| 304 | https://historysoa.com/items/show/304 | The Author, Vol. 08 Issue 01 (June 1897) | <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.+08+Issue+01+%28June+1897%29"><em>The Author</em>, Vol. 08 Issue 01 (June 1897)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015049239455" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015049239455</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> | 1897-06-01-The-Author-8-1 | | | | | 1–28 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=8">8</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1897-06-01">1897-06-01</a> | | | | | | | 1 | | | 18970601 | TLhe Hutbor*<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. Vni.—No. i.] JUNE i, 1897. [Pbice Sixpence.<br />
CONT<br />
MM<br />
NoOee», Ac, 1<br />
From the Committee 8<br />
Literary Property—<br />
1. Copyright (Amendment) Bill *<br />
2. Denmark and the Union 8<br />
3. The Paria Conference 8<br />
4. Literary Property In Russia 8<br />
4. Tanchnitz Editions 8<br />
New York Letter. By Norman Hapgood 9<br />
Notes from a Duchy. By Robert H. Sherard 11<br />
The Friends of Charles Lamb I2<br />
Notes and News. By the Editor 1*<br />
The Baling Passion 1*<br />
Moods—Tenses—Voices ,5<br />
ENTS.<br />
PA9K<br />
A Flemish Saga. By H. G. Koene U<br />
Subjunctive Mood: Its Present Day Dae 17<br />
Books and their Keepers 18<br />
Personal 19<br />
From " Poems " by 8. L. E 21<br />
A Suggested Beconstitution. By F. H. Perry Coste 21<br />
Book Talk 22<br />
Literature in the Periodicals 24<br />
Correspondence —1. The Output of Authors. 2. The Moi-meme<br />
in Journalism. 8. The Criticism of "Dolomite Strongholds."<br />
4. A Good Word for Editors. 5. Answers tc some of<br />
the Questions in "A Self-Eiamination Paper for Candid<br />
Critics." 2S<br />
The Books of the Month 17<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Eeport. That for January 1897 can be had on application to the Secretary.<br />
2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br />
Property. Issued to all Members, 6s. 6d. per annum. Back numbers are offered at the<br />
following prices: Vol. I., io«. 6d. (Bound); Vols. II., HI., and IV., 8«. 6d. each (Bound);<br />
Vol. V., 6s. 6d. (Unbound).<br />
3. Literature and the Pension List. By W. Mobbis Colles, Barrister-at-Law. (Henry Glaisher,<br />
95, Strand, W.C.) 3*.<br />
4. The History of the Societe des (Jens de Lettres. By S. Squibe Spbigge, late Secretary to<br />
the Society, is.<br />
5. The Cost of Production. In this work specimens are given of the most important forms of type,<br />
size of page, &c, with estimates showing what it costs to produce the more common kinds of<br />
books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br />
6. The Various Methods of Publication. By S. Squibe Spbigge. 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. 3*.<br />
7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill now before Parlia-<br />
ment. With Extracts from the Eeport of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre<br />
and Spottiswoode. is. 6d.<br />
8. The Society of Authors. A Record of its Action from its Foundation. By Walteb Besant<br />
(Chairman of Committee, 1888—1892). i*.<br />
9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By Ernst<br />
Lunge, J.U.D. 2s. 6d.<br />
<br />
<br />
## p. (#406) ################################################<br />
<br />
11<br />
AD VER TISEMENTS.<br />
®t)e $ociefp of Jtuffrors (gncotporateft).<br />
PRESIDENT.<br />
g-zeoirg-ie: isdiEiaEXJiTii.<br />
COUNCIL.<br />
S.I. I The Earl of Desabt.<br />
Austin Dobson.<br />
a. conan doyle, m.d.<br />
A. W. Duboubg.<br />
Pbof. Michael Foster, F.E.S.<br />
D. W. Feeshfield.<br />
Richard Garnett, C.B., LL.D.<br />
Edmund Gobse.<br />
H. Rider Haooard.<br />
Thomas Hardy.<br />
Anthony Hope Hawkins.<br />
, P.C. I Jerome K. Jerome.<br />
BuDYABD KlPLING.<br />
Prof. E. Bay Lankester, F.E.S.<br />
W. E. H. Lecky.<br />
J. M. Lely.<br />
Mrs. E. Lynn Linton.<br />
Eev. W. J. Loftie, F.S.A.<br />
Sir A. C. Mackenzie, Mus.Doo.<br />
Pbof. J. M. D. Meiklejohn.<br />
Hon. Counsel — E. M. Underdown<br />
Sir Edwin Arnold, K.C.I.E., C<br />
Alfred Austin.<br />
J. M. Barbie.<br />
A. W. X Beckett.<br />
Bobert Bateman.<br />
F. E. Beddard, F.E.S.<br />
Sib Henry Bergne, E.C.M.G.<br />
Sir Walter Besant.<br />
Augustine Birrell, M.P.<br />
Eev. Pbof. Bonnby, F.B.S.<br />
Eight Hon. James Bryce, M.P.<br />
Eight Hon. Lord Burghclere<br />
Hall Caine.<br />
Egerton Castle, F.S.A.<br />
P. W. Clayden.<br />
Edward Clodd.<br />
W. Morris Colles.<br />
Hon. John Collieb.<br />
Sib W. Martin Conway.<br />
F. Marion Crawford.<br />
Herman C. Mebivale.<br />
Eev. C. H. Middleton-Wakk.<br />
Sir Lewis Morris.<br />
Henry Norman.<br />
Miss E. A. Ormerod.<br />
J. C. Parkinson.<br />
Eight Hon. Lobd Pirbright, F.E.S.<br />
Sir Frederick Pollock, Bart., LL.D.<br />
Walter Hebries Pollock.<br />
W. Baptists Scoones.<br />
Miss Flora L. Shaw.<br />
G. B. Sims.<br />
S. Squire Sprigge.<br />
J. J. Stevenson.<br />
Francis Storr.<br />
Prof. Jas. Sully.<br />
William Moy Thomas.<br />
H. D. Traill, D.C.L.<br />
Mrs. Humphry Ward.<br />
Miss Charlotte M. Yonge.<br />
Q.C.<br />
A W. 1 Beckett.<br />
Sib Walter Besant.<br />
Egerton Castle, F.S.A.<br />
W. Morris Colles.<br />
ART.<br />
Hon. John Collier (Chairman).<br />
Sib W. Martin Conway.<br />
M. H. Spielmann.<br />
COMMITTEE OF MANAGEMENT.<br />
Chairman—H. Eider Haggard.<br />
Sir W. Mabtin Conway.<br />
D. W. Freshfield.<br />
Anthony Hope Hawkins.<br />
J. M. Lely.<br />
SUB-COMMITTEES.<br />
MUSIC.<br />
C. Villiers Stanford, Mub.D. (Chairman).<br />
Jacques Blumenthal.<br />
J. L. Mollot.<br />
Solicitors—<br />
f Field, Boscoe, and Co., Lincoln's Inn Fields,<br />
i, G. Herbert Theing, B.A., 4, Portugal-street<br />
Sib A. C. Mackenzie, Mub.Doc.<br />
Henry Norman.<br />
Francis Storr.<br />
DEAMA.<br />
Henry Arthur Jones (Cha<br />
A. W. a Beckett.<br />
Edward Bose.<br />
OFFICES:<br />
Secretary—G. Hebbeet Theing, B.A.<br />
4, Pobtuqal Stbebt, Lincoln's Inn Fields, W.C.<br />
IP. WATT So SO 1ST,<br />
LITERARY AGENTS,<br />
Formerly of 2, PATERNOSTER SdUARE,<br />
Have now removed to<br />
HASTINGS HOUSE, NORFOLK STREET, STRAND,<br />
LONDON", W.C.<br />
Published every Friday morning; price, without Reports, 9d.; with<br />
Reports, Is.<br />
THE LAW TIMES, the Journal of the Law and the<br />
Lawyers, which has now been established for over half a century,<br />
supplies to the Profession a complete Becord of the Progress of Legal<br />
Reforms, and of all matters affecting the Legal Profession. The<br />
Reports of the Law Times are now recognised as the most complete<br />
and efficient series published.<br />
Offices: Windsor House, Broam's-bulldings, E.O<br />
HHE AET of CHESS. By James Mason. Price 5e.<br />
L net, by post 5s. 4d.<br />
London: Horace Cox, Windsor Houbb, Bream's-buildings, E.O.<br />
THE KNIGHTS and KINGS of CHESS. By the Eev.<br />
O. A. MACDONNELL, B.A. With Portrait and 17 Dlustra<br />
tionB. Crown 8vo.t cloth boards, price 2s. fid. net.<br />
London: Horace Cox, Windsor Bouse, Bream's-buildings, E.O.<br />
<br />
<br />
## p. 1 (#407) ##############################################<br />
<br />
tTbe Hutbor*<br />
(The Organ of the Incorporated. Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. Vin.—No. i.] JUNE i, 1897. [Pbice Sixpence.<br />
For the Opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the<br />
collective opinions of the Committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec.<br />
THE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank of London, Chancery-lane, or be sent by registered<br />
letter only. oio<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
GENERAL MEMORANDA.<br />
FOR some years it has been the practice to insert, in<br />
every number of The Author, certain " General Con-<br />
siderations," Warnings, Notices, &c, for the guidance<br />
of the reader. It hag been objected as regards these<br />
warnings that the trioks or frauds against which they are<br />
directed cannot all be guarded against, for obvious reasons.<br />
It is, however, well that they should bo borne in mind, and<br />
if any publisher refuses a clause of precaution he simply<br />
reveals his true character, and should be left to carry on<br />
his business in his own way.<br />
Let us, however, draw up a few of the rules to be<br />
observed in an agreement. There are three methods of<br />
dealing with literary property :—<br />
I. That of selling it outright.<br />
This is in some respects the most satisfactory, if a proper<br />
price can be obtained. But the transaction should be<br />
managed by a competent agent.<br />
II. A profit-sharing agreement.<br />
In this case the following rules should be attended to:<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
VOL. VIII.<br />
in his own organs: or by charging exchange advertise-<br />
ments.<br />
(3.) Not to allow a special charge for " office expenses,"<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor!<br />
(7.) To stamp the agreement.<br />
HI. The royalty system.<br />
In this system, whioh has opened the door to a most<br />
amazing amount of overreaching and trading on the<br />
author's ignorance, it is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately and very<br />
nearly the truth. From time to time the very important<br />
figures connected with royalties are published in The Author.<br />
Readers can also work out the figures themselves from the<br />
"Cost of Production." Let no one, not even the youngest<br />
writer, sign a royalty agreement without finding out what<br />
it gives the publisher as well as himself.<br />
It has been objected that these precautions presuppose a<br />
great success for the book, and that very few books indeed<br />
attain to this great success. That is quite true: but there is<br />
always this uncertainty of literary property that, although<br />
the works of a great many authors carry with them no risk<br />
at all, and although of a great many it is known within a few<br />
copies what will be their minimum circulation, it is not<br />
known what will be their maximum. Therefore every<br />
author, for every book, should arrange on the ohanoe of a<br />
success which will not, probably, come at all; but which<br />
may come.<br />
The four points whioh the Society has always demanded<br />
from the outset are:—<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
(2.) The inspection of those account books whioh belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) That there shall be no secret profits.<br />
(4.) That nothing shall be charged which has not been<br />
actually paid—for instance, that there shall be no charge for<br />
advertisements in the publisher's own organs and none for<br />
exchanged advertisements; and that all discounts shall be<br />
duly entered.<br />
If these points are carefully looked after, the author may<br />
rest pretty well assured that he is in right hands. At the<br />
game time he will do well to send his agreement to the<br />
secretary before he signs it.<br />
B 2<br />
<br />
<br />
## p. 2 (#408) ##############################################<br />
<br />
2 THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
I. IiTVEBY member has a right to ask for and to receive<br />
Pj advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is snch as can be given beBt by a solicitor, the member<br />
has 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 />
2. Bemember 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 />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<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 />
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 />
5. Before signing any agreement whatever, Bend the pro-<br />
posed document to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the trioks of every publish-<br />
ing firm in the country.<br />
7. Bemember 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 />
8. Send to the Editor of The Author notes of everything<br />
important to literature that yon may hear or meet with.<br />
9. The committee have now arranged for the reception of<br />
members' agreements and their preservation in a fireproof<br />
safe. The agreements will, of course, be regarded as con-<br />
fidential documents to be read only by the Secretary, who<br />
will keep the key of the safe. The Society now offers:—(1)<br />
To read and advise upon agreements and publishers. (2) To<br />
stamp agreements in readiness for a possible action npon<br />
them. (3) To keep agreements. (4) To enforce payments<br />
due according to agreements.<br />
<br />
THE AUTHORS' SYNDICATE.<br />
MEMBERS are informed:<br />
1. That the Authors' Syndicate takes charge of<br />
the business of members of the Society. That it<br />
submits MSS. to publishers and editors, oonclndes agree-<br />
ments, examines, passes, and collects accounts, and, gene-<br />
rally, relieves members of the trouble of managing business<br />
details.<br />
2. That the terms upon whioh its services can be secured<br />
will be forwarded upon detailed application.<br />
3. That the Authors' Syndicate works only for those<br />
members of the Society whose work possesses a market<br />
value.<br />
4. That the Syndicate can only undertake any negotiations<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that nil<br />
communications relating thereto are referred to it.<br />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least two days'<br />
notice should be given.<br />
6. That every attempt is made to deal with all communi-<br />
cations promptly. That stamps should, in nil cases, be sent<br />
to defray postage.<br />
7. That the Authors' Syndicate does not invito MSS.<br />
without previous correspondence; does not hold itself<br />
responsible for MSS. forwarded without notice; and that<br />
in all cases MSS. must be accompanied by stamps to defray<br />
postage.<br />
8. That the Syndicate undertakes arrangements for<br />
lectures by Borne of the leading members of the Sooiety;<br />
that it has a "Transfer Department" for the sale and<br />
purchase of journals and periodicals; and that a " Register<br />
of Wants and Wanted" is open. Members are invited to<br />
