would disap ear and his works would be fr-<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
gotten. ‘There would be no documents,” said —<br />
the prophetic reviewer. This was five or six<br />
yearsago. It was a most unfortunate prediction.<br />
For the work of this author spreads wider every<br />
year, and sinks deeper and deeper into the heart<br />
of the English speaking race. Of the unbounded<br />
admiration for this man, of the absolute respect<br />
for his work, which has inspired me from the time<br />
when his real work first began, I have never felt<br />
ashamed. Nor have I ever felt inclined to lower<br />
the note of that admiration, or to soften the deep<br />
colours of that respect. Therefore I welcome the<br />
new Study of Richard Jefferies, by Mr. H. S. Salt.<br />
It is a little book, but full of enthusiasm for the<br />
subject, critical rather than biographical, and<br />
worthy of the subject. This must be owned by<br />
everybody, whether they agree with Mr. Salt’s<br />
views or not.<br />
<br />
<br />
<br />
The death of Professor Tyndall removes one of<br />
the earliest friends of the Society, and one of its<br />
staunchest friends. At the outset he accepted<br />
the post of Vice-President. It will be remem-<br />
bered that we began with a President, Vice-<br />
Presidents, Fellows, and Associates. The Vice-<br />
Presidents have been dropped, and the Fellows<br />
have become Members. Professor Tyndall, how-<br />
ever, was one of our Vice-Presidents. And, as<br />
the office has never been formally abolished, he<br />
remained a Vice-President to the end. One of<br />
the last letters—probably the very last letter—<br />
that he ever wrote, was written to Mr. Colles, of<br />
the Author’s Syndicate. It was dated Dec. 3,<br />
1893, and posted on the same day at Haslemere.<br />
The envelope shows the date. But there was some<br />
delay with the letter, as the Shotter Mill post<br />
mark is dated Dec. 5, and it was not delivered till<br />
Dec. 6, two days after the writer’s death. It was<br />
in reference to a poet of the humbler kind to<br />
whom he was desirous of doing a great kindness.<br />
The following is a portion of the letter :-—<br />
<br />
Dear Mr. Colles,—I have been shamefully entreated—<br />
lifted on the wings of hope and then let fall like a simple<br />
gravitating mass without a pinion. When I reached<br />
England from Switzerland six weeks ago my prospects were<br />
fair. Three days after my return they became clouded. I<br />
was smitten with an attack in the chest, which drove me to<br />
my bed, whence I am hardly yet able to rise. This is why<br />
I have not acknowledged your friendly note informing me<br />
of the kindness of in undertaking to look over the<br />
poems of Will you thank him on my behalf?<br />
<br />
Yours very faithfully,<br />
JoHN TYNDALL.<br />
<br />
There was a postscript containing another<br />
message of kindness and friendship.<br />
<br />
The society has plenty of enemies—especially<br />
of the baser sort. So long as it attracts and<br />
preserves the goodwill and friendship and support<br />
of such men as Tyndall it will continue to grow<br />
in strength.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Another new monthly mazagine. This time<br />
from Dublin. It is called The Old Country. It<br />
appears to be written by Irishmen and Irish-<br />
women, but not only for their own country people.<br />
It is a shilling in price, and, among other things,<br />
it contains a poem by Professor Dowden, and two<br />
hitherto unpublished poems by Byron and Tom<br />
Moore.<br />
<br />
<br />
<br />
Some time ago I was considering the treatment<br />
of authors by the venerable Handmaid of the<br />
Church, the §.P.0.K. I mentioned on what<br />
was certainly the highest authority possible, the<br />
treatment by the Society of that exquisite writer,<br />
the author of “ Jackanapes.” I was told, however,<br />
that my information was not exact, and therefore<br />
I said no more upon the subject. I have now,<br />
however, in my hands, placed there by the clergy-<br />
man for whom—not to whom—it was written, a<br />
l-tter from Mrs. Ewing herself, in which she<br />
puts the facts exactly. She says that up to the<br />
moment. of writing (May 13,1889) there had been<br />
30,000 copies of “ Jackanapes”’ disposed of.<br />
<br />
She states also that the Society paid her 5jd.a<br />
copy for every edition of 10,000 copies, and 53d.<br />
a copy for smaller numbers; out of this the<br />
author paid for the production, and the artist’s<br />
royalty. It was a shilling book—price 9d. to<br />
buyers. This is how, in the hands of the “ Literary<br />
Handmaid of the Church,” the publisher is related<br />
to the author : this is what the Bench of Bishops<br />
who are the vice-presidents of the Society think<br />
honourable and religious treatment of an author.<br />
Observe that merely mundane and secular pub-<br />
lishers have never claimed more than half the<br />
profits. Here is the table:<br />
<br />
Publisher pays author 5}d. receives gd.—profit<br />
32d.<br />
<br />
Author receives 5$d., pays printer 3d.<br />
> artist, 1d.<br />
», herself, 13d.<br />
<br />
The publishers actually took three times the<br />
sum received by the author.<br />
<br />
On 30,000 copies the account would stand thus :<br />
<br />
<br />
<br />
x 8, d.<br />
Publishers’ profit......... ee 468 15 Oo<br />
Author’s is 6 5<br />
Artist’s s s - 125.0. 6<br />
<br />
Happy country! Happy Church! Where the<br />
purest religion is thus brought into the ordinary<br />
details of everyday life! We must prosper—we<br />
must—with such a Handmaid to the Church!<br />
<br />
<br />
<br />
A correspondent says: “I like the S.P.C.K. I<br />
like them to take the money of their publishing<br />
business because they devote it to good works.”<br />
T hope that we all like good works—though some<br />
<br />
295<br />
<br />
divines hold them to be as filthy rags. At the<br />
same time, there is a just and there is an unjust<br />
way. The way which sweats an author is unjust,<br />
whether the proceeds of the sweating go to<br />
colonial bishops or not. If my correspondent<br />
pleases she can give from the just and righteous<br />
proceeds of her book (if she can get hold of them)<br />
what she pleases to the society. But the society<br />
has no right to take from her what they please in<br />
order to endow colonial bishoprics.<br />
Water Besant.<br />
<br />
=> ec<br />
<br />
FEUILLETON.<br />
<br />
<br />
<br />
Tue Epiror.<br />
<br />
Beinc CHaprerR XXXV. OF A HITHERTO UNPUBLISHED<br />
Work oN NatTuRAL History.<br />
<br />
\ \ TE now come to deal with the common<br />
editor (Editor vulgaris), a creature of<br />
the greatest interest to naturalists, and<br />
whose characteristics have attracted much atten-<br />
tion of late. And at this point I feel that an<br />
explanation is due to my readers. The descrip-<br />
tions of the habits and natures of those animals<br />
which occupied the previous chapters were, in<br />
every case, the fruit of my personal observations.<br />
But habitual candour impels me to confess that,<br />
in spite of many attempts, I have never myself<br />
seen an editor, although my efforts to do so have<br />
given me an ample acquaintance with his haunts,<br />
and some knowledge of his habits. Other natu-<br />
ralists, however, have been more fortunate, and<br />
many of them, writing under such signatures as<br />
“ Rising Novelist,” ‘‘ Young Author,” and the<br />
like, have communicated the results of their<br />
observations to this and other journals. There<br />
is considerable unanimity in their accounts as<br />
to the chief points of interest about him, and<br />
by comparing the results of their investigations<br />
we shall obtain a fairly accurate idea of this<br />
creature.<br />
<br />
The common editor is chiefly remarkable for<br />
the mixture of ferocity and cunning which he<br />
displays. He lives in a remote cave, or cell,<br />
situated in almost inaccessible places, and ex-<br />
tremely difficult to find. The approach to his<br />
lair is commonly invested with swarms of the<br />
Office-Boy Hornet (see Chapter LXIL.), which do<br />
all in their power to prevent the intrusion of a<br />
stranger. Strychnine, done up in the form cf<br />
chocolate drops, is probably the best means of<br />
destroying these. But even when they have<br />
been overcome, the zoologist is not unlikely to<br />
find the lair deserted; for it is a habit of the<br />
editor to roam forth in search of food, which he<br />
does at frequent intervals. Those scientists who<br />
have made a determined effort to capture an<br />
<br />
<br />
<br />
296<br />
<br />
editor, declare that they have approached his den<br />
at all times, from eleven in the morning to late<br />
in the afternoon, and that they have been in-<br />
formed on each occasion that their prey has “just<br />
stepped out to luncheon,” and is not expected to<br />
return for several hours. Another well-marked<br />
trait in the creature’s character, and one upon<br />
which all writers are agreed, is his passion for<br />
unused postage stamps, which he obtains from<br />
innocent contributors in enormous quantities.<br />
Hence a learned Professor has conjectured that<br />
it is the habit of the editor to le concealed in<br />
his den until such time as he has accumulated<br />
sufficient stamps to secure him a meal, and that<br />
he then sallies forth to spend these, after which<br />
he again rests in hiding until another supply of<br />
stamps has been obtained. When in his den, his<br />
favourite employment is tearing up manuscript,<br />
with the exception of a few especially worthless<br />
articles, which latter he uses for filling his paper.<br />
Tt is also a well-known fact that he puts all the<br />
poems he receives into a hat, and draws out one<br />
or two at random for use from time to time; the<br />
rest he destroys. A further point observed by<br />
many zoologists is the editor’s fondness for<br />
cliques; they do not explain very clearly what<br />
these are, or how they are formed, but their<br />
existence is denounced by almost every writer on<br />
editors. Some facts concerning them will be<br />
found in a later chapter. It is sufficient to say<br />
here that they are represented as herds of selfish<br />
and incompetent monsters, whose only aim is to<br />
prevent any recognition being given to true<br />
genius.<br />
<br />
The next point for us to consider is how editors<br />
may best be tamed. Many American authorities<br />
recommend the pistol or the horsewhip for this<br />
purpose, but this system is not commonly em-<br />
ployed here. It is far better to use moral suasion.<br />
Thus, if you wish to break in the editor of a<br />
comic paper, it isa good plan to send him two<br />
articles daily for a month, on such subjects as<br />
‘ Speculations on the Relativity of the Absolute.”<br />
By the end of the month, you will probably find<br />
that his spirit is quite broken, and his docility<br />
will be remarkable. Of course, if you wish to<br />
subjugate an editor of a serious review, you<br />
should administer frequent doses of comic verse.<br />
The writing should be as bad as possible, and the<br />
effect will be increased by frequent letters inquir-<br />
ing why your contribution has not yet appeared.<br />
If the editor is young and restive, the first effect<br />
of this treatment will be to make him foam at<br />
the mouth, but by steadily persisting with it you<br />
will soon reduce him to a condition of calm<br />
despair, when you will be able to do what you<br />
like with him. It is also necessary to overcome<br />
the natural timidity and solitary habits of the<br />
<br />
THE AUTHOR.<br />
<br />
animal; this is best done by frequent intrusion<br />
into his den at the busiest time of the day; you<br />
should then talk kindly to him, and insist on<br />
explaining for an hour or so the unique merit of<br />
your latest article. It is not wholly inexpedient<br />
to carry a revolver in your pocket when applying<br />
this treatment.<br />
<br />
But even when the editor has been made docile<br />
and tractable by this method, the editor tamer<br />
cannot be too careful to watch the creature’s<br />
movements, for his temper will always be uncer-<br />
tain. Should he show signs of anger, you should<br />
offer him a few postage stamps, which will<br />
generally restore him to good temper. But<br />
editors cannot be recommended as home pets;<br />
even when they are apparently tame, and will eat<br />
stamps out of your hand, they are just as likely<br />
as not to bite you fiercely, and suddenly to refuse<br />
to accept your contributions. I have often been<br />
asked whether it would not be possible to make a<br />
fair income by regularly training and bringing up<br />
young editors, and teaching them in their youth<br />
to accept whatever you send them. The question<br />
is an interesting one, and readers will find an<br />
excursus on “Can editors be made profitable?”<br />
at the end of this volume.<br />
<br />
It may be pointed out, in conclusion, that our<br />
investigations into the habits of the editor are by<br />
no means complete. So little was known of them<br />
until a recent date, that a German professor<br />
classed them, together with griffins, sea serpents,<br />
and Lords of the Admiralty, as entirely mythical<br />
creatures. And those philanthropic and intel-<br />
ligent persons who are in the habit of sending to<br />
the papers their opinions about editors who have<br />
rejected their articles, and who in so doing draw<br />
for us vivid pictures of the habits of these<br />
animals, are undoubtedly adding to the sum of<br />
human knowledge, and on that account, if on no<br />
<br />
other, are deserving of our gratitude. A.C. D.<br />
MR. ANDREW LANG ~. THE SOCIETY AND<br />
ANOTHER.<br />
<br />
<br />
<br />
R. ANDREW LANG devotes half a<br />
dozen pages to the attack of the Society<br />
or of myself, both together or separately.<br />
<br />
It is in Longman’s Magazine for December<br />
—not the first time that he has used this<br />
magazine for the purpose. One laments the<br />
curious animosity which he has introduced into<br />
the subject—one on which opinions ought surely<br />
to be expressed without anger. Without any<br />
personal feeling in the matter, however, let me<br />
once more state my position.<br />
<br />
1. I say that the author is wholly dependent<br />
on the publisher. :<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a<br />
<br />
tq<br />
2<br />
(<br />
si<br />
1<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Iam quite prepared to take upon myself the<br />
<br />
burden of proving this proposition—if it wants.<br />
<br />
proof. I would, however, point out that it is the<br />
view taken already by the committee of the<br />
Society, if the adoption and publication of a<br />
book means anything. In the ‘“ Methods of<br />
Publishing,” not written by me, the following is<br />
one of the general conclusions arrived at after<br />
discussing a great many agreements in the<br />
secretary's hands.<br />
<br />
“Under every method the author is placed in<br />
an unfair position—a position where he can be<br />
treated with impunity—especially with regard to<br />
advertisements, author’s corrections, and sale of<br />
remainder stock. In every manner the author is<br />
made to feel that his rights of property are<br />
theoretical, and that his claim to pecuniary<br />
return of his work is a monstrous exaction to be<br />
resisted in every direction.”<br />
<br />
It is difficult to put the helpless position of the<br />
author more strongly, espevially when we<br />
remember that it is impossible or almost impos-<br />
sible to publish without a publisher. Ruskin<br />
created a publisher for himself. But there are<br />
few Ruskins.<br />
<br />
However, I will prove by the simplest and most<br />
elementary algebra this simple thesis: The<br />
author is wholly dependent on the publisher.<br />
<br />
If x varies as y; and y varies as z; therefore<br />
x varies as z.<br />
<br />
Because 2 varies as y, therefore a = ay; because<br />
y varies as z, therefore y = bz, but, since<br />
<br />
x<br />
y ] <2 6 be.<br />
<br />
Translating into words. The author depends<br />
upon the publisher and the publisher depends<br />
upon the public. Therefore the author depends<br />
upon the public. But if—as has constantly hap-<br />
pened—the factor 6 is carefully concealed by y<br />
the publisher from a the author, then no equa-<br />
tion can be established between author and public,<br />
and the author does not depend upon the public.<br />
Or if the factor a be itself a variable and un-<br />
certain quantity dependent on the caprice, the<br />
generosity, the meanness, the temper of the<br />
publisher, then no equation can be established<br />
between author and publisher, and the former is<br />
absolutely at the mercy of the latter, subject to<br />
any competition which may mitigate the lot.<br />
This statement of the case seems to me elemen-<br />
tary initssimplicity. We have done a great deal<br />
to ascertain the meaning of the factor 6; we<br />
have next to arrive at a satisfactory value for<br />
a, When both a and 6b are ascertained and<br />
known, then, and not till then, the author will be<br />
dependent on the public.<br />
<br />
For the author to be dependent on the public<br />
it is necessary that the former should know exactly<br />
<br />
VOL. Iv.<br />
<br />
297<br />
<br />
and wholly the meaning of the relations between<br />
the publisher and the public, and be able to make<br />
arrangements with the former based upon that<br />
knowledge.<br />
<br />
2. Mr. Lang is indignant because I say that I<br />
am ashamed to hawk my wares. He says he<br />
knows many authors who are not ashamed.<br />
Well—but still I am ashamed. My agent does<br />
my business for me, and so relieves me of the<br />
necessity of exposing myself to this pain. Ought<br />
I to be ashamed of bemg ashamed ?<br />
<br />