communicate their requirements to the Manager.<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 />
NOTICES.<br />
THE 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 oost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6</. 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 thoBe 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 Sooiety 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 in<br />
whioh they are received. It must also be distinctly under-<br />
stood that the Sooiety 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, Ac.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year p If they will do<br />
thiB, 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 />
Members are most earnestly entreated to attend to the<br />
following warning. It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduot, whether he was honest<br />
<br />
<br />
## p. 3 (#409) ##############################################<br />
<br />
THE AUTHOR.<br />
3<br />
or dishonest? Of coarse they would not. Why then<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<br />
Those who possess the "Cost of Production" are<br />
requested to note that the cost of binding has advanoed 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<br />
at Jtg 48. The figures in our book are as near the exact<br />
truth as can be procured; but a printer's, or a binder's,<br />
bill is so elastic a thing that nothing more exact can be<br />
arrived at.<br />
Some remarks have been made upon the amount charged<br />
in the " Cost of Production" for advertising. Of course, we<br />
have not included any sums whioh 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 o 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 call it.<br />
FROM THE COMMITTEE.<br />
I.<br />
THE short Copyright Bill, drafted on behalf<br />
of the Society of Authors, is now in Lord<br />
Monkswell's hands.<br />
The fact that the International Copyright<br />
sections settled at the Paris Conference last year<br />
have passed into law in Germany was brought to<br />
the notice of the Committee at their meeting.<br />
The Committee were unable, owing to the short<br />
notice, to send a representative to the meeting of<br />
the Association Littcraire et Artistique Inter-<br />
nationale at Monaco at Easter. They, however,<br />
informed the secretary of the Association that they<br />
would be willing to express an opinion on any<br />
subject the Association chose to put before the<br />
Society.<br />
The three sub-committees are now complete, and<br />
consist of the following gentlemen :—<br />
Aet.—The Hon. John Collier (chairman), Sir<br />
W. Martin Conway, and Mr. M. H. Spiel-<br />
mann.<br />
Music.—Professor C. Villiers Stanford (chair-<br />
man), Mr. Jacques Blumenthal, and Mr.<br />
J. L. Molloy.<br />
Drama.—Mr. Henry Arthur Jones (chairman),<br />
Mr. A. W. A'Beckett, and Mr. Edward<br />
Bose.<br />
A bankruptcy petition has been presented<br />
against Messrs. Horace and Beresford Whitcomb<br />
as representing the Neic Saturday. The Society<br />
is acting on behalf of its members, and repre-<br />
sents claims amounting to between two and three<br />
hundred pounds. The course of events will be<br />
reported from time to time in The Author.<br />
II.<br />
Me. E. H. Lacon Watson v. Catholic<br />
Gazette (Limited).<br />
An interesting case, supported by the Society,<br />
came up for trial at the City of London Court on<br />
May 11. Unfortunately, the defendants did not<br />
appear, so the judgment was given by default;<br />
but it may be useful to members of the Society<br />
to state the facts of the case.<br />
The plaintiff was asked by the editor of the<br />
defendant paper to write an article, which article<br />
was written and accepted by the editor, for a<br />
sum agreed upon.<br />
Subsequently, the editor resigned his post, and,<br />
when the plaintiff wrote to the defendant paper,<br />
he received a reply that the defendant paper did<br />
not hold itself responsible, as the editor had no<br />
power to make financial arrangements.<br />
The plaintiff had no notice whatever of this,<br />
and brought the matter before the Society. The<br />
Society, on writing to the defendant paper,<br />
received the same response; and thereupon the<br />
plaintiff, with the support of the Society, com-<br />
menced action in the City of London Court.<br />
The defendants, on the case coming up for<br />
trial, did not appear, and judgment, as stated<br />
above, went by default.<br />
It would have been interesting to hear the<br />
defence of the defendants, as it is, without doubt,<br />
a recognised custom of all papers that the editor,<br />
as agent of the proprietor, is capable and respon-<br />
sible for the making of contracts that refer to the<br />
literary contents of the paper.<br />
The amount at stake was a small one, but the<br />
Society felt bound to carry it through, as a matter<br />
of principle was involved.<br />
m.<br />
A Copyright Case.<br />
It seems to me that the following facts should<br />
be made known, in the interest of all authors who<br />
are concerned in the question of copyright.<br />
On March 28 a poem from one of my books<br />
was printed in the Weekly Sun. No acknow-<br />
ledgment of its source was appended, and the<br />
name affixed was E. Nesbitt (the name, I believe,<br />
of another author). I wrote to the editor point-<br />
ing out these facts and asking for a cheque to the<br />
amount of my usual fee for the use of a poem. I<br />
received in reply a letter stating that it was an<br />
advantage to an author to have his poems " taken"<br />
by the TVceftly Sun, and that the editor " preferred<br />
<br />
<br />
## p. 4 (#410) ##############################################<br />
<br />
4<br />
THE AUTHOR.<br />
to regard the advantage as mutual." To this I<br />
replied that the question of advantage need not<br />
be considered, as no acknowledgment of the<br />
source of the poem had been made, and the<br />
name was mis-spelled; and again I asked for<br />
a cheque. The reply from the Weekly Sun<br />
regretted Mr. Charles Watney's inability to en-<br />
dorse this suggestion.<br />
Then I wrote remarking that as yet I had<br />
claimed no damages, and named a day on which<br />
I should, unless I received a cheque, place<br />
the matter in the hands of my solicitor. By<br />
return of post came the cheque, together with<br />
the following interesting letter, in which Mr.<br />
Charles Watney plainly puts the alternatives—<br />
robbery or boycott. The boycott of the Weekly<br />
Sun is perhaps not important, but the prin-<br />
ciple is.<br />
The Weekly Sun, Temple House, Temple-avenue.<br />
London, E.C.<br />
April 19, 1897.<br />
Madam,—As I have no wish to protract this unpleasant-<br />
ness, I enclose the oheque for £2 2s. At the same time I<br />
take leave to reaffirm my view of the position, and, to avoid<br />
any recurrence of any incident of the kind, have (riven<br />
instructions that no future reference, either direct or indirect,<br />
shall be made to you or your works in the numerous publi-<br />
cations with whioh I am connected.—Tours truly, Chah.<br />
Watnhy.<br />
Comment is superfluous. E. Nesbit.<br />
Three Cables, Grove Park, Kent.<br />
LITERARY PROPERTY.<br />
L—Copyright (Amendment) Bill,<br />
[dbaft memoeandtjm.]<br />
THIS Bill is intended to amend the most<br />
serious defects in present law of copy-<br />
right. Its provisions do not materially<br />
differ from the provisions on the same points<br />
contained in the Bill introduced by Lord John<br />
Manners (on behalf of the then Government) in<br />
the House of Commons in 1879, and in the Bill<br />
introduced by Lord Monkswell in the House of<br />
Lords in 1891. Both those Bills were mainly<br />
founded on the Report of the Royal Commission<br />
on Copyright of 1878. Lord Monkswell's Bill<br />
passed a second reading in the House of Lords.<br />
The amendments are directed to the following<br />
points :—<br />
I. MAGAZINE COPYRIGHT.<br />
Since the passing of the Copyright Act, 1842,<br />
this kind of copyright property has probably<br />
increased a hundredfold in value and importance,<br />
both to authors and publishers, much literature<br />
of high merit being constantly published in the<br />
first instance in magazine form. The 18th section<br />
of the Act of 1842, which deals with the subject,<br />
is expressed in language so obscure as to be<br />
almost unintelligible, and defers the author's<br />
right of separate publication to the end of a<br />
period of twenty-eight years. It is proposed that<br />
that section should be repealed, and that the<br />
copyright should be vested in the author, subject<br />
to the following qualifications:<br />
(1) The proprietor of the magazine to have the<br />
sole right of publishing as part of the<br />
magazine.<br />
(2) The author not to publish separately until<br />
after the expiration of three years from<br />
publication.<br />
It is further proposed, as recommended by the<br />
Royal Commission (see report, paragraph 43),<br />
that the alterations should be retrospective. The<br />
entire copyright in encyclopaedias is vested in the<br />
publisher as before, but in a separate section.<br />
11.—newspapers.<br />
It has been thought advisable to make the Copy-<br />
right Acts and the present Bill expressly apply<br />
to newspapers. It was at one time (see Cox v.<br />
Land and Water Co., L. Rep. 2 Eq., 324) con-<br />
sidered that the Copyright Act, 1842, did not<br />
extend to newspapers, but later decisions (see<br />
Walter v. Howe, 17 Ch. Div. 608; Trade Aux-<br />
iliary Co.'s Case, 40 Ch. Div, 625) have overruled<br />
Cox v. Land and Water Co., and have placed the<br />
applicability of the Act to newspapers beyond the<br />
possibility of doubt.<br />
in. LECTURES.<br />
The Lectures Copyright Act, 1835, gives to the<br />
lecturer the exclusive right of publication, but<br />
requires a preliminary notice to justices of the<br />
peace, and probably does not apply to sermons.<br />
It is proposed to repeal this Act, and to give the<br />
lecturer (including the preacher) copyright with-<br />
out any useless formalities, but permitting a<br />
newspaper report unless expressly prohibited by<br />
the lecturer.<br />
IV. ABRIDGMENTS.<br />
It is now easy without any infringement of<br />
copyright in a few weeks, by skilful abridgment,<br />
to appropriate the fruit of the labours of many<br />
years, and to compete with the original copyright,<br />
bought and published at a very great expense.<br />
This will be prevented by the simple enactment<br />
that copyright shall carry with it the right to<br />
abridge. The reputation of the author is also<br />
safeguarded by a provision that a disclaimer of<br />
his authorship of the abridgment shall, if<br />
required by the author, be printed on the title-<br />
page; and that the abridgment shall not be<br />
issued without the author's consent in cases where<br />
<br />
<br />
## p. 5 (#411) ##############################################<br />
<br />
THE AUTHOR.<br />
5<br />
the author retains an interest in the sale (by<br />
royalties or otherwise) though not in the copy-<br />
right.<br />
V.—DRAMATISATION OF NOVELS.<br />
As there is no copyright in ideas, it is easy for<br />
any person to take the whole plot of a novel and<br />
practically reproduce the novel itself in dramatic<br />
form without any legal infringement of copyright,<br />
and a similar injury can be inflicted by the<br />
novelisation of dramas. It is proposed to convert<br />
these moral into legal infringements of copyright.<br />
Owners of dramatic copyright are also given a<br />
summary remedy against infringement which is<br />
much needed, as pirates are often difficult to<br />
detect, or are not worth the expense of an action<br />
in the High Court when detected; and the<br />
remedy is to be available against those who "per-<br />
mit " as well as those who "cause" the repre-<br />
sentation.<br />
VI. ASCERTAINMENT OF THE DATE OF<br />
PUBLICATION.<br />
The present term of copyright is for the life of<br />
the author, and seven years after his death, or<br />
forty-two years after first publication, whichever<br />
may be the longer period. To ascertain the date<br />
of first publication is always difficult and fre-<br />
quently impossible. It is proposed, therefore,<br />
that the British Museum authorities should com-<br />
bine with the publisher of every book in so certi-<br />
fying the date of "first publication" that no<br />
doubt" should be possible, and that a certified<br />
copy of the entry of the date of publication<br />
should be primdfacie evidence of that date in all<br />
courts. The British Museum, by the 6th section<br />
of the Act of 1842, is entitled to a free copy of<br />
every book published. The supply of these free<br />
copies has long been felt to be a considerable<br />
burden on the producers of large and expensive<br />
works, and it is submitted that the British<br />
Museum may fairly be asked to perform the<br />
small but useful service of certifying the date of a<br />
first publication.<br />
COPYBIGHT AMENDMENT BILL.<br />
Arrangement of Clauses.<br />
Definitions.<br />
1. Definitions of "book " and " copyright."<br />
Copyright in Periodical Works.<br />
2. Copyright in articles in periodical works.<br />
3. Registration of articles by anthor.<br />
4. Retrospective operation of clauses 2 and 3.<br />
5. Registration by owner of periodical work.<br />
6. Copyright in articles in encyclopedias.<br />
Copyright in Lectures.<br />
7. Copyright in lectures as in book.<br />
Abridgements.<br />
8. Abridgements without consent of copyright owner to<br />
be infringement of copyright.<br />
Dramatisation and Novelisation.<br />
9. Dramatisation of novels to be infringement of<br />
copyright.<br />
10. Conversion or adaptations of dramas to be infringe-<br />
ment of copyright.<br />
Summary Remedy for Infringement of Right of Repre-<br />
sentation of Drama.<br />
11. Liability to fine of person representing drama without<br />
consent of owner of performing right.<br />
Date of Publication of Book.<br />
12. Date of publication of book to be furnished to and<br />
certified by British Mnsenm.<br />