3. He next “goes”? for my statement that<br />
in signing a royalty agreement authors have<br />
hitherto done so “blindly.” Yet he does not<br />
deny that it has been in blindness.<br />
<br />
He then talks down a whole page about the<br />
selling of books by authors, as if the min ques-<br />
tion, or the question at all, was one of getting<br />
more. And he ignores the real truth, that<br />
the whole aim of the Society has from the<br />
outset been, not to “get more’ for authors—<br />
more or less is not the point—but to get for them<br />
common justice (which they seldom could get for<br />
themselves), common honesty (this covered a very<br />
limited area), and independence. We have done<br />
a good deal towards extending the area on which<br />
honesty could be found. We have gone a good<br />
way towards getting some show of justice, and<br />
we are still preparing the way, and educating<br />
ourselves, to the acquisition of independence.<br />
Getting more! To represent the Society as exist-<br />
ing for the purpose of enabling authors to get<br />
more—that is what we always come to when the<br />
Society is attacked, or, for that matter, when I<br />
am,<br />
What we do want is the independence of litera-<br />
ture. To secure that we must obtain the recogni-<br />
tion and adoption of certain methods—or one<br />
method—of publishing by all persons, z.e., all<br />
worthy persons concerned. We must abolish at<br />
once and for ever every kind and form of secret<br />
profits ; we must have everything open and above<br />
board; we must have light turned upon dark<br />
places, kept dark designedly. We want to be<br />
dependent upon the public alone. In order to<br />
achieve this result, we must ascertain exactly what<br />
is meant by that factor “db” in the algebraical<br />
illustration above.<br />
<br />
4. Mr. Lang then quotes the plan which I<br />
ventured to advance for consideration and argu-<br />
ment. He says he doesn’t understand it. Very<br />
well. We can pass on to someone who does.<br />
Certainly it is not necessary to argue with anyone<br />
who says that he does not understand what is<br />
advanced.<br />
<br />
5. Mr. Lang, I believe, prophesied that no good<br />
would come of the Congress of Chicago. He now<br />
refuses to see that any good has come of it. Of<br />
<br />
BB<br />
<br />
<br />
<br />
298<br />
<br />
course. He reminds me of another prophet who<br />
prophesied that an earthquake would take place<br />
in Egypt at the Transit of Venus. He was so<br />
sure of it that he lamented loudly his inability<br />
to go to Cairo on purpose to enjoy it on the<br />
spot. After the Transit I met him and inquired<br />
after the earthquake. “It was felt,” he said;<br />
‘ A friend of mine felt it in bed. The other<br />
fellows there, pretended men of science, refused<br />
to believe it. But it came—it came—just as I<br />
had prophesied it.”<br />
<br />
But we are talking, very likely, of different<br />
things. My idea of success or failure may not be<br />
another person’s.<br />
<br />
The Literary Conference in Chicago resulted<br />
in this: Many hundreds—or thousands—of<br />
persons had presented to them, for the first time,<br />
papers bearing on a great many most im-<br />
portant subjects connected with literature.<br />
These papers were, to these people, of the<br />
greatest educational value. They were written<br />
by persons for the most part thoroughly com-<br />
petent. The contributions from our own<br />
side: our Chairman’s paper on Publishing, Sir<br />
Henry Bergne’s on the Berne Conference; Mr.<br />
Sprigge’s on Domestic Copyright and Lord<br />
Monkswell’s Act; Mr. Traill’s on the Relation of<br />
Literature and Journalism; Mr. Henry Arthur<br />
Jones’ on the Drama; and, if I may add it, my<br />
own paper on the Society of Authors, contained<br />
work that commanded a hearing. The papers<br />
contributed by the American authors — who<br />
were chiefly the representatives of the New<br />
York committee—together with certain writers<br />
of the west, were upon subjects less legal than<br />
our own contributions. The people separated<br />
with a clearer understanding of what is true<br />
criticism ; of what is meant by literary style and<br />
art; and of literary standards. They also sepa-<br />
rated with some understanding of literary pro-<br />
perty. As an immediate outcome, the literary<br />
men of the west have founded an Authors’<br />
Society, and have asked for our papers as a help<br />
to themselves. They have also founded, as will<br />
be seen in another column, an Authors’ Publish-<br />
ing Company with a fully paid-up capital of<br />
£30,000. Anyone may call these results a proof<br />
of failure. Anyone is at lberty to say so. Let<br />
me, however, be allowed the equal liberty of<br />
stating, humbly, my opinion that these results<br />
mean success.<br />
<br />
Lastly, Mr. Lang knows nothing about the<br />
“bending back.” Very well. To my mind lite-<br />
rary history is full of the bending back. I had<br />
before me the other day a bundle of letters<br />
written by a man of letters of very considerable<br />
name early in this century. They were all<br />
begging letters—letters written in a spirit’ of<br />
<br />
THE AUTHOR.<br />
<br />
abject mendicancy. They were humiliating to<br />
the last degree. And there are writers—Heavens !<br />
there are hundreds—at the present day whose<br />
necessities constrain them to beg and to borrow.<br />
What about those advances that publishers are<br />
always making to authors? What about the<br />
books paid for before written ? What about work —<br />
pledged for years before? Is this the indepen.<br />
dence of authors? Can it be a dignified, self-<br />
respectful, pleasant thing to have to ask for those<br />
advances? Is it an unfair way of describing such<br />
requests—the way of the bending back ?<br />
<br />
In speaking about these subjects I boldly<br />
venture to claim a much greater authority than<br />
most writers can possibly exercise, because I am<br />
using the special and unique experience acquired<br />
by five years’ work as chairman of the Society<br />
of Authors. During this long period it is not<br />
too much to say that I have learned the mode<br />
of conducting business pursued by every pub-<br />
lishing house in London. Where there are<br />
tricks I have learned—well—most of those tricks.<br />
T have learned every method of publication,<br />
honest or dishonest, fair or tricky, open or crafty.<br />
I could name the firms and societies which are<br />
sweaters; I know the houses which practise<br />
the secret profit dodge; I know in many cases<br />
—and a very curious thing it is to know—<br />
the habitual tyranny of the man with the bag,<br />
and the forced acquiescence of the man without a<br />
bag. Ihave learned, in fact, a thousand things<br />
connected with the craft of literature which no one,<br />
except the secretary of oursociety and myself, could<br />
also learn. They are things secret and confiden-<br />
tial. But the general deductions to be made from<br />
them are not secret, and anything that I have<br />
written out of my most exceptional experience is<br />
literally and exactly true, e.g., that the author is<br />
absolutely dependent on the publisher ; that too<br />
often he has to assume an attitude of submission<br />
and pretended respect; that the constant fight we<br />
have to maintain is not to get more—more—more<br />
—but to get an approximation to what in any<br />
other kind of work would be called just and fair,<br />
and this fight is irritating and even degrading.<br />
I say that these things are literally and exactly<br />
true—and I repeat it after such an experience of<br />
what I am talking about as only three other men<br />
in the whole world can ever have obtained—lI<br />
refer to the secretaries of the Society past and<br />
present.<br />
<br />
I. think this is about all that need be said,<br />
though of course we can repeat, month by<br />
month, if necessary. If anyone likes to gibe at<br />
endeavours made by men, at least disinterested, —<br />
to raise the profession or calling of literature<br />
into independence, he has, I suppose, a perfect<br />
right to do so. We may be very sorry that he<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
does so, and very much disappointed at losing<br />
one who should be our advocate. However, it<br />
is very certain that in dog so he may rest<br />
assured of a welcome in a good many maga-<br />
zines, One had, at the very outset, to reckon<br />
upon attack and misrepresentation of all kinds<br />
and from all quarters. Independence cannot be<br />
conquered in a day, and the baser sort were not<br />
going to give up their secret profits without a<br />
struggle. Let us remember that on our side<br />
stand Scott, Dickens, Thackeray, George Eliot,<br />
Tennyson, Wilkie Collins, Charles Reade—every<br />
single man and woman who can be said to have<br />
created literary property—these are with us. On<br />
the other who are there? I can see in the mist<br />
and fog of that side certain faces for the most<br />
part masqued. One need not ask their motives ;<br />
and I see behind these again, clear and distinct,<br />
figures of those who go about patting them on<br />
the back, encouraging, whispering “Go on! Go<br />
on! Keep it up about ‘filthy lucre!’ Rub it in<br />
about getting more! Don’t ever leave off saying<br />
‘Sordid! Base! Mean! Ignoble!’” The latter<br />
are the disinterested spirits who want the old<br />
conditions preserved for their own profit.<br />
W. Bz<br />
<br />
nS<br />
<br />
MILITARY “NOMS DE PLUME.”<br />
<br />
S an article writer on technical and other<br />
subjects, I venture to address the readers<br />
of this paper on the above subject.<br />
<br />
Presumably then, all writers who are employed<br />
on work of which they are not ashamed would<br />
prefer to see their names in print. We who,<br />
however, are serving in the Army and Navy, and<br />
who, in the interests of our profession, contribute<br />
to military journalism (which by the way is by<br />
no means a lucrative employment by reason pro-<br />
bably of the small circulation of “ service ”<br />
magazines or journals), have frequently to suffer<br />
by implication for writing of the “faith that is<br />
in us.”<br />
<br />
Par exemple, the writer contributed (by<br />
request) an account to a “biggish” paper of<br />
certain manceuvres of volunteers at which, in a<br />
military capacity, he was present, and, though<br />
having no connection of any sort with the corre-<br />
spondent of the “ leading journal,” and not even<br />
cognisant of his identity, your present correspon-<br />
dent’s account tallied very exactly from a general<br />
point of view with that of the greater critic.<br />
<br />
Now, as no names were mentioned in the<br />
writer’s true and accurate account of what he<br />
saw and condemned, and as no personal abuse<br />
was indulged in, but the faults merely of a system<br />
and of the mass of volunteers condemned in<br />
<br />
<br />
<br />
299<br />
<br />
moderate terms, it seems a gross stretch of autho-<br />
rity for a member of the Government to describe<br />
publicly in generic terms our reports as those of<br />
irresponsible critics. The officer who writes<br />
under a nom de plume on such occasions does so<br />
because it is highly inconvenient to be continually<br />
confronted by members of his own brigade or<br />
battalion with questions on his reasons for this<br />
or that description of what occurred at a time<br />
when an important body of men was put on its<br />
trial, and when the trained eye sees what is<br />
invisible to the amateur—or at least unappre-<br />
ciated.<br />
<br />
In the case of the writer, to have published his<br />
name would have been to practically sit in judg-<br />
ment on officers of superior rank, who, whether<br />
volunteers or regulars, did not know their work,<br />
as such publicity must at once fix the personality<br />
of those who erred, an ungracious and displeasing<br />
task, whereas to describe in detail in unsigned<br />
articles the daily course of events without attach-<br />
ing names of people or titles of brigades is to<br />
teach the desired lesson without ruffling the<br />
feathers of any one particular person.<br />
<br />
I may add that the editor who employed me to<br />
write in my leisure hours the account in question<br />
had a considerable knowledge and experience of<br />
my capacity or incapacity for the task. The only<br />
thanks I and others received, however, was to be<br />
described by the Comwmander-in-Chief as “ cap-<br />
tious critics’? because we spoke the truth, and by<br />
the Secretary of State for War as “ irresponsible<br />
critics.’ Unquestionably, then, had our names<br />
transpired, we might bid adieu to all hopes of<br />
further professional advancement.<br />
<br />
I may add that, after publication, IT sent my<br />
articles privately to certain officers of the force<br />
attacked (?) for perusal, who indorsed every word.<br />
of the said contribution.<br />
<br />
Again, one volunteer officer, who can sign his<br />
name to almost anything he likes and fear<br />
no pecuniary or other damage, taunts the mili-<br />
tary critics on these occasions with their anony-<br />
mity. Reverting to legitimate criticism, so hardly<br />
and unfairly dealt with by the ‘ powers that be,”<br />
what is the opinion of your readers as to the fate<br />
awaiting the officer who shall dare to put in<br />
print a signed article at all critical of the force<br />
of volunteers, which for the moment it is the<br />
fashion to applaud, though we do not deny that<br />
terms of severe criticism do not apply to any<br />
but that refuse which corrupts a wholesome<br />
movement ?<br />
<br />
Tt cannot be denied that there are many sub-<br />
jects on which it is inadvisable for officers on full<br />
pay to write, and others which under the Official<br />
Secrets Act are penally proscribed. This, how-<br />
ever, has and can have nothing to do with fair and<br />
<br />
<br />
300<br />
<br />
candid criticism of what passed under the very<br />
eyes of, an officer supposed in virtue of his<br />
appointment to be a competent person to describe<br />
such events as “ Volunteer Manceuvres.”<br />
<br />
So much do honest critics take such strictures<br />
to heart as dealt out by the great personages<br />
above-mentioned, that it would be well if some<br />
assurance could be given that our course of action<br />
is or is not reprehensible.<br />
<br />
“Ts thy servant a liar” that he cannot report<br />
faithfully those simple but ul-performed evolu-<br />
tions, which on certain days he saw in proprid<br />
persona ? Or is it that some objective unseen by<br />
us induces the highest authorities to play the<br />
game of brag with regard to that incohesive and<br />
untrained force, which with the slightest possible<br />
smattering of military lore affects to hold its own<br />
inthe practice of what may be called (in the sense<br />
of the numbers engaged) “ grand tactics”? Prac-<br />
tically, the Commander-in-Chief lays it down that<br />
volunteers are beyond criticism, and, further,<br />
that officers of the army are not to comment on<br />
them—one is apt to say then, cuz bono the volun-<br />
teers P<br />
<br />
Is it likely that a big paper, or for the matter<br />
of that, any reputable journal, will ask for any<br />
but expert opinion on matters military, and if<br />
some three or more papers of repute tally in the<br />
general features of their separate accounts, is it<br />
possible to justify the action of those who,<br />
shutting their eyes to the hard fact, uphold the<br />
pleasant fiction by a sweeping condemnation of<br />
certain honest men who tried to “see straight”<br />
and to speak the truth As a military journalist,<br />
the writer awaits some more definite instructions<br />
in the shape of Queen’s Regulations on the sub-<br />
ject, and remains until further notice under the<br />
disguise of a Nom DE PLUME.<br />
<br />
ee ee<br />
<br />
“AT THE SIGN OF THE AUTHOR'S HEAD.”<br />
<br />
N a publisher’s list of new books is found the<br />
following note : ‘The publisher can arrange<br />
for purchasers to see these works at the<br />
<br />
nearest bookseller’s on receipt of address.” This<br />
is, we venture to think, a new departure, which, if<br />
adopted by every publisher, would certainly benefit<br />
the bookseller, add something to the convenience<br />
of the purchaser, and in the long run would not<br />
injure the_publisher.<br />
<br />
Mr. Marcus Rickards, the author of ‘ Creation’s<br />
Hope,” and “Songs of Universal Life,” has<br />
written a new volume of poems, called “ Lyrics<br />
and Elegiacs.” Of the sixty-three poems con-<br />
<br />
<br />
<br />
tained in this book we should especially pick out<br />
for praise, one “ On a Packet of Old Letters,” and<br />
<br />
THE AUTHOR.<br />
<br />
another ‘“‘ The Somnambulist,” but both are too<br />
long for quotation. There is, however, one short<br />
lyric which is fairly typical of Mr. Rickards’<br />
work, which we give:<br />
<br />
Sou, BrEAurTy.<br />
<br />
Grace Incarnate, Glory’s Heir,<br />
Born of one divinely fair,<br />
Cradled mid the gloom and strife<br />
Of this dark tumultuous life.<br />
Waxing while all else is waning,<br />
Militant till brightly reigning.<br />
<br />
Glow of mind and flame of Heart,<br />
Splendour to the face impart ;<br />
Mocking light and shadows play<br />
Of the evening stars pure ray.<br />
Bid it flash in lightning glances,<br />
Quiver as a sunbeam dances.<br />
<br />
Form will vanish, colour fade,<br />
<br />
Time and grief mar youth and maid.<br />
Fairer gleams the beauteous soul,<br />
As she nears life’s dusky goal.<br />
<br />
Thro’ earth’s tale and nature’s story,<br />
Ripened for supernal glory.<br />
<br />
The Christmas uumber of the Briar Rose,<br />
edited by Miss M. A. Woods, has appeared. As<br />
the organ of the Rose Club, a literary society<br />