Repeal. Suspension in Colonies. Short Title. Com-<br />
mencement.<br />
13. Repeal of Lectures Copyright Act, and sects. 18<br />
and 19 of Copyright Act, 1842.<br />
14. Power to suspend Aot, or any part thereof, in British<br />
possessions.<br />
15. Short title.<br />
16. Commencement of Aot.<br />
Schedules:<br />
1. Enactments repealed.<br />
2. Form of entry of periodical work.<br />
A Bill to Amend the Law relating to Copyright<br />
in Periodical Works, Lectures, Abridgments,<br />
and otherwise.<br />
Whereas it is desirable to amend the Law of<br />
Copyright in relation to Periodical Works, Lec-<br />
tures, Abridgments, and otherwise.<br />
Be it therefore enacted by the Queen's Most<br />
Excellent Majesty, by and with the advice and<br />
consent of the Lords Spiritual and Temporal, and<br />
Commons, in this present Parliament assembled,<br />
and by the Authority of the same, as follows:—<br />
DEFINITIONS.<br />
1. In this Act and in the Copyright Acts<br />
(i) "Book" shall include " newspaper."<br />
(ii) "Copyright" in the case of books shall<br />
include the exclusive right of translating,<br />
abridging, and (as regards works of<br />
fictiou in prose or in verse) of drama-<br />
tising the same,<br />
(iii.) "Copyright" in the case of dramatic<br />
works shall include the exclusive right of<br />
converting or adapting the same into any<br />
other •form of work whether dramatic or<br />
otherwise.<br />
COPYRIGHT IN PERIODICAL WORKS.<br />
2. Where any article, essay, poem, or other<br />
work is first published in and forms part of a<br />
review, magazine, or other periodical, the copy-<br />
right in such article, e<say, poem, or other work<br />
shall, in the absence of any agreement in writing<br />
to the contrary, be the property of the author<br />
thereof. Provided that where the author is paid<br />
for the writing of such work as aforesaid by or on<br />
<br />
<br />
## p. 6 (#412) ##############################################<br />
<br />
6<br />
THE AUTHOR.<br />
behalf of the owner of the review, magazine, or<br />
other periodical, then :—<br />
(i.) The owner of the review, magazine, or<br />
periodical shall, during the subsistence of<br />
copyright in such article, essay, poem, or<br />
other work, have the sole right of publish-<br />
ing the same as part of the review, maga-<br />
zine, or periodical, but not otherwise,<br />
(ii.) Neither the author nor his assigns shall<br />
print or publish such article, essay, poem,<br />
or other work in any form until after the<br />
expiration of three years from its first<br />
publication in the review, magazine, or<br />
periodical, and any printing or publica-<br />
tion contrary to this provision shall be an<br />
infringement of the rights of the owner<br />
of the review, magazine, or periodical.<br />
3. The author of any such article, essay, poem,<br />
or other work as aforesaid, or his assigns, may,<br />
either before or after the expiration of the said<br />
term of three years, register the same at Stationers'<br />
Hall as a separate work, and shall thereupon be<br />
entitled to restrain and obtain damages for any<br />
infringement of the copyright therein as a sepa-<br />
rate work.<br />
4. The provisions of sections 2 and 3 shall<br />
apply to articles, essays, poems, and other works<br />
first published in a review, magazine, or other<br />
periodical, whether such publication took place<br />
before or after the commencement of this Act,<br />
and in the case of articles, essays, poems, or other<br />
works first published before the commencement<br />
of this Act, the copyright and other rights therein<br />
shall as from the commencement of this Act be<br />
held and enjoyed in accordance with the pro-<br />
visions of those sections.<br />
5. (i.) The owner of a review, magazine, or<br />
other periodical may register the same<br />
at Stationers' Hall, and shall thereupon<br />
be entitled to restrain and obtain damages<br />
for any infringement of his rights in the<br />
same or any part thereof<br />
(ii.) Registration of a review, magazine, or<br />
other periodical shall be in the form set<br />
forth in the second schedule hereto, or<br />
as near thereto as circumstances will<br />
permit.<br />
(iii.) It shall be necessary to register only the<br />
first number, volume, or part of a review,<br />
magazine, or other periodical published<br />
in numbers, volumes, or parts.<br />
^ 6. Where any article, essay, poem, or other<br />
work is first published in and forms part of an<br />
encyclopaedia, or similar collective work, and the<br />
author is paid for the writing thereof by or on<br />
behalf of the owner of the encyclopaedia, the<br />
copyright in such article, essay, poem, or other<br />
work shall, in the absence of any agreement in<br />
writing to the contrary, belong to the owner of the<br />
encyclopaedia.<br />
COPYRIGHT IN LECTURES.<br />
7. The author of any lecture shall be entitled<br />
to copyright therein as if the same were a book,<br />
subject to the following modifications and<br />
additions :—<br />
(i.) The first delivery of a lecture shall be<br />
deemed to be the first publication there-<br />
of.<br />
(ii.) So long as a lecture has not been pub-<br />
lished as a book by or with the consent<br />
of the author, the copyright therein shall<br />
include the exclusive right of delivering<br />
the same in public.<br />
(iii.) It shall not be necessary to register the<br />
copyright in a lecture which has not been<br />
published as a book by or with the con-<br />
sent of the author.<br />
(iv.) A report of a lecture delivered in public<br />
in the ordinary current edition of a news-<br />
paper, after the delivery of such lecture,<br />
shall not be deemed an infringement of<br />
the copyright unless the author, before<br />
delivering the same, gives public notice<br />
that he prohibits the same being reported,<br />
but no such report shall be deemed to be<br />
a publication of the lecture within the<br />
meaning of sub-sect. ii.<br />
(v.) The notice referred to in the last preced-<br />
ing clause may be given either by affixing<br />
the same to the door of the place where<br />
the lecture is delivered, or by advertise-<br />
ment in one or more newspapers published<br />
and circulating in the district.<br />
(vi.) The term "Lecture" shall include apiece<br />
for recitation, address, or sermon.<br />
ABRIDGMENTS.<br />
8. (i.) It shall be an infringement of the copy-<br />
right in a book if any person shall with-<br />
out the consent of the owner of the copy-<br />
right print or otherwise multiply or cause<br />
to be printed or otherwise multiplied any<br />
abridgment of such book, or shall export<br />
or import any abridgment so unlawfully<br />
printed, or shall sell, publish, or expose<br />
for sale or hire, or cause to be sold,<br />
published, or exposed for sale or hire,<br />
any abridgment, knowing or having<br />
reasonable grounds to suspect that the<br />
same has been so unlawfully printed or<br />
imported.<br />
(ii.) Where the author of a book has sold<br />
the copyright thereof in consideration<br />
<br />
<br />
## p. 7 (#413) ##############################################<br />
<br />
THE AUTHOR.<br />
7<br />
(whether wholly or in part) of a royalty,<br />
or a share of the profits to be derived<br />
froin the publication thereof, or is other-<br />
wise notwithstanding such sale possessed<br />
of a pecuniary interest therein, such book<br />
shall not, during the continuance of the<br />
copyright therein and so long as the<br />
author shall be entitled to such royalty,<br />
share of profits, or shall be so interested<br />
as aforesaid, be abridged by the purchaser<br />
of such copyright without the consent in<br />
writing of the author or his assigns.<br />
(iii.) If the owner of the copyright in a book<br />
to the abridgment whereof the consent of<br />
the author is not required under the pre-<br />
ceding proviso, intends to publish an<br />
abridgment thereof made by some person<br />
other than the author of the original<br />
book, he shall give notice of such inten-<br />
tion to the author, if living, by registered<br />
letter directed to his best known address,<br />
and shall, if so required by such author,<br />
either state or cause to be stated on the<br />
title-page of each part or volume of the<br />
abridgment that the abridgment is not<br />
by the author of the original book, or<br />
shall in like manner state or cause to be<br />
stated the name of the maker of the<br />
abridgment.<br />
(iv.) The author of a book shall be entitled to<br />
restrain and obtain damages for any<br />
abridgment published in contravention of<br />
the above provisions of this section.<br />
DRAMATISATION.<br />
9. In the case of a book which is a work of<br />
fiction in prose or in verse, it shall be an infringe-<br />
ment of the copyright therein if any person shall<br />
without the consent of the owner of the copyright<br />
take or colourably imitate the title of such book, or<br />
take from such book any material or substantial<br />
part of the dialogue, plot, or incidents thereof and<br />
use or convert it into or adapt it for a dramatic<br />
work, or knowing or having reasonable grounds<br />
to suspect such dramatic work to have been so<br />
made, shall publicly perform the same or permit<br />
or cause the same to be publicly performed.<br />
10. In the case of a dramatic work it shall be<br />
an infringement of the copyright therein if any<br />
person shall without the consent of the owner of<br />
the copyright take or colourably imitate the title<br />
of such book, or take from such book the dialogue,<br />
plot, or incidents thereof, and convert or adapt<br />
them into any other form of work whether dramatic<br />
or otherwise, or knowing or having reasonable<br />
grounds to suspect any work to have been so<br />
made shall print or otherwise multiply, or cause<br />
to be printed or otherwise multiplied copies<br />
VOL. VIII.<br />
thereof for sale or exportation, or shall export or<br />
import, or sell, publish, or expose for sale or hire,<br />
or cause to be sold, published, or exposed for sale<br />
or hire, any copies thereof, or shall publicly per-<br />
form such work or permit or cause the same to be<br />
publicly performed.<br />
SUMMARY REMEDY FOR INFRINGEMENT OF<br />
DRAMATIC COPYRIGHT.<br />
11. If any person shall represent or cause or<br />
permit any dramatic work to be represented at<br />
any place of dramatic entertainment without the<br />
consent in writing of the owner of the performing<br />
right in such work, it shall be lawful for the<br />
owner of the performing right (without preju-<br />
dice to any action for damages or other remedy<br />
he may be entitled to) to apply in a summary<br />
manner to a court of summary jurisdiction in<br />
that part of the British Dominions where such<br />
representation has taken place or where the<br />
offender dwells, and such court shall, on produc-<br />
tion of the certificate of registration, order the<br />
offender to pay a penalty not exceeding twenty<br />
pounds and costs, and such penalty shall go to<br />
the owner of the performing right by way of<br />
compensation. Provided that not more than one<br />
penalty shall be recovered in respect of each<br />
representation.<br />
DATE OF PUBLICATION.<br />
12. (i.) Upon the delivery of a book at the British<br />
Museum, the publisher shall therewith<br />
deliver a certificate setting forth the name<br />
of the book and the date of the first<br />
publication thereof, and such certificate<br />
shall be registered in a book to be kept<br />
by an officer provided for that purpose<br />
by the trustees of the said Museum.<br />
(ii.) Such officer shall upon payment to him of<br />
the prescribed fee not exceeding 2*. 6d.<br />
give a certified copy of any entry in such<br />
book to any person requiring the same.<br />
(iii.) Such certified copy shall be prima facie<br />
evidence in all courts of the date of the<br />
first publication of the work therein<br />
referred to.<br />
(iv.) The delivery of a book at the British<br />
Museum without such certificate as afore-<br />
said shall not be deemed a compliance<br />
with the provisions of the Copyright Act,<br />
1842, and the publisher shall be liable to<br />
the penaltv provided by section 10 of such<br />
Act.<br />
REPEAL.<br />
13. The Acts or parts of Acts specified in the<br />
first schedule hereto are hereby repealed as from<br />
the passing of this Act, but except as hereinbefore<br />
expressly provided such repeal shall not prejudice<br />
or affect any rights acquired previously to such<br />
c<br />
<br />
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## p. 8 (#414) ##############################################<br />
<br />
8<br />
THE AUTHOR.<br />
repeal, and such rights may be enforced and<br />
enjoyed as if such repeal had not been made.<br />
14. (i.) If it shall at any time appear to Her<br />
Majesty to be expedient that this Act, or<br />
any part thereof, should not apply to<br />
any British possession, it shall be lawful<br />
for Her Majesty by Order in Council to<br />
declare that this Act, or any part or parts<br />
thereof specified in such Order, shall be<br />
suspended so far as regards such British<br />
possession, either generally or during<br />
such period as may be thought expedient.<br />
(ii.) Any such Order in Council may from time<br />
to time be revoked or altered by any<br />
further Order in Council.<br />
(iii.) Every such Order in Council shall, as<br />
soon as may be after the making thereof,<br />
be published in the London Gazette, and<br />
shall take effect as from the date of such<br />
publication.<br />
(iv.) A copy of every such Order in Council<br />
shall be laid before both Houses of Parlia-<br />
ment within six weeks after the issuing<br />
thereof if Parliament is then sitting, and<br />
if not, then within six weeks after the<br />
commencement of the next session of<br />
Parliament.<br />
(v.) No such Order in Council shall affect<br />
prejudicially any right acquired at the<br />
date of its coming into operation.<br />
15. This Act may be cited as the Copyright<br />
(Amendment) Act 1896 ; and shall be read and<br />