for women, it is pleasing to note the high<br />
standard which the editor demands from the con-<br />
tributors. The chief papers are one on “ Beauty,”<br />
and one on the symbolism of the “ Divina<br />
Commedia,” together with a true story and<br />
other matters.<br />
<br />
Southward Ho!—a Sussex monthly of fact,<br />
fiction, and verse, contains this month the<br />
beginning of a story by Mr. Stanley Little.<br />
There is a short but very interesting contribu-<br />
tion on the ‘‘ Vocabulary of Hodge,” with a list<br />
of words, and other papers mostly suited to the<br />
Christmas season.<br />
<br />
Mr. Mackenzie Bell has brought out a small<br />
volume of verse, entitled “ Spring’s Immortality,<br />
and other Poems,” consisting of reprints and<br />
additions (Ward, Lock, and Bowden). The<br />
following stanzas from a lyric, entitled “In Elf-<br />
ington Copse,” show that Mr. Bellis in good<br />
company in his attitude toward Nature; it reminds<br />
us of Wordsworth’s “ Lines written to Harly<br />
Spring,” and “The Tables Turned.”<br />
<br />
This evening every wild flower here<br />
More deeply stirs my heart<br />
Than alien flowers or prodigies<br />
Of man’s botanic art.<br />
<br />
This sweetbriar bough, that meekly pours<br />
Its perfume on the air,<br />
I would not give for any flower<br />
The gardener deems most fair.<br />
I leave the rich their bowers of art,<br />
Wreathed with the rarest flowers;<br />
Enough for me these woodland ways<br />
In Summer’s twilight hours.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Grant Allen has written a story for the<br />
“Breezy Library,” called ‘An Army Doctor's<br />
Romance.” It is very slight, and very much<br />
“ yp-to-date,” the army doctor being engaged in<br />
the bush with Lobengula. The “ Breezy Library”’<br />
prides itself on being a series of “ shilling<br />
soothers,’ the object being to dissociate the<br />
shilling from the “shocker,” The story, as<br />
would be expected from Mr. Grant Allen, is<br />
interesting, but we fail to see that it is in any<br />
sense soothing, especially as Mr. Grant Allen<br />
writes of the Matabele thus :—“It is not often<br />
that the Matabele in particular take any man<br />
prisoner; the playful habit of those warlike<br />
savages is rather to spear the wounded on the<br />
battlefield with their deadly stabbing assegais,<br />
and to massacre whomsoever they capture in cold<br />
<br />
lood at the end of an engagement.”<br />
<br />
Mr. Henry Baildon, in a prefatory note to his<br />
new book, “The Rescue, and other Poems” (T.<br />
Fisher Unwin), tells us that in former days he<br />
composed rival verse rendermgs of Ovid with Mr.<br />
R. L. Stevenson, which gives an additional interest<br />
to his poem, “The Gods of Old’’—of which we<br />
give a few verses—for Mr. Baildon is still faith-<br />
ful to the classic deities.<br />
<br />
They are not dead, those gods of old;<br />
They still uptower with mien sublime,<br />
In calm majestically cold,<br />
<br />
Above the tossing waves of Time.<br />
And still the Lordly Spirit brings<br />
Meet off’rings to imperial Jove—<br />
The king of gods, and god of kings—<br />
As erst in old Dodonian Grove.<br />
<br />
Still queenly Juno holds supreme<br />
The homage of the matron race,<br />
And scorns from out her stately dream<br />
The virgin saints that seek her place.<br />
<br />
Still free of heart and fleet of limb,<br />
The maid her vows to Dian keeps ;<br />
Her soul hath visions brightly dim<br />
As mist that in the moonlight sleeps.<br />
<br />
Still Venus wears her ancient smile,<br />
As young as Morn, as old as Eve,<br />
Who did the olden gods beguile,<br />
Doth still the modern man deceive.<br />
. Miss J. Heale has written a novel called<br />
‘Markham Howard” (T. Fisher Unwin). As<br />
this is the author’s first attempt in fiction, it is<br />
pleasant to be able to congratulate her on a work<br />
which has originality in its plot and at least one<br />
original character—that of a lazy, disreputable<br />
German, who, having married an Englishwoman,<br />
endeavours to live on her property, and does not<br />
succeed. The author seems to have a good deal<br />
of knowledge of the musical profession, in which<br />
the hero makes his fame asa composer. Another<br />
time we hope the author will (for the sake of<br />
her readers) make the girls in her story talk a<br />
<br />
301<br />
<br />
little more, otherwise we have to take their<br />
characters so much on trust. It is a pity this<br />
work should have been printed on paper of an<br />
unpleasant yellowish colour.<br />
<br />
A new novel by Miss Peard, called ‘‘ An Inter-<br />
loper,” will form one of the serials in Temple Bar<br />
for 1894.<br />
<br />
Miss Peard has recently published ‘‘ The Swing<br />
of the Pendulum.” 2 vols. Bentley and Sons.<br />
<br />
“A Fair Claimant,” by Frances Armstrong,<br />
has recently been published by Messrs. Blackie ;<br />
and ‘Old Caleb’s Will,’ a temperance story,<br />
issued by Messrs. Jarrold, is by the same author.<br />
<br />
Messrs. Chatto and Windus have purchased<br />
all book rights of Headon Hill’s ‘Clues from<br />
the Note-book of Zjambra the Detective,’ which<br />
recently appeared as a serial in the Million. A<br />
serial story of Indian life by the same author,<br />
entitled ‘‘'The Rajah’s Second Wife,” commences<br />
in the British Weekly with the new year.<br />
<br />
Mr. Stanley Weyman is the author of the<br />
leading serial for the Monthly Packet during<br />
1894. The title is “My Lady Rotha,” and the<br />
story deals with the period of the Thirty Years’<br />
War. Thisis Mr. Weyman’s principal work for<br />
the year, though minor contributions from his<br />
pen will appear elsewhere.<br />
<br />
The Rev. J. Hamlyn Hill’s translation of<br />
“Tatian’s Diatessaron” has now been published<br />
by Messrs. T. and T. Clark, of Edinburgh.<br />
Price 10s. 6d. The following is a copy of the<br />
upper part of the title-page:<br />
<br />
The Earliest Life of Christ<br />
ever compiled from the Four Gospels, being<br />
The Diatessaron of Tatian<br />
(cire. A.D. 160),<br />
<br />
Literally translated from the Arabic Version, and<br />
containing the Four Gospels woven into one<br />
Story.<br />
<br />
With an Historical and Critical Introduction by<br />
the Rev. J. Hamlyn Hill, B.D. (formerly Senior<br />
Scholar of St. Catherine’s College, Cambridge.<br />
Author of an English version of ‘“ Marcion’s<br />
<br />
Gospel”).<br />
<br />
A meeting of leading European journalists was<br />
held last week at Antwerp, at which a committee<br />
was appointed to carry out the proposed Inter-<br />
national Conference to be held in that city in the<br />
summer of next year. The British Press was<br />
represented by three London journalists, and five<br />
Englishmen were elected members of the com-<br />
mittee—namely, Mr. P. W. Clayden, editor of<br />
the Daily News, president of the Institute of<br />
Journalists; Sir Hugh Gilzean Reid, F.J.1., of<br />
the North-Eastern Daily Gazette; and Mr. H. 8.<br />
Cornish, secretary of the Institute of Journalists ;<br />
<br />
<br />
304<br />
<br />
would go tothem! The reasons why a writer who<br />
has made some name should employ an agent,<br />
were set forth in the last number of the Author.<br />
—Ep. |<br />
<br />
——<br />
<br />
<br />
<br />
TV.—Cuaries Lams on PUBLISHERS.<br />
<br />
Those who are not familiar with his corre-<br />
spondence may be interested to learn that even<br />
the “ gentle Elia” gave no quarter to the natural<br />
enemies of authors. This is how he writes of<br />
them to his friend Barton :—<br />
<br />
“Those fellows hate us. The reason I take to<br />
be, that, contrary to other trades in which the<br />
master gets all the credit—a jeweller or silver-<br />
smith, for instance—and the journeyman, who<br />
really does the fine work, is in the background,<br />
in our work the world gives all the credit to us,<br />
whom they consider as their journeymen, and there-<br />
fore do they hate us and cheat us, and oppress us,<br />
and would wring the blood of us out to put another<br />
sixpence in their mechanic pouches! I contend<br />
that a bookseller has a relative honesty towards<br />
authors, not like his honesty to the rest of the<br />
world. Baldwin, who first engaged me as ‘ Elia,’<br />
has not paid me up yet—nor any of us without<br />
repeated mortifying appeals—yet has the knave<br />
fawned when I was of service to him! YetI<br />
daresay the fellow is punctual in settling his<br />
milk score, &¢.”<br />
<br />
<br />
<br />
Your obedient servant,<br />
TEMPLAR.<br />
<br />
<br />
<br />
V.— <A Prea ror THE SMALL BooKsELLER.”<br />
<br />
Mr. Cresswell remarks, ‘‘ Half a century since<br />
the country bookseller did a quiet, profitable<br />
trade.” Very likely, but have we been stand-<br />
ing still since then? Was there a circulating<br />
library to be found in pretty nearly every small<br />
country shop as there is now? Were there the<br />
same facilities by railway and post for exchanging<br />