construed with the Copyright Acts.<br />
16. This Act shall come into operation at the<br />
expiration of one calendar month after receiving<br />
the Royal assent.<br />
FIEST SCHEDULE.<br />
ACTS REPEALED.<br />
Sessions and Chapter<br />
Short T.tle<br />
Extent of Repeal.<br />
5 & 6 Will. IT. 0.65<br />
5 & 6 Vict. c. 45.<br />
Lectures Copyright<br />
The whole Act.<br />
Sections 18 & 19.<br />
Act 1835.<br />
Copyright Aot 1842.<br />
SECOND SCHEDULE.<br />
FORM OF ENTRY OF A PERIODICAL WORK.<br />
Date of Publi-<br />
cation cf nrst<br />
vol., part, or<br />
number.<br />
Title of Work<br />
Name and address<br />
of owner.<br />
Name and address<br />
of Publisher.<br />
II.—Denmark and the Union.<br />
We learn with regret from Le Droit d'Auteur<br />
that the hopes recently entertained that the<br />
kingdom of Denmark would shortly enter the<br />
Berne Union are not likely to be immediately<br />
fulfilled. A considerable number of difficulties<br />
have arisen, in consequence of opposition to any<br />
protection of the foreign author, on the part of<br />
the same persons who raised difficulties in<br />
Sweden—proprietors of newspapers, editors, and<br />
theatrical managers. Their principal arguments<br />
are the same as usual, with the ordinary varia-<br />
tions upon the increased price that translations of<br />
foreign works would command. The Danish<br />
Press, and especially the Dannebora, has made a<br />
vigorous attack upon international literary agree-<br />
ments, insisting particularly upon the injury to<br />
public education and the general culture of the<br />
people that would result from Denmark's enter-<br />
ing the Berne Union. The result has been an<br />
unfavourable vote in the Danish Parliament. At<br />
the same time the supporters of international<br />
copyright do not despair of final success.<br />
III.—The Pabis Conference.<br />
France and Switzerland have now followed the<br />
German Empire in ratifying the Acts of the<br />
Paris Conference of 1896, reforming certain<br />
articles of the Berne Convention.<br />
IV.—Literary Property in Russia.<br />
The committee of the French Socicte des Gens<br />
de Lettres has for some years past been diligently<br />
engaged in making efforts to bring about some<br />
literary convention between France and Russia.<br />
At a meeting of Dec. 21, 1896, it resolved to<br />
accredit Mme. de Wasilief with a letter to the<br />
Russian Government, authorising her to resume<br />
previous negotiations undertaken with this aim.<br />
It has also been decided that the President of the<br />
Society (M. Henri Houssaye) should write to the<br />
Minister of Public Instruction to call his attention<br />
to the interests of literary property in Russia,<br />
and to ask him to consider whether it might be<br />
now opportune to commence negotiations on this<br />
subject in combination with the Minister of<br />
Foreign Affairs. It is worth ' while to remark<br />
that, apart from the particularly friendly feeling<br />
which has of late existed between France and the<br />
Russian Empire, France has been for some time<br />
past much more forward than the other western<br />
nations to pay due attention to the ever-increasing<br />
importance of Russian literature.<br />
V.—Tauchnitz Editions.<br />
It will be good news to authors whose works<br />
are published in cheap form by the firm of<br />
Tauchnitz to know that the Cusioms House<br />
authorities have at last awakened to a sense of<br />
<br />
<br />
## p. 9 (#415) ##############################################<br />
<br />
THE AUTHOR.<br />
9<br />
duty. For many years copies of Tauchnitz<br />
•editions have been introduced wholesale into<br />
England, but 'within the last few weeks a special<br />
order has been issued to all Customs officers at<br />
Dover, Folkestone, Queenborough, and Harwich,<br />
to search carefully for any concealed books, with<br />
the result that hundreds of copies are daily confis-<br />
cated. A correspondent informs us that while<br />
crossing from Calais to Dover one morning last<br />
week he witnessed a whole portmanteau full of<br />
new Tauchnitz editions seized by the Customs<br />
officers, and five minutes later a lady was dis-<br />
covered with no fewer than eighteen of the neat<br />
little volumes carefully packed at the bottom of<br />
tier trunks. In fact, our correspondent says that<br />
in almost every person's baggage there seemed<br />
-one or two of the books.—Literary World.<br />
NEW YORK LETTER.<br />
New York, May 13.<br />
MBETTNETIERE'S five lectures in New<br />
York aroused more interest among<br />
* literary people than any event which<br />
has happened within my recollection. Not only<br />
did he draw very large audiences, which nhowei<br />
the wisdom of Columbia College in chousing a<br />
public hall instead of one of the University<br />
buildings for the lectures, but what he said was<br />
the text for a great deal of private conversation<br />
about many points connected with literary<br />
criticism, and with differences in culture between<br />
Paris and New York. In one of his lectures he<br />
hinted at some of the faults of criticism in this<br />
country, particularly its lack of disinterestedness<br />
and courage. In a democracy, he thinks, there<br />
is an especial need of the highest and fairest<br />
criticism to act as a tendency against the con-<br />
fusion in ideals which grows out of the increasing<br />
number and variety of readers and the greater<br />
literary output. There is an especial danger of<br />
levelling all reputations by constant mutual<br />
praise and laudation of local writers. No sugges-<br />
tion could be more deserved. Our literary men<br />
not only rejoice in praising each other, but some<br />
of them have expressed to me the opin'on,<br />
mingled with some reproach, that to speak of a<br />
living writer, especially of a living American<br />
writer, unless what you wish to say is distinctly<br />
laudatory, is at least a breach of taste. Perhaps<br />
our desire for a national literature is responsible<br />
in part for this position, but it is hard to believe<br />
that lower motives are not part of the cause.<br />
M. Brunetiere met a popular demand by speaking<br />
freely about Zola, condemning himwith the greatest<br />
earnestness and without the least reserve for his<br />
VOL. VIII<br />
falsity to French life and his lack of the per-<br />
manent elevated qualities of style. Asked in<br />
conversation the old question about Zola's admis-<br />
sion to the Academy, M. Brunetiere answered with<br />
a laugh, " It is possible; but it will not be my<br />
fault." The story, which I believe is told in the<br />
"G-oncourt Journals," was told in answer to this<br />
remark by the man to whom Daudet related it;<br />
that Zola came to him one day and said: "This is<br />
my fiftieth birthday, and after this I intend to<br />
live. You understand, I intend to live. You<br />
others have always lived, but I have spent my<br />
life in grinding. It is my turn now." And<br />
Daudet added: "That is the man who has been<br />
telling us for so long what life is." Sarcey M.<br />
Brunetiere dismissed in a sentence, as a man who<br />
never yielded an inch to the opinion of his fellow<br />
critics, but who reversed any belief if he fflt<br />
the notions of the crowd about to shift. The<br />
most interesting of his other judgments are in<br />
the main those that will be found in his books,<br />
although his high praise of Maupassant was a sur-<br />
prise. In social intercourse M. Brunetiere noticed<br />
that conversation was less sustained than in France.<br />
If a new person joins a small group, the subject,<br />
whatever it may be, is usually dropped, and, even<br />
if there is no interruption, after one topic has<br />
been talked about for a little while it seems to die<br />
of inertia, and there is silence until another is<br />
brought up. He noticed also less charity towards<br />
other opinions, more of a desire to discuss<br />
whether another opinion is true or false than to<br />
allow each person to do the best he can in bring-<br />
ing out the interest of his own point of view,<br />
for which a generous appreciation of the points of<br />
view of others is necessary.<br />
Frank Munsey is about to follow the lead of<br />
the owner of another 10 cent magazine (S. S.<br />
McClure) in founding a publishing house. It is<br />
announced that in the fall Mr. Munsey will<br />
begin the publication of books of the quality<br />
usually sold for 1 dollar, which he will sell for<br />
25 cents, and that his first book will have a first<br />
edition of 250,000 copies. Extravagant as the<br />
assertion sounds, it borrows some plausibility<br />
from the success which Mr. Munsey has already<br />
had as the innovator and the most successful<br />
practitioner in the field of cheap magazines. The<br />
recent death of William Taylor Adams, whose<br />
pen name was Oliver Optic, led the Chap Booh<br />
into some moralising founded on the popularity<br />
of this writer, who received no attention from the<br />
critics, but perhaps is the most widely read of<br />
American authors, certainly the most popular<br />
writer of boys' books. From the age of thirty-<br />
four to that of seventy, he wrote about 130<br />
volumes and more than 1000 short stories, and<br />
more than two million copies of his books have<br />
c 2<br />
<br />
<br />
## p. 10 (#416) #############################################<br />
<br />
IO<br />
THE AUTHOR.<br />
been sold. The Chap Book gives a flippant and<br />
not very adequate explanation that he had the good<br />
fortune to be ignored by the critics, and<br />
it backs up this explanation with quota-<br />
tions from an Advertisers' Directory, show-<br />
ing that some magazines of which nobody<br />
has ever heard have larger circulations than<br />
any of the more prominent periodicals. For in-<br />
stance, Comfort, published in Augusta, was rated<br />
at 1,252,325; the Hearthstone, of New York, at<br />
6oo,coo; the Delineator, at 500,000; and so on.<br />
One answer to this is, that these directories must<br />
found their estimates on the statements of the<br />
publishers, which are mostly unreliable; and<br />
another answer is, that circulations of such maga-<br />
zines are largely made up of copies to give away or<br />
throw away. The Ladies' Home Journal un-<br />
doubtedly leads all of our magazines. It is rated in<br />
Lord and Taylor's "Advertisers' Directory " atover<br />
700,000, and it probably has at least half a million<br />
genuine purchasers. McClure's and the Cosmo-<br />
politan are given 300,000 each, and Munsey's<br />
500,000, which is too much. Harper's Monthly<br />
is given 175,000, and it probably is gradually<br />
actually approaching 150,000. The Century<br />
is supposed to be now about even with it, with<br />
Scribner's a little behind. Mr. John Corbin,<br />
one of the editors of Harper's Monthly, was dis-<br />
cussing the other day the demands of our three<br />
leading illustrated magazines. Harper's Monthly<br />
wants articles which they call " vital "—that is,<br />
which connect themselves with the practical inte-<br />
rests of a large number of people; and literary form<br />
is frankly very secondary. In carrying out this<br />
principle, it touches partly on the field of the<br />
English reviews in welcoming summary treatment<br />
of political, economical, and social questions; but<br />
within this field it will take nothing which<br />
appeals mainly to the literary man and the<br />
scholar. Scribner's Magazine, Mr. Corbin<br />
said, was lighter, caring more for literary<br />
form; the Century had no settled policy what-<br />
ever, but had made its great hit on the sensa-<br />
tion of its war articles, and was now losing it<br />
and looking about for another sensation. The<br />
editors of Harper's, on the other hand, never<br />
allow the magazine to be thrown on to one of<br />
these sudden and short waves of interest, for fear<br />
that when that subsided it would be necessary to<br />
find another sensation to save it. They believe<br />
that a greater permanent circulation will be<br />
built up by keeping almost exclusively to interests<br />
which are at once general and somewhat perma-<br />
nent, although slight variations with the current<br />
of feeling in various parts of the country are<br />
allowed. This magazine especially, with others<br />
to some extent, is becoming more and more<br />
like monthly newspapers of the better class, both<br />
in the subjects of their articles and the mode of<br />
treatment, at the same time that the dailies,<br />
especially in the Saturday and Sunday editions,<br />
become more and more like magazines, both in<br />
their general articles and in certain special literary<br />
features, such as the space now given to serials.<br />
It is impossible in a cursory letter to do justice<br />
to the most important book of the past month.<br />
In the " Literary History of the American Revo-<br />
lution," just published by G. P. Putnam's Sons,<br />
readers on both sides of the water will find much<br />
about one of the two most interesting periods of<br />
our history, which has not been accessible before.<br />
The Revolutionary period differed from that of the<br />
Civil "War, among other things, in having a more<br />
full and varied literary expression, and Professor<br />
Tyler has given us generous extracts from it,<br />
together with a clear narrative to connect them.<br />
I have already said that we have no such<br />
interesting single group of writers as the Fede-<br />
ralists, and those that immediately preceded<br />
them had much of their vigour and genuine-<br />
ness. In this first volume of Professor<br />
Tyler's History, which covers a period from<br />
1763 to 1776, James Otis, John Adams,<br />
Philip Freneau, John Trumbull, John Dickinson,<br />
Josiah Quincy, Alexander Hamilton, Benjamin<br />
Franklin, James Paine, and Thomas Jefferson<br />
are a minority of the interesting personalities<br />
to which life is given in this volume. That time<br />
was very much alive, and none of the other<br />