the volumes? The ordinary middle-class house-<br />
holder is not going to buy his novels if he can<br />
hire them. Possibly, after he has read them, and<br />
they have pleased his fancy, and not shocked his<br />
taste, he will purchase them at some shop or<br />
store where he can obtain the 3d. discount we all<br />
seek so eagerly. Thus, by slow, very slow,<br />
degrees he will build up a small and select library<br />
of fiction. Now, the country bookseller could not<br />
live out of this kind of business. But being<br />
anxious to please everyone, he keeps his circu-<br />
lating library. It may consist of but fifty<br />
volumes, but he takes as much pains with his list<br />
of new books, and the booking of his customers’<br />
fancies, as the ‘“haberdasher” to whom Mr.<br />
Cresswell alludes.<br />
<br />
In saying the country bookseller could, if he<br />
would, persuade the people of England to be<br />
<br />
THE AUTHOR.<br />
<br />
book buyers :<br />
the land that highest of all educations<br />
obtained by reading, surely Mr. Cresswell is<br />
beside the mark. Even if the small bookseller<br />
wished to ‘stock,’ where is the capital to come<br />
from? It is no use to do things by halves, anda<br />
large sum would be required to buy evea a<br />
quarter of the new books of to-day. A stock<br />
of standard works of fiction and poetry, with<br />
a few religious works thrown im, are gener-<br />
ally to be found on the small bookseller’s counter,<br />
At Christmas time he makes a special effort,<br />
and exhibits a few new books in the shape of<br />
bound magazines, children’s books, and Christmas<br />
annuals. Why should the poor man do more?<br />
Surely there is enough being done to advance<br />
learning throughout the land, without the small<br />
bookseller purchasing a stock of books for which,<br />
in the country town, there is no sale, com-<br />
paratively speaking.<br />
<br />
Every town has its circulating library, and<br />
every railway station in the town has its book-<br />
stall; every parish has its reading-room, every<br />
cottage has its “ weekly.” The majority buy the<br />
bulk of their literature before travelling, and<br />
W.H. Smith is always at hand to gratify every<br />
taste, with his pile of dailies, weeklies, maga-<br />
zines, and shilling shockers. The country book-<br />
seller cannot compete with him. W. A.<br />
<br />
<br />
<br />
Vi.—Tue Penny Nove erte.<br />
<br />
Mrs. Spender in the December number of the<br />
Author, seems to be agitating herself unneces-<br />
sarily on behalf of “The Hungry Fox.” The<br />
large class of readers to whom she alludes, as<br />
coming up from the board schools, have their<br />
caterers, very able ones in their way, whose name<br />
also is legion.<br />
<br />
That any author should deliberately set him-<br />
self to “write down” toa class, is surely not to<br />
be thought of.<br />
<br />
Furthermore it is, if not impossible, extremely<br />
difficult to do so. Is it not just as hard fora<br />
thoughtful, cultured person to write a doll story<br />
of puppets in action, full of incident and strategy,<br />
but minus characterisation, as it is for a Penny<br />
Novelette writer to turn outa novel of “subtle<br />
allusions” and of analytical power; or for an<br />
engineer to manufacture a good pair of bootst<br />
Bach to his own craft. There is room for all.<br />
<br />
I believe it a mistake to assume that we can<br />
write exactly as we please. Most writers will, I<br />
fancy, agree with me in thinking that is put a<br />
fond delusion. One may start a book with every<br />
intention: of making it a simple story of un-<br />
involved emotions, optimistic generalisations, and<br />
idealistic flights, only to find. as one passes the<br />
<br />
and advance throughout |<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
+; milestones, each character has taken a turn of its<br />
<br />
- own in some opposite direction. Likely as not one<br />
discovers, at the end, that the work has turned<br />
out a subtle study of pessimistic realism, evolved<br />
by a collection of complicated characters beyond<br />
<br />
4) the author’s control!<br />
<br />
Tt takes a very strong-minded writer to manage<br />
and marshal thoroughly his own ideas and<br />
creations in any case. How much more so if he<br />
puts himself under a conscientious resolve to<br />
bring them down to a dead level of mediocrity,<br />
where thought is treason, originality a crime, and<br />
dainty diction “the sin of effort!”<br />
<br />
M. I. PENDERED.<br />
<br />
<br />
<br />
VII.— Reviews AnD REVIEWERS.<br />
Te<br />
<br />
On page 243 of the Author of Dec. 1, you have<br />
a paragraph on the manifold and wondrous<br />
reviews of a book by “Ingenue.” I conclude<br />
that those quoted all come from different papers,<br />
but what is to be thought of the following:<br />
<br />
In 1884 I wrote a book, and in one of the<br />
newspapers of the day (Nov. 25, 1884) a review<br />
of it appeared, which was by no means favour-<br />
able, in fact, some twenty-four lines of print were<br />
dedicated to showing how faulty it was. You<br />
can imagine my surprise, therefore, when I saw<br />
in the very same paper, on May 26 following, a<br />
still longer review, of which every line sang the<br />
praises of my production.<br />
<br />
Which was the public to consider true?<br />
<br />
Dee. 8. IsKENDER.<br />
<br />
II.<br />
<br />
The following are some extracts from the<br />
reviews of a recent work. “ Ingenue’s”’ experi-<br />
ence is not without a parallel.<br />
<br />
“This story is exceedingly clever and very<br />
readable.”<br />
<br />
“ Unwholesome without being clever.<br />
<br />
“This clever but disagreeable book.”<br />
<br />
“When there is so much to be grateful for,<br />
to quarrel over such a trifle as a subetitle is per-<br />
haps rather hypercritical.”<br />
<br />
“The heroine is maddeningly imbecile.”<br />
<br />
“The heroine is aclever and accomplished<br />
woman . a charming and impulsive<br />
woman, whose heart is stronger than her head.”<br />
<br />
«The heroine is a harsh creation.”<br />
<br />
‘A creature of passions and emotions, lacking<br />
ballast, and yet strangely attractive, with her<br />
versatile mind and many gifts.”<br />
<br />
“ An eminently unsatisfactory person.”<br />
<br />
Surely there ought to be some canons of criti-<br />
cism. Professor R. G. Moulton’s work on the<br />
<br />
science of criticism deals with the subject well.<br />
M. P.<br />
<br />
AUTHOR.<br />
<br />
395<br />
<br />
11k<br />
<br />
And here is yet another collection of various<br />
opinions, good and bad, and wholly irreconcile-<br />
able.<br />
<br />
1. “Mr. D.’s story, which is not without its<br />
good points, labours under the primary defect of<br />
an almost total absence of adequate motive.”<br />
<br />
2. ; on the contrary would be the<br />
better for having less purpose.”<br />
<br />
1. “But when a writer adopts the dubious<br />
exped'ent of labelling his characters at the out-<br />
set =<br />
<br />
2. “The characters are not mere bundles of<br />
opinions neatly labelled.”<br />
<br />
1. “This is a most powerful and dramatic<br />
novel. The characters are well drawn, and some<br />
are quite fascinating in their strength and indivi-<br />
duality.”<br />
<br />
2. “ We may add that it is dreary reading.”<br />
<br />
1. “The plot, which is well thought out, and<br />
largely consistent, simply teems with incidents<br />
and side lights.”<br />
<br />
2. “The plot is crowded with too many incon-<br />
<br />
a «<br />
<br />
gruous elements . . . to makea good novel.”<br />
Se might at least have been made<br />
more amusing.”<br />
To grotesque and coarsely sensa-<br />
tional.”<br />
<br />
2 intensely true and pathetic; it<br />
is full of sympathy and insight: every line of it<br />
tells.”<br />
<br />
.“ . . , the tone and intention of the<br />
story are worthy of all respect.” D. D.<br />
<br />
<br />
<br />
VIII.—A Stamp or APppRovAL.<br />
<br />
May I put forward a suggestion by which the<br />
Authors’ Society could render an invaluable<br />
service to those young authors who may be led<br />
to use the kind offer of help in reviewing and<br />
criticism of MSS. by the Society’s readers ?<br />
<br />
Beyond the practice of treating the MS. when<br />
received as an essay for revision and correction<br />
where necessary, would it not be possible for the<br />
Society, upon the favourable criticism and report<br />
of the reader, to mark those MSS. considered<br />
worthy of publication with the official stamp of the<br />
Authors’ Society, thus showing that the MS. has<br />
certain merits, besides having been carefully<br />
reviewed by an expert in the person of the<br />
Society’s reader ?<br />
<br />
Such a plan, while it would in no way involve<br />
any responsibility on the part of the executive of<br />
the Authors’ Society, would undoubtedly prove to<br />
be of real service to many young writers who too<br />
often are unjustly discouraged by the refusal of<br />