histories that have covered it have given it a kind<br />
of treatment which will satisfy a literary interest<br />
as well as this. Of course, it is incomplete, for<br />
the thoughts and feelings which found their<br />
expression in the writings covered by this book-<br />
were concentrated in a few dramatic external<br />
events, which are here kept in the background, so<br />
that the reader to whom the book will be most<br />
satisfactory is the one who already knows the<br />
political history of the time. English readers<br />
will doubtless be pleased to see that the Tories<br />
are treated with fairness as the most respectable<br />
Conservatives of the times, including the majority<br />
of clergymen, physicians, lawyers, and teachers.<br />
Two or three literary men have, in my hearing,<br />
expressed a desire to make a novel out of the Salva-<br />
tion Army, which offers exceptional temptations in<br />
the picturesque. Mary A. Denison has just pub-<br />
lished a love story called "Captain Mollie," with<br />
Lee and Shepard of Boston, but it totally fails to<br />
take advantage of the Salvation Army motif, being<br />
utterly colourless<br />
The copyright provision punishing the piracy of<br />
plays has just had its first test in a suit brought by<br />
Klaw and Erlanger against Louis Robie, who is<br />
charged with stealing songs from "In Gay<br />
New York " and using them in a variety enter-<br />
<br />
<br />
## p. 11 (#417) #############################################<br />
<br />
THE AUTHOR.<br />
tainment called " The Bohemians." There was an<br />
indictment, and about a week ago the defendant<br />
was held in the United States Court for trial.<br />
This is regarded as a test case.<br />
Norman Hapgood.<br />
NOTES FROM A DUCHY.<br />
NOBODY in St. Ives could give me any<br />
information about Mr. Pearce, the Cor-<br />
nish novelist about whom Sir George<br />
Douglas wrote last month. The fact is we are<br />
not great readers down here. "Nobody buys<br />
books here," said the bookstall man. Halfpenny<br />
papers go well. I suppose, absorbed as we are<br />
with the wonderful beauties of Nature, we have<br />
no time or no wish to think. Hence the demand<br />
for halfpenny papers. One can read them with-<br />
out any mental fatigue whatever. Rudyard<br />
Kipling once said that he bought Answers every<br />
week " because there are times when a man<br />
doesn't want to think."<br />
Kipling, by the way, was asked his opinion on<br />
Torquay before he left, and he said that with 30<br />
per cent, less moisture it would be the prettiest<br />
place outside Paradise, a characteristic remark<br />
of which the Torquay people are taking advan-<br />
tage for publicity purposes. I heard that Mr.<br />
Kipling used to visit the railway bookstall every<br />
day and " have a look round." The railway book-<br />
stall has its fascination to most of us.<br />
In Camborne, to revert to Mr. Pearce, I heard<br />
his work enthusiastically talked about, with<br />
special reference to the Esther novel. I was told<br />
that Mr. Pearce was a Newlyn man, who lived in<br />
London, where he was engaged in clerical work;<br />
that he was about thirty-five years old, and that<br />
he wrote, not professionally, but pour passer le<br />
temps.<br />
Madame Alphonse Daudet's book, "Notes sur<br />
Londres," has been translated into English by<br />
Marie Belloc, and will be published in London<br />
this season.<br />
I was over at Fowey a few weeks ago. It is<br />
without exception the most beautiful and most<br />
interesting seaport I have seen anywhere. I envy<br />
"Q.," but after his fine descriptions of his home I<br />
shall not attempt to descrilje it. I was fortunate<br />
enough to see " Q." also with his little boy, who, if<br />
children's faces reveal anything of the future, will<br />
be an artist of the pen or pencil. What a happy<br />
life " Q.'8" must be. From what the papers are<br />
saying down here everybody is very glad that it is<br />
he who is to finish " St. Ives."<br />
In my perambulations about the district I came,<br />
the other day, across an inn at St. Hilary, called<br />
"The Jolly Tinners," which has the following<br />
sign:<br />
Come all true Coinish boys walk in,<br />
Here's brandy, beer, rum, Bhrnb, and gin;<br />
Yon can't do less than drink Buocess,<br />
To copper, fish, and tin.<br />
Fish, perhaps, but not all the votive beer in the<br />
world, I am afraid, will bring back success to<br />
copper or tin. Slave labour in the Straits Settle-<br />
ments has killed the tin mining industry in<br />
Cornwall. "Jolly Tinners," indeed! Why, the<br />
other day, in Camborne, a jolly-faced woman told<br />
me that all the earnings of a life of hard work<br />
had been invested in tin mines, and that the only<br />
dividend she drew was "trouble and tears for<br />
dinner, and tears and sorrow for tea "; and she<br />
wiped her eyes on her apron as she spoke. All<br />
the profits of her business went in meeting the<br />
calls on her worthless shares.<br />
I have received from Annemasse, in La Haute-<br />
Savoie, a copy of a journal called L'Avant Garde,<br />
which describes a new language—"the universal<br />
and instantaneous language, an invention for pro-<br />
nouncing, reading, and writing all languages in<br />
the world at first sight, with their pure accent ";<br />
and gives, or, rather, says that it gives, " imme-<br />
diate and irrefutable proofs" of this in French,<br />
English, German, Italian, Spanish, Portuguese,<br />
Russian, Servian, &c.<br />
It seems that all that is wanted to enable<br />
everybody to read, write, and pronouce any lan-<br />
guage in the world—though not to understand it<br />
nor speak it—is the universal adoption of the<br />
new " Universal Phonographic Alphabet," which<br />
consists of forty-two letters. These are the ordi-<br />
nary letters of the alphabet, the additional letters<br />
being made up by the help of accents and italici-<br />
sation, whilst one or two letters turned upside<br />
down represent other sounds than when standing<br />
on their feet. This alphabet is supposed to re-<br />
present all the sounds which the human voice<br />
uses in articulation. People who have found<br />
Volapuk and other universal languages wanting,<br />
might study this new system, which is evidently<br />
being worked with some energy by the " body of<br />
professors." Particulars can be obtained at the<br />
office of the journal.<br />
Several people have written to mo about my<br />
story of the two unfilial daughters and their<br />
father at the inn at Verton, and in answer to the<br />
general inquiry I want to say that it is quite true<br />
in every detail. The point about these women<br />
which interested and pleased me most was their<br />
absolute ignorance of and indifference to all<br />
matters outside their narrow sphere. It must be<br />
an ideal existence. Animal spirits arise from the<br />
animal state, and, as far as I know, animals never<br />
"worrit" themselves about anything or anybody<br />
<br />
<br />
## p. 12 (#418) #############################################<br />
<br />
12<br />
THE AUTHOR.<br />
in whom or which they have no direct and imme-<br />
diate concern. My good Bretonnes had never<br />
heard even of M. Carnot. Very well; when we<br />
were passing through hours and days of grief at<br />
his cruel fate, they were quietly pickling their<br />
walnuts or salting butter for the winter, and<br />
rejoicing to think how nice they would be. And<br />
in this there was no selfishness. They narrowed<br />
their interests, and thus reduced the chances<br />
of having to Buffer for oihers. I sometimes<br />
fancy that hermits have no other object in view<br />
when they retire to mountain tops or lonely caves.<br />
What was curious about the Bretonnes was that<br />
they dwelt neither on mountain tops nor in<br />
lonely caves, but within three-quarters of an hour<br />
of one of the biggest ports in France.<br />
A novel personal experience in the literary<br />
world. A book of mine has recently been pub-<br />
lished. Some days after its publication the<br />
editors of various papers receive letters signed<br />
with my name, full of personal abuse of the gentle-<br />
men who act as their literary critics. The letters<br />
were never written by me, nor is the handwriting<br />
in any way like mine, though the signature is<br />
imitated. I heard of this friendly move from one<br />
of the critics. He had written a favourable notice<br />
of the book in question, and had sent it in. Said<br />
his editor to him, " If you knew what that man<br />
has been writing about you, I do not think you<br />
would want to do him a good turn." The critic<br />
wrote to ask me what I had been "up to." I<br />
answered that I had written no letters to editors,<br />
other than for money. He then procured the<br />
letter, and recognised that the writing was not<br />
mine, though the signature was a good imitation.<br />
I have since heard of other similar letters. Can<br />
this be anything else than an attempt to wreck<br />
my book at the outset, by provoking editors and<br />
critics very naturally and reasonably to put it<br />
under tabu? And what can one say of the cher<br />
confrere, the brother writer who can act like this?<br />
Robert H. Sheraed.<br />
THE FRIENDSJ^CHARLES LAMB.<br />
"Let me not lose my friends," he prayed, when pain<br />
And horror of great darkness veiled his way;<br />
And when an afterglow of peace held sway,<br />
"To all dear friends be thanks " was still his strain.<br />
Pathos touched sharpest in the wild refrain<br />
Of " old familiar faces " passed away:<br />
Laughter rose sweetest at the close of day<br />
When comrade voices eohoed his again.<br />
And Fate itself, grown kind, fulfilled desire—<br />
Even death consigned to no unfriendly grave<br />
This spirit, trained to noblest, gentlest ends:<br />
Still rose new hearts to listen, love, admire,<br />
And each new decade more than brethren gave<br />
To him who, dying, murmured " names of friends."<br />
"Murmuring in his last moments the names of<br />
his dearest friends, he passed tranquilly out of<br />
life."—Ainger's "Charles Lamb," (Men of Letters<br />
series), p. 165. M. C. V.<br />
NOTES AND NEWS.<br />
THE Bill printed in another column was<br />
originally started with a view of doing<br />
away with the 18th section of the Act<br />
of 1842, and gradually developed into its pre-<br />
sent form. The sub-committee of the Authors'<br />
Society have acted throughout with Parlia-<br />
mentary counsel (Mr. James Rolt of Lincoln's-<br />
inn), and have had also the assistance of their<br />
solicitors, Messrs. Field, Eoscoe, and Co. They<br />
have discussed the Bill fully with the sub-com-<br />
mittees of the Publishers' and Copyright Associa-<br />
tions. With some exceptions (especially clauses<br />
4 and 13) the Bill has received the approval of<br />
the Publishers' Association. There are, however,<br />
some points on which the Copyright Association<br />
are not absolutely in accord with the Society.<br />
These points will no doubt be discussed when the<br />
Bill is in Committee.<br />
In another column will be found a letter on the<br />
ruling passion in the mind of the youug writer.<br />
It is, of course, the desire to be published. He<br />
wants to be published. Sometimes he believes in<br />
himself; then there is hope for him. Sometimes<br />
he is diffident about his own work, yet has put<br />
into it all the strength, and knowledge and power<br />
that is in him; then there is hope for him.<br />
Sometimes he thinks that his production is as good<br />
as that of many people who do get published. In<br />
other words, he knows that he has written rubbish<br />
yet wants it published. Then there is no hope<br />
for him. Sometimes—and this is very frequently<br />
the case—he fondly imagines that all the books in<br />
the advertised lists are bringing to their authors<br />
large fortunes, and he writes in the expectation<br />
of making a large fortune for himself. Then<br />
there is no hope whatever for that writer. In<br />
any case, however, the one thing which he desires<br />
is publication. Now, since the best thing for the<br />
bad writer is to learn that he cannot hope to-<br />
Bucceed, and since the best thing for the good<br />
writer is to get a chance, the publisher who<br />
brings out the first work of a new writer confers<br />
so great a boon upon that candidate that we ought<br />
not to be too careful about the first agreement, if<br />
it only makes provision for success and for equi-<br />
table terms in new editions. Readers of this<br />
paper, who are for the most part members of the<br />
Society, would do well to impress upon young<br />
<br />
<br />
## p. 13 (#419) #############################################<br />
<br />
THE AUTHOR.<br />
'3<br />
writers: (i) that very, very few of the advertised<br />
books are successful in any sense of the word:<br />
(2) that it is generally the height of folly to<br />
suppose that what good publishers refuse bad<br />
publishers can cause to succeed, because for<br />
good or for bad publishers ulike there is but one<br />
public: (3) that it is therefore as a rule a certain<br />
waste of money to pay for production.<br />
Messrs. Archibald Constable and Co. write from 2, White-<br />
hall-gardens: "At the request of Mrs. F. A. Steel we wish<br />
to let the public know that she does not derive any benefit<br />
of any kind whatever from the publication of her book' In the<br />
Tideway,' beyond the lump sum we agreed to pay her for a<br />
seven years' lease from the date of publication. This lease<br />
is dated three years back, and as it contains no clause<br />
specifying either prioe or manner of appearance, we have<br />
not consulted her as to either."<br />
The above letter appeared in the Times. It<br />
explains itself. Mrs. Steel, in 1894, sold, on a<br />
lease for a limited term, a story of about 30,000<br />
words. She sold all rights, and the publishers<br />
were fully entitled to produce the book in any<br />
form, or at any price, they pleased. They have<br />
chosen to produce it at the price of 6s. The case<br />
is not, therefore, at all one of author v. publisher,<br />
but of bookseller and public v. publisher. It is<br />
not, either, a case of right and wrong. It is<br />
simply a case of what the public expect to get for<br />
a 6*. book, and what, in the interests of authors,<br />
as well as of themselves, publishers should<br />
offer as a 6*. book. It is, one would think,<br />
understood that such a book should give a certain<br />
amount of solid reading. But of late there have<br />
appeared several cases in which a short story of,<br />
say, 30,000 words or so, has been priced at 6s. A<br />
notable case was that of Olive Schreiner's<br />
"Trooper Halket." Of course, it may be argued<br />
that, in giving 6«. for so short a work, the buyer<br />
may be tempted by the name and the reputation<br />
of the author. Perhaps; but in very few<br />
instances. In most cases the course seems to be<br />
a mistake on the part of the publishers, and a<br />
mistake which canDot be otherwise than pre-<br />
judicial to the commercial value of a book. We<br />
cannot have a Literary Weights and Measures<br />
Act, but we can recognise the broad principle<br />
that 6s. or 4s. 6d. is a substantial sum to pay,<br />
and that most people cannot afford to pay so<br />
much for one short hour's reading. The ordinary<br />
6*. book generally contains from 70,000 to<br />
200,000 words, the average being about 100,000.<br />
The following letter makes an offer which may<br />
perhaps overwhelm the writer with an avalanche<br />
of acceptances and requests. The Secretary has<br />
his name, and will forward it to any member on<br />
application. The letter is written in the best<br />
spirit—one that we have long advocated—that of<br />
encouraging people of the literary profession to<br />
put away their foolish shyness and false shame<br />
and to communicate to each other through the<br />
Society their own experiences. If "An Occasional<br />
Contributor " would be so good as to follow up<br />
this letter by suggesting some practical plan for<br />
such interchange, he might do great good.<br />
"I have only just seen the February number of<br />
The Author, when I came across a letter by<br />
'Well-wisher' (Correspondence 4), asking if<br />
any of your town readers would look up articles<br />
in a reading-room. I should be happy to do this<br />
free of charge, as I have to go to a reading-room<br />
anyway for the purpose of looking up my own<br />
articles and stories. It strikes me, too, that it<br />
would be a good thing if occasional contributors,<br />
like myself and 'Well-wisher,' had more oppor-<br />
tunity of interchanging views with regard to the<br />
prices paid by various papers and the possibilities<br />
of acceptance. I have contributed to various<br />
monthly and other papers, and as 'Well-wisher'<br />
has evidently done likewise, I should be glad to<br />
relate and receive experiences.<br />
"An Occasional Conteibutob."<br />
A letter of which the following is an extract<br />
appeared in the Times of May 20:<br />
It has long been felt as a matter of regret by many men<br />
and women associated with Liverpool, that the city<br />
possesses no memorial of Felicia Hemans, a native of that<br />
city, who also resided there when many of her best<br />
writings were produced.<br />
On May 14 a preliminary meeting was held in Liverpool<br />
to consider the question of a local memorial to Felicia<br />
Hemans. It was Resolved " That the memorial Bhould take<br />
the form of a prize associated with the name of Felioia<br />
Hemans, to be awarded for the composition of a lyrioal<br />
poem." It is considered that from £2$o to £300 will be<br />
required, and towards this amount several subscriptions<br />
have been promised. Contributions will be received by<br />
Mr. A. Theodore Brown, 26, Exchange-street East, Liver-<br />
pool, or by Mr. W. H. Picton, College-avenue, Crosby, near<br />
Liverpool."<br />
This letter was signed by Mr. Mackenzie Bell<br />
and Mr. W. H. Picton.<br />
It is late in the day, but it could not be<br />
too late to create some memorial to Felicia<br />
Hemans. Her short life of forty years terminated<br />
sixty-two years ago, in the year 1835. This is a<br />
period long enough to prove what enduring powers<br />
lie in her work. At the present moment there is<br />
but one opinion: that she is one of the sweetest<br />
and simplest of English poets, that her poems<br />
are still widely read and known, and that her<br />
influence is wholly good. The memorial will<br />
take the form of a prize to be awarded for the<br />
composition of a lyrical poem. This object can<br />
<br />
<br />
## p. 14 (#420) #############################################<br />
<br />
'4<br />
THE AUTHOR.<br />
be attained by the raising of a small sum of from<br />
^£250 to .£300. I wish the promoters would make<br />
it .£2000 so that the prize might be a substantial<br />
help to some young poet. Liverpool has reason<br />
to be proud of her sons, if we consider only the<br />
names of the committee.<br />
How many readers will recognise this "Por-<br />
trait," and will know who drew it?<br />
I am Sir Oracle; when my tongue wags,<br />
Ay! and my beard, let no man call his soul<br />
His own, or flount me with the filthy rags<br />
Of an opinion free from my control.<br />
Let Shelley chatterers style my gait a roll,<br />
And witless upstarts criticise my "bags";<br />
I am English-Saxon, rough as mountain crags,<br />
One grand, historic, rude, Belf-centred whole.<br />
Ancient is modern, modern ancient too,<br />
I have said so myriad times. Who doubts it?<br />
Fool!<br />
I want some nincompoop to state his view.<br />
I'd smash him flat as Fronde or Martin Rule.<br />
Yea, by my balidom! Certes! God wot!<br />
I am the Oxford Witenagemot.<br />
We have often advocated the prohibition of<br />
introducing Tauchnitz books into this country,<br />
hitherto without effect. At last, it appears, the<br />
Customs House officers have been ordered to do<br />
their duty. These books, which are pirate copies<br />
in this country, have been brought into the country<br />
every year by hundreds of thousands. The<br />
importation, which is usually conducted by<br />
travellers for their own private bookshelves, is a<br />
direct injury and loss to the author and owner of<br />
the property—how great a loss it is difficuly to com-<br />
pute. For certainly it does not follow that if<br />
a Tauchnitz copy is prohibited, a much dearer<br />
copy will be bought—that is not contended. But<br />
almost every copy of every readable book is lent<br />
by its owner, and it is fair to suppose that out of<br />
the twenty or thirty who read it one would prob-<br />
ably buy it. But all private book-shelves presently<br />
fall to the eecond-liand bookseller. There are<br />
many such shops where there are rows of Tauch-<br />
nitz books. The sale of Tauchnitz books must be<br />
prohibited as well as their importation. Indeed, I<br />
am astonished that booksellers have not imported<br />
them in quantities and sold them openly as new<br />
books and latest editions.<br />
I beg especial attention to the last paragraph<br />
of Mr. Sherard's letter. It describes an entirely<br />
new departure in venom and spite. He says that<br />
he has recently published a book, presumably his<br />
book on "White Slaves," which has been reviewed<br />
in many papers. Apart, it would seem, from any<br />
consideration of the review itself, whether it was<br />
favourable or the reverse, some infamous person<br />
has been sending to the editor of every paper a<br />
letter, signed with Mr. Sherard's name, abusing<br />
the critic of his book. One hopes that the perpe-<br />
trator of this spiteful forgery is not himself a man<br />
of letters. If so, the famous book on the " Quarrels<br />
of Authors" must be brought up to date. Mean-<br />
time an advertisement or two in the papers<br />
warning editors might produce a good effect.<br />
Walter Besant.<br />
THE RULING PASSION.<br />
IN the columns of The Author frequent mention<br />
is made of, and warning given on, the folly<br />
of paying for publication; and in almost<br />
every case, I venture to think, it would be well<br />
were the warning taken.<br />
I cannot agree with those who assert that it is<br />
"contemptible conceit" or egotism that makes a<br />
writer willing to sacrifice almost anything, some-<br />
times everything, in order to see his work in print.<br />
Bather let us take the broader, more generous view<br />
of sympathy with the worker.<br />
"In looking back," says Jeffrey—that stern<br />
critic—" I can hardly conceive anything in after<br />
life more to be envied than the recollection of<br />
that first outburst of intellect, when, freed from<br />
scholastic restraint, and throwing off the thraldom<br />
of a somewhat servile docility, the mind first<br />
aspired to reason and question nature for itself;<br />
and, half wondering at its own temerity, first<br />
ventured its unaided flight into the regions of<br />
adventure to revel uncontrolled through the<br />
bright and boundless realms of literature and<br />
science."<br />
And so it is with every worker who possesses<br />
true "grit."<br />
There are, of course, genuine writers and not<br />
genuine—as in everything there is genuine and<br />
spurious; and he who feels that he possesses<br />
the noble gift of inspiration, who has a profound<br />
love of literature, an earnest sincerity in his<br />
work, may surely be forgiven if, in that first burst<br />
of enthusiasm, he commit the folly of presenting<br />
to the cold, calculating eye of the critic, or the<br />
often unsympathetic gaze of the public, his<br />
innermost treasured thoughts.<br />
My own case. Since childhood the thought<br />
had possessed me: "I will write a book."<br />
I wrote that book. Through much tribulation<br />
and burning of the midnight oil did I write it,<br />
yet my days were days without leisure.<br />
My work was a loved and cherished secret.<br />
Each day as it grew I lived more and more in a<br />
land of dreams—an ideal world. My characters<br />
<br />
<br />
## p. 15 (#421) #############################################<br />
<br />
THE AUTHOR.<br />
'5<br />
became as living beings who awaited me in the<br />
quiet of my own room.<br />
Was not I lonely? asked my friends. Lonely?<br />
I laughed gaily. How could I feel loneliness<br />
while exchanging golden hopes with creatures of<br />
my own creation!<br />
At length the day arrived that saw the end of<br />
my labour.<br />
My " book," thought I, should go forth and<br />
speak to the world, while I remained unknown.<br />
I wrote to my chosen publisher—and be it<br />
understood he was one of the first and foremost<br />
in Her Majesty's dominions.<br />
Audacity? Conceit? Egotism? As you will.<br />
I know it was none of these.<br />
In due course I received a courteous note from<br />
Messrs. and Co. My MS. was refused. My<br />
loved work came home; it rests with me still.<br />
Looking over it now I know what a debt of<br />
gratitude I owe to the honourable firm of pub-<br />
lishers who " regretted they could not undertake<br />
the publication of my book."<br />
Smarting under my "failure" (so called), I<br />
wrote to a man whose advertisement appeared in<br />
that stately and fashionable paper, the Morning<br />
Post. It ran as follows:<br />
"A. well-known firm of London publishers is<br />
prepared to publish approved MSS., &c."<br />
Those who have had an experience like unto<br />
mine will understand my feelings when, after<br />
having hastily written and sent up a story of<br />
About 25,000 words, I received the following:<br />
"I have read this MS. with considerable inte-<br />
rest, and I like it. Kindly send more," &c.<br />
Nice comforting words; words to flatter and<br />
"tickle the ears" of any aspirant to literary<br />
fame. Need I add more? I fell among thieves. I<br />
â– was caught in a trap dexterously laid. The more<br />
â– easily was I snared when this publisher, because<br />
•of his " considerable interest" in my MS., offered<br />
to share half expenses and all risks!<br />
The result? Not sweet to the taste; in sooth,<br />
very bitter. Earperientia docet. I had bought<br />
my experience—how dearly none but myself will<br />
ever know—ere I chanced upon the I.S.A.<br />
And now I would ask, Can nothing be done to<br />
stamp out of existence these fraudulent publish-<br />
ing houses? Finns which are a disgrace to any<br />
community, and which trade on the inexperience<br />
of young writers—cannot their dealings be made<br />
public?<br />
I read with keen pleasure the proposal made in<br />
the February number of The Author by " An Old<br />
Bird," that the I.S.A. should " show the world of<br />
letters how a book should be turned out on true<br />
business lines," &c.<br />
I cannot but think that the proposal might be<br />
carried out with incalculable benefit to writers,<br />
and with honour, as well as lucrative returns, to<br />
the Society.<br />
I, for one, entirely hope that the "Old Bird's"<br />
eyes, and many others, may be gladdened in the<br />
near future with a sight of "I.S.A." upon many<br />
a title-page. E. W. H.<br />
MOODS -TENSES-VOICES.<br />
CYNICISM is a selfishness, a shallowness, a<br />
silliness, a sourness, or a sham.<br />
Idealism may be a matter of sunshine,<br />
or only a manner of moonshine.<br />
Materialism is a blindness, a hollowness, a<br />
hopelessness, or a truthfulness.<br />
Optimism is religious, scientific, selfish or super-<br />
ficial.<br />
Pessimism is dyspeptic, irreligious, unscientific,<br />
or unwise.<br />
Realism may be sunny, stormy, or only shady.<br />
Common criticism discovers little, but invents<br />
much.<br />
Proper criticism finds merit, while the common-<br />
place only finds fault.<br />
Wisdom is less a matter of reasoning than a<br />
manner of understanding.<br />
Were there no misunderstanding, there would<br />
be no misfortune.<br />
The wise suspend their judgment, while the<br />
unwise only strangle theirs.<br />
No one fully knows the Past, realises the Pre-<br />
sent, or understands the Future.<br />
Some romance never did happen, some never<br />
could, some never ought.<br />
Fallacies for the Past, facts for the Present,<br />