publishers to consider their MSS. while still<br />
unknown in the literary world.<br />
306 THE<br />
<br />
I would gladly help forward such a scheme if<br />
you should consider it practicable and falling<br />
within the scope of the work of the Incorporated<br />
Society of Authors. THEODORE JOHNSON.<br />
<br />
<br />
<br />
TX.—Anonymous JOURNALISM.<br />
<br />
I have been very much interested in M. Zola’s<br />
remarks on anonymity in journalism, because the<br />
question is one upon which I have always held<br />
very decided opinions, for which I have frequently<br />
done battle. M. Zola did not touch upon scientific<br />
journalism, but, unfortunately, the common<br />
practice of concealing one’s identity, that rules<br />
with papers devoted to news and politics, has<br />
extended to those papers whose office it is, or<br />
should be, to disseminate as widely as possible<br />
the latest discoveries of science, and to show up<br />
the latest discoveries of error.<br />
<br />
As the editor has very truly remarked, in<br />
speaking of anonymous reviews, concealment of<br />
the name of the writer too often leads to flippancy<br />
and to personality, which only tend to obscure<br />
the question at issue.<br />
<br />
When a writer conceives that his or her<br />
identity will not be discovered, he or she, more<br />
particularly she, will be far more ready to indulge<br />
in the feminine pastime of giving the adversary<br />
one, than if the name of the writer was appended<br />
to the writing.<br />
<br />
It will be obvious that there will be many cases<br />
where a writer would like to say something very<br />
bitter, very cutting, that will add nothing to the<br />
knowledge of the question possessed by those<br />
written for, who would not write the bitter cutting<br />
things over a signature.<br />
<br />
It has always appeared to me that where<br />
reasons exist. for not writing, if the article or<br />
letter must be signed, those reasons should be<br />
sufficient for not writing at all.<br />
<br />
It has appeared to me also, that every writer<br />
should take full responsibility for what he writes,<br />
and with it any rewards that may follow. If a<br />
writer has ability it should be known, not as the<br />
ability of the paper he writes for, but of himself<br />
or herself.<br />
<br />
And I think that what is true of scientific<br />
journalism is true of a great many other branches.<br />
<br />
Certainly it is true of reviewing. When a<br />
paper professes to judge for the public of the<br />
value of a recently-issued book, no matter on<br />
what subject the book may be written, should it<br />
not provide a competent judge, and should its<br />
proprietors be ashamed to publish the name of<br />
their judge?<br />
<br />
Is it not a fraud on the public if a book is<br />
turned over to some youngster to review, with<br />
instructions to copy out a portion of the preface<br />
<br />
AUTHOR.<br />
<br />
and add a few remarks of his own, just to fill up<br />
his allotted space ?<br />
<br />
And with regard to any newspaper you please,<br />
if its reviews gained nothing, they would certainly<br />
lose nothing by being signed.<br />
<br />
Let one for a moment consider that he is<br />
perhaps about to take up the study of a certain<br />
subject, or, if it be preferred, that he wants a<br />
book to take him quite out of his everyday work.<br />
In one paper he sees a certain book, such as he<br />
thinks would suit him, reviewed by a man<br />
eminent in that branch of work, and reviewed<br />
impartially, but favourably. In another paper,<br />
an anonymous reviewer goes for the writer in<br />
the time-honoured style. In which review would<br />
he have most confidence, and to which paper<br />
would he turn on another occasion.<br />
<br />
Certain papers, of course, command respect<br />
from the fact that they are known to keep a staft<br />
of very high-class reviewers. But even with<br />
them, would not their best work be done over<br />
their own names? How tempting to slate for a<br />
slip in grammar, when no one will know who is<br />
the slater, and so spoil the whole effect of the<br />
review.<br />
<br />
But I contend also, and very seriously, that<br />
even political articles should be signed. I do not<br />
suggest that the reporter who makes a column out<br />
of a fire, and has it cut down to a quarter, should<br />
sign his quarter. But articles that are intended<br />
to lead or to instruct should be signed by the<br />
would be leaders and instructors.<br />
<br />
Is it right that newspapers should have the<br />
power they now possess? Is it not part of the<br />
education of the masses that is now going on,<br />
that everyone should think for himself? Is it<br />
not right also that the older men, those who<br />
have had experience of the ways of the world,<br />
should guide the world? Yet when we read<br />
anonymous articles, how do we know who has<br />
written them? Take the case of an important<br />
crisis, where a certain course means fighting in<br />
some form or other, another course means no<br />
fighting. If the leader in one newspaper recom-<br />
mends fighting, ought we not to be able to know<br />
what experience the writer has had, so that we<br />
may judge what value to put upon the advice?<br />
The advice of an old man to fight is a very diffe-<br />
rent matter from that of a young one. Suppose,<br />
for instance, we were residents in Rio de Janeiro<br />
at the present time, should we not like to know<br />
whether the advice in one paper, to support the<br />
Government, or to join with the rebels, came<br />
from a man of years,a man who merely wanted<br />
to make things “hum,” or a man who was inte-<br />
rested in a new revolution ?<br />
<br />
TI venture to think and to hope that anonymity<br />
in journalism will gradually die out, and I<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE<br />
<br />
venture to hold that literary men can only gain<br />
from its extinction. Sypney F. WALKER.<br />
Cardiff.<br />
<br />
<br />
<br />
X.—Two Pusuics.<br />
<br />
Mr. Spender has touched on a difficulty felt, I<br />
am sure, by many writers. It is increased by<br />
the fact that a reputation for pleasing the larger<br />
public often stamps a writer either as “ goody”<br />
or “ sensational,’ and so prejudices against him<br />
the critics of the smaller one. Some appeal<br />
always and entirely to one kind of reader. For<br />
them the case is simple. Others, trying alter-<br />
nately for both, and having aspirations on diffe-<br />
rent levels, often fall between two stools. But<br />
apart from such obvious indications as the original<br />
destination of the MS. does not each conception<br />
make its own style, find its own level? The<br />
characters are simple or complex, the lesson<br />
obvious or the reverse. The work of art brings<br />
its own atmosphere with it, and a writer knows<br />
beforehand to what kind of readers it can be made<br />
to appeal. Each public brings, too, its own success,<br />
its own reward. The praise of fastidious critics is<br />
sweet to the author’s ear, the love of indiscrimi-<br />
nating admirers is warm to the heart, at least of<br />
those who, with Lucas Malet, “ inherit the desire to<br />
preach.” Most of us have to choose, or let fate<br />
choose for us, either each time or once for all.<br />
The greatest and the simplest ones can speak<br />
to all. CHRISTABEL R. COLERIDGE.<br />
<br />
—*<br />
=<br />
<br />
FROM THE PAPERS.<br />
<br />
<br />
<br />
<br />
<br />
I.—Tuer Destruction or Books.<br />
DELISLE, the principal librarian at the<br />
i Bibliotheque Nationale, in Paris, warns<br />
us that our modern literature is destined<br />
to perish. Of the twothousand and odd volumes<br />
published annually in France, not one, he thinks,<br />
will remain after a certain time. Cheap paper is a<br />
splendid thing in its way, but this is the price we<br />
must pay for it. Old-fashioned paper made from<br />
rags has stood the test of hundreds of years,<br />
as the many fine specimens of fifteenth-century<br />
printing show, to say nothing of still earlier<br />
books in manuscript. Nowadays, however, paper<br />
is made of all sorts of material of a more or less<br />
perishable character. In particular, as M. Delisle<br />
points out, books printed on paper made from<br />
wood pulp soon begin to rot away. At first the<br />
pages are covered by yellow spots, and these are<br />
replaced in course of time by holes. Even so-<br />
called hand-made papers are often no more<br />
durable, being treated with chemicals that slowly<br />
destroy them.—Daily News.<br />
<br />
AUTHOR.<br />
<br />
3°97<br />
II.—Cocknry PRONUNCIATION.<br />
By ANDREW W. TUER, F.S.A.<br />
(Concluded. )<br />
EXAMPLES.<br />
<br />
“ Ow kin yer sy sow?” ‘“Lahs tahm I seed yer.”<br />
* Wot chur, mite?” | « Putch tongue out.”<br />
“The Jook looks pawley ter- | ‘‘ Wown’t choo sid day-own?”’<br />
dy? “ Are yer a-kummin’?”<br />
“JT tike nuthink elsh yer|‘‘ Must choo gow?”<br />
now.” “Did joo ivver !<br />