fancies for the Future.<br />
The Past may be perfect in fancy, but must be<br />
imperfect in fact.<br />
Perfection ever lies in the Future.<br />
Capacities, like conceits and reputes, are ever<br />
in process of change.<br />
Opportunities, like microbes, are often imper-<br />
ceptible, but always inexhaustible.<br />
Social reputes are as overcoats, and personal<br />
conceits as undershirts.<br />
Greatness is not a matter of fame, but a manner<br />
of force or of grace.<br />
Cons, ience is a common mean between Chance<br />
and Providence.<br />
Both humour and reverence are phases of sane<br />
sympathy.<br />
Faith may madden and truth may sadden, but<br />
Love must strengthen and sweeten.<br />
Religion may be feminine and science mascu-<br />
line, but shams must be neuter.<br />
Moods may be emotional, rational, or wilful.<br />
Morbid moods make trying tenses.<br />
<br />
<br />
## p. 16 (#422) #############################################<br />
<br />
i6<br />
THE AUTHOR.<br />
Sanity simply suggests sweet sympathy.<br />
Moderate truth must inspire; the immoderate<br />
may irritate.<br />
The manly voice is not fog horny, nor the<br />
womanly steam-sirenish.<br />
Higher art transfigures common things with<br />
uncommon thoughts.<br />
Impression may be a matter of gift; expres-<br />
sion must be a manner of growth.<br />
To be loved is to be encouraged; to love is to<br />
be raised. Phinlay G-lenelg.<br />
A FLEMISH SAGA.<br />
THOSE who are acquainted with the suburb<br />
of Brussels known as the Commune of<br />
Ixelles, must have observed at the foot of<br />
the causeway leading to the city a flower-garden<br />
on the bank of a piece of ornamental water. In<br />
the midst of the glowing beds of geranium and<br />
mignonette, heliotrope and rose, is a weeping<br />
willow shading a singular monument of masonry.<br />
It consists of a sort of portico, in the centre of<br />
which are two bronze statues of a man and woman<br />
seated, the woman leaning on the man, who looks<br />
straight before him with a rapt and visionary<br />
gaze. Symbolical carvings surround them—a<br />
spinning-wheel, a dog, and other graven images;<br />
on the man's breast hangs a small bag, and over all is<br />
a medallion showing a pure and thoughtful profile<br />
surmounted by the iegend " Charles De Coster."<br />
Among the many English who pass by, there<br />
are few who understand the meaning of this<br />
memorial. But to the Belgians it is a place of<br />
reverent honour. Hither came, one beautiful<br />
summer morning in 1894, a company of more or<br />
less distinguished men to unveil the newly-built<br />
monument, and to hear an eloquent address by<br />
M. Camille Lemonnier. In this discourse were<br />
rehearsed the praises of a man who had died,<br />
obscure and almost alone, the author of a work<br />
hardly noticed in his life-time, but now pronounced<br />
by enthusiastic compatriots to be the "Bible of<br />
Flanders."<br />
Of De Coster himself there was little to say.<br />
Born in on Munich, Aug. 20, 1827, he lived poor<br />
and solitary till May 7, 1879, when he succumbed<br />
to tubercular disease in a small apartment over a<br />
greengrocer's in Ixelles. His last moments were<br />
cheered by the presence of M. and Mme. Hector<br />
Denis—M. Denis being known even beyond the<br />
boundaries of his own little land as a distinguished<br />
member of the Left in the Belgian Senate, and a<br />
devoted friend of the labouring poor. It is by his<br />
work, long neglected, that De Coster deserves a<br />
loving record. Borrowing the name of the Ger-<br />
man jester of the Middle Ages, he has created him<br />
anew as the incarnation of his country's genius,<br />
placing him—by a bold anachronism—in the<br />
sixteenth century, among the fields and streets<br />
of Flanders, full of the havoc of the Spanish<br />
persecution and the bold resistance of the kindly<br />
but tenacious burgesses and peasants. The book<br />
at its first appearance was too novel in conception,<br />
perhaps too sumptuous in form, to catch the<br />
public. A bulky quarto volume, it was illustrated<br />
with numerous etchings by the best artists of that<br />
most artistic country, and had but a slow circula-<br />
tion. In his spirited discourse, M. Lemonnier,<br />
speaking in somewhat sorrowful tones, said: "The<br />
author was unnoticed in his own day"; "he<br />
died unappreciated "; "no glory smiled upon his<br />
pillow"; "all appeared at an end—his life and<br />
its oblivion." But "Death touched nothing<br />
but what was perishable; the turf of his grave<br />
opened, and a luminous soul arose—the soul of<br />
his country—the lark singing to the free heavens."<br />
Round the speaker stood men more fortunate in<br />
their own day: Maurice Maeterlinck; the great<br />
sculptor of modern Flanders, Julien Dillens; the<br />
Liberal Senator, Edmond Picard, author of " La<br />
Vie Simple "; Charles Buls, the famous Bourg-<br />
mestre who shared with King Leopold the honour<br />
of bearing the insults of a misled mob a few<br />
years ago; Professor Pergameni, of the Brussels<br />
University, and many others of local distinction,<br />
in whose persons a repentant public made atone-<br />
ment. The publisher, M. Paul Lacomblez, who<br />
was one of 1 he company, made haste to bring out<br />
a handsome reprint of the book, without the<br />
etchings, and at a popular price; the original<br />
work is now food for the wealthy bibliophile.<br />
It is impossible to give in a few words any just<br />
idea of the literary merits of the "Roman<br />
d'Ulenspiegel." It stands alone as the national<br />
expression of Flemish patriotism, and this sets it<br />
beyond comparison with historical romances of a<br />
purely pleasurable character, like "Quentin<br />
Durward" or "The Cloister and the Hearth."<br />
In its language and its incidents it breathes the<br />
very spirit of the dawn of modern European life.<br />
Chaotic in form, archaic in expression, it gives<br />
but a secondary place to that passion of a boy<br />
and girl which is the recognised essence of an<br />
ordinary romance. The narratives of sorrow and<br />
cruelty peculiarly belonging to the place and time<br />
are related with grim realism, while a light of<br />
idealism breaks out here and there which gives<br />
occasional glimpses of epic inspiration. In the<br />
end, after adventures sometimes bloody and often<br />
gross and crude, the hero is purified and raised<br />
above the common world. In vain do his enemies<br />
heap the light sand above what they deem to be<br />
his dead form. Leaping up with a laugh, Ulen-<br />
spiegel asks, "' Can you bury me, the genius of the<br />
<br />
<br />
## p. 17 (#423) #############################################<br />
<br />
THE AUTHOR.<br />
17<br />
mother-country? She also seems to sleep, but<br />
die she cannot.' And he fared on singing his<br />
sixth song, but his last—no man knows where he<br />
sang it."<br />
De Coster, too, has leapt to life after his teem-<br />
ing burial, and literary history can hardly show<br />
such another resurrection. H. G. Kbenk.<br />
SUBJUNCTIVE MOOD-ITS PRESENT-DAT<br />
USE.<br />
rr^HE correspondence on this subject in The<br />
\ Author is interesting as having brought<br />
into prominence what one correspondent<br />
has called the absence of any " self-conscious rules of<br />
grammar " in the English language. While I have<br />
not the smallest claim to speak as an authority on<br />
the matter, yet it seemed to me that none of the<br />
rules adduced by various correspondents were<br />
framed in sufficiently comprehensive terms to in-<br />
clude all cases where the subjunctive mood is used<br />
both in accordance with the cumbrous and complex<br />
rules of the grammar books, as well as in the pages<br />
of the " most approved authors of the day." To<br />
these pages then,following Professor Skeat's advice,<br />
I betook myself, thinking that it might, perhaps, be<br />
possible to deduce from them a fairly clear and com-<br />
prehensive canon as to the use of the subjunctive<br />
mood in English. Readers of the correspondence in<br />
TAe-i^MfAormayperliaps be interested to hear of my<br />
results—if, indeed, they can be called results, for I<br />
must at once confess that I am no nearer the "clear<br />
and succinct rule " which Mr. Howard Collins de-<br />
sires, than I was before starting on my enterprise.<br />
The authors I selected were: Mr. George Meredith,<br />
Mr. Lecky, Mr. Andrew Lang, Mr. Henry James,<br />
Mr. Leslie Stephen, Mr. H. D. Traill, Mr. John<br />
Morley, Mr. Hardy, Professor Dowden, and R. L.<br />
Stevenson; and after stalking subjunctives<br />
throughout the pages of one of each of the above-<br />
named authors' works, the only point on which I<br />
seem approximately clear is that the use of the sub-<br />
junctive in any verb except the verb "to be," is<br />
exceedingly rare. Of my ten authors, four, i.e., Mr.<br />
George Meredith, Mr. Lecky, Mr. Andrew Lang,<br />
and Mr. Henry James, never use any other verb<br />
in the subjunctive ; three, i.e., Mr. Leslie Stephen,<br />
Mr. H. D. Traill, and Mr. John Morley, have<br />
a single instance each; while R. L. Steven-<br />
son, Mr. Hardy, and Professor Dowden yield<br />
respectively six, four, and two such instances.<br />
Mr. L. Stephen's solitary instance of a verb<br />
other than the verb "to be" in the subjunc-<br />
tive mood, "even though it contain" (" Social<br />
Rights and Duties," vol. II., p. 161), is the more<br />
perplexing when we observe what might almost<br />
be called his callous indifference to the claims of<br />
that mood in other passages. Thus, he writes:<br />
"What difference does it make whether the brain<br />
. . . has a fixed resemblance to ... or<br />
be . . . the product," &c. {Ib., p. 9). "^If<br />
the honourable gentleman means to say . . .<br />
But, if his meaning be simply," &c. (Ib., p. 160).<br />
"It might be a question . . . whether the<br />
pleasure . . . be really so great, &c. . . .<br />
It is certainly also a question whether his expen-<br />
diture was ethically right " (Ib , p. 110). Similar<br />
instances might be multiplied. Mr. Lecky—whose<br />
sentences in his "History of Rationalism" are<br />
seldom cast in the hypothetical form—has, on p. 11,<br />
vol. I.: "Those who lived when the evidences of<br />
witchcraft existed in profusion . . . must surely<br />
have been as competent judges as ourselves, if<br />
the question was [and his argument goes to prove<br />
that it was not] merely a question of evidence ;"<br />
and again (lb., 433), where the case is purely<br />
hypothetical: "//"some great misfortune were to<br />
befall a man . . . if the physician declared<br />
[here there is no special form for the subjunctive]<br />
. . . if concealment was only possible by a<br />
falsehood, there are very few moralists who would<br />
condemn," &c.<br />
Mr. Andrew Lang (" Custom and Myth," p. 239)<br />
has: "If this was the cast*, surely the presence<br />
of those elements . . . should have been<br />
indicated. ... Is nothing said about the<br />
spirits of the dead ... in the Vedas? Much<br />
is said, of course. But were it otherwise," &c.<br />
Mr. Hardy (" Pair of Blue Eyes," p. 333) writes:<br />
"The gentle-modest would turn their faces south<br />
if I were coming east, flit down a passage 1/1 was<br />
about to halve the pavement with them." Mr.<br />
Henry James, in the volume entitled "Daisy<br />
Miller," never uses the subjunctive in the present<br />
tense, although he appears to discriminate care-<br />
fully between "was " and " were." Mr. Morley's<br />
"The most that the individual can do is to seek<br />
for himself, even if he seek alone" ("On Compro-<br />
mise," p. 101) is somewhat puzzling when com-<br />
pared with his: "Even if he thinhe it does mom<br />
harm than good" (76., p. 223); nor does his " if<br />
it be valid (lb., 174) explain itself side by side<br />
with "If the principle of such conformity is<br />
Hood for anything at all " on the following page.<br />
On the other hand, he appears to be consistent in<br />
his use of the past subjunctive. Mr. Meredith<br />
likes the subjunctive mood (of the verb " to be "),<br />
nevertheless we meet with: "It is a lute to scatter<br />
songs to his mistress; a rapier it she obstinate"<br />
("Egoist," p. 12). "If it is necessary" (lb.,<br />
p. 60), where there is both futurity and contin-<br />
gency, "Yet if my friend is not the same," &j.<br />
(Ib., p. 132, where the case is purely hypothe-<br />
tical). Contrast these with: "For any maltreat-<br />
<br />
<br />
## p. 18 (#424) #############################################<br />
<br />
i8<br />
THE AUTHOR.<br />
ment of the dear boy Love . . . you [i.e., the<br />
reader], if you be of common soundness" {lb.,<br />
p. 300), "If it be a failing" (lb., p. 86), and "If<br />
this line of verse be not yet in our literature"<br />
{lb., p. 5). Professor Dowden, in his "Life of<br />
Southey," only twice uses the indicative after<br />
"if," and here again, it seems difficult to dis-<br />
criminate between, e.g., "If the ice were fairly<br />
broken he found it natural to be easy and<br />
familiar" (lb., p. 90), and "If to these melody<br />
icas added, he had attained" (lb., p. 193), &c.<br />
And while " except," "if," and "whether" are all<br />
followed by the present subjunctive, we find:<br />
"There was nothing in the poem that could be<br />
remembered with shame unless it is shameful to<br />
be generous," &c. (p. 170). I have, I fear, only<br />
made confusion worse confounded by my re-<br />
searches. But should any one object to our use<br />
or non-use of the subjunctive we can at least feel<br />
that the onus probandi rests with the accuser.<br />
Summary. .<br />
I Approximate<br />
number of words<br />
Author. Book. in book.<br />
â– George Meredith The Egoist 190,000<br />
W. E. Lecky ... History of BationaliBm,<br />
vol. 1 102,000<br />
Andrew Lang . .. Custom and Myth 68,000<br />
Leslie Stephen... Social Eights and Duties,<br />
vol. II 71,000<br />
T. Hardy Pair of Blue Eyes 99,000<br />
E. Dowden Life of Southey 67,000<br />
E. L. StevenBon. Men and Books 99,044<br />