“°Ow fur is it? ” ‘**Oo are you a-pushin’ ov ?”<br />
“ Gotch tickit ?”’ “Tm a-gowin abroad, jer<br />
“ Owzh yaw mother ? ” | 3 now.”<br />
<br />
<br />
<br />
To be born a child of the greatest city on earth<br />
is surely no small honour? It is certainly<br />
nothing to scoff at. With most people, a Cockney<br />
and a Londoner do not mean quite the same<br />
thing. No one would dream, for instance, of<br />
calling Her Majesty the Queen a Cockney.<br />
“Cockney” is generally applied to an ’Arry or<br />
an ’Arriet dragged up in London, who by associa-<br />
tions and surroundings has imbibed certain<br />
tricks of tongue. Some of these tricks of tongue<br />
are to be found elsewhere, in high places and in<br />
low. From John o’ Groat’s to Land’s End every<br />
man thinks that his English is the best. He is<br />
quite sure that the other man’s isn’t. Itis with<br />
the lapses of the other man—the Cockney—that<br />
we are going to refresh ourselves.<br />
<br />
Once upon a time I tried very hard indeed,<br />
but quite unsuccessfully, to get at the origin of<br />
the word Cockney. Efforts of dictionary-makers,<br />
including the uncomplimentary coguin, are mere<br />
hazards. Dust-delvers of the order philological<br />
(I dearly love a good scratch myself, and there<br />
must be others whom a rooster exploring an ash-<br />
hill moves to admiration and envy) say that<br />
Cockney pronunciation is the outcome of a more<br />
or less constant intermixture of provincial blood<br />
drawn from here, there, and everywhere. Cockney<br />
spoken on the north side of London is not quite<br />
the same as heard on the south side; and the<br />
Cockney of the east differs from the Cockney of<br />
the west. Even in the same parish the word<br />
“time,” say, may be “toime” or ‘ tahm ”—<br />
“tahm” being the more common; and ‘ game”<br />
may be “ goime,”’ but is oftener ‘‘gime.” These<br />
differences exist, but here may be passed by.<br />
<br />
The rendering of such words as glass and salt,<br />
which the Cockney broadens into “ glahss”’ and<br />
“sawlt’? as against the Northman’s short and<br />
crisp “ glas”’ and “‘solt,”’ has often been noticed<br />
as typical of tongue, but it is also typical of the<br />
softer pronunciation of the south. ‘The Cockney,<br />
however, dwells longer than his neighbour on the<br />
middle of the word, on ‘‘ah”’ and on “ aw.”<br />
<br />
Tt is a canon of belief with many persons that<br />
the Cockney leaves out the letter 4 where you<br />
and I put it in, and that he puts it in where we<br />
308 THE<br />
<br />
leave it out. Itis true that now and again the<br />
aspirate is scattered indiscriminately and bewil-<br />
deringly, but as a rule it is lazily ignored. The<br />
Cockney invariably drops the final g, and he is<br />
given to run one word into another; wherein he<br />
all unknowingly apes the example of his betters,<br />
the example of the heedless “smart,” who in<br />
lazy slip-shod English could barely afford to give<br />
him points. Note how perilously close are the<br />
renderings of ‘Did you have much fun?”<br />
Smart: ‘D'joo av muchefun?”’ Cockney: “ Jev<br />
much fun?” Adverbs he persists in turning<br />
into adjectives: “Did you have the face-ache<br />
badly?” he will render, “Jev the jaw-rike<br />
<br />
bed?” Under other citcumstances he will turn<br />
“face” into “head.” ‘TI towld ’im sow to ’is<br />
’ed.” A collection of such perversions might<br />
<br />
prove entertaining.<br />
<br />
With the Cockneyest of Cockneys such a word<br />
as “much” becomes ‘‘ metch”—‘’Ow metch is<br />
it?” Here is a sentence noted at the time in a<br />
crush of people coming away from a show where<br />
the sports had been signalled by gun-firing.<br />
Mother: ‘‘ Wozh yer frahtened wen ’e fahd the<br />
gen?’’ Child: “ Now, ah lahked it.”<br />
<br />
To hear Cockney we must go to the streets or<br />
mix with the careless pleasure-bent masses on a<br />
bank holiday. And we must listen heedfully,<br />
for peculiarities in people with whom one is more<br />
or less constantly in contact are apt to remain un-<br />
noticed. When “’Erry Jowns” talks of his<br />
unmarried sister as Jemima Wren, one may be<br />
torgiven if it dawn but slowly that the lady’s<br />
name is Jemima Jones and that Wren stands for<br />
Ann. A country cousin will return from a<br />
ramble in London streets full of astonishment<br />
and bubbling over with choice specimens of<br />
Cockney vernacular, wherefrom he derivesinnocent<br />
and lasting amusement.<br />
<br />
Show an average Cockney some phonetically<br />
rendered Cockneyisms on paper, and he will tell<br />
you that no one speaks like that, but the exact<br />
form of disclaimer will probably be, ‘“‘ Nowbody<br />
down’t speak lahk thet.”<br />
<br />
—St. James’s Gazette.<br />
<br />
<br />
<br />
TII.—‘ Pur your Pripz In your Pocket.”<br />
<br />
“But, tell me,’ said Don Quixote to the<br />
Author, “are you printing this book at your own<br />
risk, or have you sold the copyright to some<br />
bookseller ?”<br />
<br />
“T print at my own risk,” said the Author,<br />
“and 1 expect to make 1000 ducats at least by<br />
this first edition, which is to be of 2000 copies,<br />
that will go off in a twinkling at six reals<br />
aplece.”’<br />
<br />
“A fine calculation you are making!” said<br />
<br />
AUTHOR.<br />
<br />
Don Quixote; “it is plain you dont know the<br />
ins and outs of the printers, and how they play<br />
into one another’s hands. I promise you when<br />
you find yourself saddled with 2000 copies you<br />
will feel sv sore that it will astonish you, parti-<br />
cularly if the book is a little out of the common,<br />
and not in any way highly spiced.”<br />
<br />
“What!” said the author, “would your<br />
worship, then, have me give it to a bookseller<br />
who will give three maravedis for the copyright,<br />
and think he is doing me a favour in giving me<br />
that? Ido not print my books to win fame in<br />
the world, for I am known in it already by my<br />
works; I want to make money, without which<br />
reputation is not worth a rap.”<br />
<br />
“God send your worship good luck,” said Don<br />
Quixote. [Mr. John Ormsby’s translation, iv.,<br />
261]. J. 8.<br />
<br />
<br />
<br />
IV.—Artists In Buack anp WHITE.<br />
<br />
On Thursday evening, Dec. 21, a meeting of<br />
artists in black and white was held in Barnard’s<br />
Inn Hall, Holborn—Mr. Harry Furniss presiding<br />
—to form a society for the advancement and<br />
encouragement of that branch of art. On the<br />
motion of Mr. Bernard Partridge, seconded by<br />
Mr. Joseph Pennell, it was unanimously decided<br />
to form the society; and it was suggested that<br />
its basis should be somewhat similar to that of<br />
the Society of Authors or the Institute of<br />
Journalists. The following subjects were set<br />
down for discussion in the notice calling the<br />
meeting :—(1) The protection of the interests,<br />
artistic and personal, of all illustrators ; (2) the<br />
best means of assuring to them an adequate<br />
return for their artistic labours; (3) the improve-<br />
ment of the terms under which those labours are<br />
undertaken ; (4) the making as advantageous a<br />
use as possible, for the general good of the<br />
society, of the productions of its members,<br />
notably in the matter of certain rights of repro-<br />
duction over their work; and (5) the holding of<br />
exhibitions for the encouragement and develop-<br />
ment of all methods of illustration and repro-<br />
duction. A committee was appointed to arrange<br />
details. Ietters acquiescing in the aims of the<br />
society were read from a number of distinguished<br />
artists, and the entire proceedings were most<br />
enthusiastic.—Pall Mall Gazette.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
:<br />
*<br />
|<br />
s<br />
.<br />
<br />
<br />
<br />
aoetepemmecne<br />
<br />
<br />
<br />
Se<br />
<br />
THE<br />
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BagsHAWE, JOHN B. Skeleton Sermons for the Sundays<br />
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PRINTING ANO PUBLISHING.<br />
<br />
TO AUTHORS.<br />
Special attention given to the above. Terms moderate.<br />
Estimates free.<br />
ACCOUNTS VERIFIED BY CHARTERED ACCOUNTANT.<br />
Address Manacer, Roxburghe Press, 3, Victoria-street,<br />
Westminster.<br />
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In cloth lettered, gilt edges, price 5s.<br />
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SONGS GRAVE AND GAY.<br />
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By F. B. DOVETON,<br />
<br />
Author of ‘‘Snatches of Song,” ‘‘ Sketches in Prose and Verse,”<br />
‘s Maggie in Mythica,” &c.<br />
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London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br />
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Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C. | https://historysoa.com/files/original/5/458/1894-01-01-The-Author-4-8.pdf | publications, The Author |