H. D. Traill Life of Coleridge 60,000<br />
Henry James ... Daisy Miller 56,000<br />
John Morley .. On Compromise 57,000<br />
-Positive instances. Subjunctive moods.<br />
To be. Words to<br />
one sub-<br />
junctive.<br />
2800<br />
.. 3800<br />
.. 2300<br />
1400<br />
2300<br />
.. 3200<br />
.. 1900<br />
2900<br />
2200<br />
.. 2500<br />
2S3oI<br />
â– • 2043<br />
• â– 5370<br />
• • 2957<br />
â– • 1543<br />
• • 55oo<br />
• • 16750<br />
.. 4280<br />
.. 6666<br />
2800<br />
â– • 1055<br />
BOOKS AND THEIR ZEE PEES.<br />
[i.-<br />
<br />
Present.<br />
George Meredith 11<br />
W. E. Leoky ... 11 .<br />
A. Lang 20<br />
L. Stephen 36<br />
T. Hardy..- 3* .<br />
E. Dowden 5<br />
E. L. Stevenson. 5<br />
H. D. Traill 5 .<br />
H. James —<br />
J. Morley 16<br />
III.—Negative Instances.<br />
George Meredith 50 ... 11 ... 32 ... 93<br />
W. E. Lecky ... 7 ... 2 ... 10 ... 19<br />
A. Lang 13 ... 4 ... 6 ... 23<br />
L.Stephen 15 ... 3 ... 28 ... 46<br />
T. Hardy 11 ... 6 ... 1 ... 18<br />
E. Dowden 1 ... 3 ... o ... 4<br />
E. L. Stevenson. 6 ... 11 ... 8 ... 25<br />
H.D.Traill 2 ... 2 ... 5 ... 9<br />
H. James 2 ... 16 ... 2 ... 20<br />
J. Morley 29 ... o ... 25 ... 54<br />
* 2 "if so be." t After " though."<br />
I Average,<br />
B. E. Meyer.<br />
An Interview with Me. J. T. W. MacAlistee.<br />
"fT^HE index of a book should be made by the<br />
I author; anybody can do the rest of it."<br />
This curious saying, not Mr. Mac Aba-<br />
ter's, rang in the ears of the interviewer when, in his<br />
talk with the honorary secretary of the forthcoming<br />
International Library Conference, he came to the<br />
point of discussing questions that stand between<br />
librarians and authors. "It should be a rule,"<br />
replied Mr. MacAlister, " that every book should<br />
be provided with a good index. To publish a<br />
book without one ought to be reckoned an<br />
offence."<br />
Another offence lies in the framing of titles.<br />
"Titles," said Mr. MacAlister, "should set forth<br />
clearly the nature of the books, instead of being<br />
merely fanciful, as they often are. It would<br />
amuse authors," he continued, "to find to what<br />
an extent librarians have to make new titles for<br />
their works. First we have to catalogue the title<br />
which the author has given to the book, but that<br />
has to be constantly followed by other titles which<br />
are absolutely necessary to make the ordinary<br />
reader understand what the book is about."<br />
Mr. MacAlister selected at random the follow-<br />
ing titles, which are meaningless to the average<br />
library user:—Buskin's "Ethics of the Dust,"<br />
"Crown of Wild Olive," "Eagle's Nest," " Queen<br />
of the Air," " St. Mark's Best;'' Dr. John Brown's<br />
"Horse Subseeivae," Birrell's "Obiter Dicta,"<br />
MacMichael's "Goldheaded Cane," Kinglake's<br />
"Eothen," MacDonald's " Orts," Miller's "Cruise<br />
of the Betsey." Again, "The Despot's Champion"<br />
is the title of a life of Claverhouse; "Through<br />
the Long Day," "Shadows of the Past," and<br />
"Faint, yet Pursuing," are also biographies; "In<br />
an Enchanted Island" is an account of Cyprus;<br />
while " Through the Long Night " is a pleasant<br />
specimen of the indefiniteness of many titles of<br />
novels.<br />
While on the subject of book-titles the inter-<br />
viewer ask-d Mr. MacAlister's opinion of the<br />
proposal made in The Author by Mr. F. Howard<br />
Collins, to the effect that the Society of Authors<br />
should compile a list of all the book-titles that<br />
had been used, in order that a writer would be<br />
saved from selecting a title which is already<br />
appropriated. Mr. MacAlister did not think sued<br />
an undertaking would be seriously worth while.<br />
"Bemember," he said, " that such a case of the<br />
same title being selected over again cannot<br />
happen where a very famous or important book<br />
is concerned. When it does occur, it argues that the<br />
forerunner in the title is a ' dead' book. The British<br />
Museum catalogue can always be discussed by the<br />
<br />
<br />
## p. 19 (#425) #############################################<br />
<br />
THE AUTHOR.<br />
19<br />
author, and, besides, Stationers' Hall people are<br />
very good in that way. To compile such a list as<br />
is proposed would be a gigantic task, and a very<br />
expensive one, but it would be like employing a<br />
Nasmyth hammer to crack an egg."<br />
The issue of old books under new titles is a<br />
practice more common than is generally supposed.<br />
"This may be said to be exclusively a trick of<br />
the novelist's," Mr. MacAlister remarked; "it is<br />
unknown in other fields of authorship. Thus a<br />
book which has been unfortunate as 'The Maid<br />
Forlorn ' will reappear after a decent interval as<br />
'How to Prepare an Underdone Mutton Chop,'<br />
and the librarian buys the new book, as he thinks<br />
it to be, not knowing that it is on the shelves<br />
already in another dress. Of course it is com-<br />
mon for a story that has appeared as a serial<br />
to be published in volume form under a new<br />
title; that is quite different. But when a<br />
book that has failed under one title gets a<br />
new title-page stuck in and is then put on the<br />
market as a new book, it is simply a piece of<br />
dishonesty." [At this stage several cases were<br />
instanced.]<br />
"Authors do not realise either," said Mr.<br />
MacAlister in answer to another question, " how<br />
often their books sere printed on wretched paper.<br />
It would not be fair to mention names, but some<br />
well-known editions of popular novels are issued<br />
on paper so notoriously bad that librarians do<br />
not bind them after they have been in use a year<br />
or two. The difference in cost between a paper<br />
that will last one hundred or two hundred years<br />
and one that will, like the present average, hardly<br />
last fifty must be very trifling. Any author who<br />
seeks a lasting reputation cannot afford to<br />
overlook this matter, although I suppose the<br />
question of paper will lie principally with the<br />
publisher."<br />
On July 13 to 16 the second International<br />
Library Conference will be held in the Council<br />
Chamber of the Corporation of London. Libra-<br />
rians from all civilised parts will foregather here,<br />
under the presidency of Sir John Lubbock.<br />
Delegates—in the majority of cases representing<br />
the Government of these countries—will be<br />
present from France, Germany, Italy, Austria,<br />
Spain, Holland, India, Canada, Australia, New<br />
Zealand, and South Af nca. Largest contingent of<br />
all, 300 American librarians will absent themselves<br />
from the States for two months with the avowed<br />
objects of becoming acquainted with as many<br />
English librarians as possible, seeing English<br />
methods of library administration, and visiting as<br />
many places of historic and literary interest as<br />
they can. Since its formation twenty years ago,<br />
the Library Association of the United Kingdom<br />
has grown from a membership of scarcely 200 to<br />
one of upwards of 500. The American librarian<br />
thinks he has a good deal to learn in England,<br />
but, on the other hand, this feeling is fully<br />
reciprocated by his British confrere with regard<br />
to America. Both from the Government and<br />
through private munificence, the American<br />
libraries have received much larger gifts than<br />
those of Britain. But, as Mr. MacAlister<br />
pointed out, the British experiment of establish-<br />
ing libraries by the will of the people, and having<br />
them voluntarily supported by the rates, has in<br />
many respects produced a better effect by leading<br />
the people to take a more personal interest in<br />
them. "At the same time," continued Mr.<br />
MacAlister, "we should be very glad indeed if<br />
public spirit in this country could induce the<br />
Government to do something for public libraries.<br />
They have done nothing so far."<br />
"We have not attained to the Bibliographical<br />
Professorships yet?"<br />
"No, but there is an approach to it in the<br />
Sandars Readership in Bibliography at Cambridge.<br />
Mr. Sandars was a member of our association<br />
who bequeathed a considerable sum, the interest<br />
of which was to be devoted to the payment of<br />
the lecturer. In America, of course, there are<br />
fully equipped library schools, with lecturers<br />
attached, and degrees in librarianship. We have<br />
hopes that when a new teaching and examining<br />
University is established in London there may<br />
be a chance of getting the new authorities to<br />
recognise the importance of the subject. It is<br />
only in London that there is sufficient material<br />
to give practical illustrations to students."<br />
PERSONAL.<br />
MR. LECKY, M.P., presided at the Book-<br />
sellers' Dinner on the 8th ult., and in<br />
proposing "Literatureand Science,"said<br />
that the first thing that would strike one was the<br />
enormous multiplication of books. The power<br />
of spinning something in the nature of a book<br />
from the slenderest possible materials with the<br />
greatest possible haste was an accomplishment<br />
which the present age had brought to a perfec-<br />
tion that no other generation had ever attained.<br />
It might be said that there was no great harm in<br />
writing a book which no one was obliged to read,<br />
and, indeed, the sale of some works had the<br />
positive advantage of making the lives of their<br />
authors somewhat more easy than they otherwise<br />
would be. But, after making all allowances, he<br />
still felt bound to say that contemporary litera-<br />
ture would probably be much better if it were<br />
somewhat less voluminous and somewhat more<br />
<br />
<br />
## p. 20 (#426) #############################################<br />
<br />
20<br />
THE A UTHOh.<br />
choice. He did not wish to speak in a desponding<br />
way about literature. If poor books were greatly<br />
multiplied it did not mean that good books were<br />
less numerous. Nothing was more remarkable<br />
than the silent, steady sale of good books long<br />
after people had ceased talking about them.<br />
Tuesday, May n, was a ladies' night of the<br />
New Vagabond Club, when five to six hundred<br />
guests sat down to dinner in the Holborn Restau-<br />
rant. Mr. Hall Caine, who presided, in giving<br />
"The Ladies," said that the reign all were going<br />
to celebrate had been pre-eminently the reign of<br />
woman. Some rumours they heard of masculine<br />
jealousy that women were competing, perhaps<br />
too successfully, with some of them in the pro-<br />
fessions, but he did not believe that any man<br />
worthy of the name ever yet owed a woman a<br />
grudge because she was beating him in his craft,<br />
and he appealed to them to see that when a woman<br />
crossed their path in her struggle to live she<br />
should have fair play and every chance and every<br />
help that a man's hsmd could give her.<br />
Lecturing at the Royal Institution on<br />
"Romance," Mr. Anthony Hope Hawkins said<br />
that the leading characteristics of romance as<br />
a quality in literature were, first strong<br />
emotion; second, a high pitch of abstraction;<br />
and third, self-assertion. Every novel which<br />
dealt with love was not romance. For example,<br />
there was a large class of novels which gave<br />
pictures of the life that was about them every<br />
day, and in which love played, so far as the<br />
incidents went, a leading part. But the love was<br />
not a subject; it was rather a datum. That was<br />
not of necessity untrue to life, but it might be<br />
anything in the world except romance. Novels<br />
with "love" for their theme failed in that<br />
respect. The love-making was itself mechanical.<br />
It did not rule the book. They were, in fact,<br />
constrained to believe that the author did not<br />
understand his theme, or had confused the theme<br />
with the auxiliaries. That was why those books<br />
were not romances. There was no power, no<br />
imagination in them. The " problem novel" and<br />
the "realistic novel" were not in the nature of<br />
romances, for, instead of simplicity and confidence,<br />
they found in them complexity and self-distrust.<br />
He admitted that it was not always so easy to<br />
draw the line between the novel and the romance.<br />
For example, in "Tom Jones," "Vanity Fair,"<br />
and " Pendennis," there would be found matter<br />
of a romantic character. Generally speaking,<br />
the reader should ask what was the theme, and by<br />
that he should judge. Let them take the story<br />
of "The Three Musketeers." They would<br />
exclaim, "Here is romance!" Why Y Because,<br />
in spite of all its complexity, they found running<br />
through the whole book and inspiring it that one<br />
strong simple passion or emotion which ruled the<br />
lives of the leading characters, and, above all, that of<br />
the great hero D'Artagnan. Dumas's trilogy of the<br />
Musketeers was a romance of the joy of action.<br />
Those men did not so much care as to what<br />
they were at, but they must be at something.<br />
At the same time, he did not say there was<br />
nothing in " Tom Jones" or "Pendennis" of a<br />
similar kind. It would be, perhaps, correct to<br />
say that the great English writers used their<br />
heroes to gratify the world, and the great<br />
Frenchman used the world to gratify his heroes.<br />
The romancist was not the worst companion that<br />
a reader would find speaking to him words of<br />
truth.<br />
The New York Critic of April 10 announces<br />
the result of its prize competition for the best<br />
list of the best twelve American short stories.<br />
The prize has gone to Mr. J. W. George, of St.<br />
Louis, who has selected two stories by Hawthorne,<br />
two by Irving, two by Poe, and one each by Dr.<br />
Hale (" The Man Without a Country," of course),<br />
Bret Harte, Frank R. Stockton, Thomas Nelson<br />
Page, Thomas Bailey Aldrich, and Mary E.<br />
Wilkins. The editors add that they do not offer<br />
this "as an ideal list, be it observed, but merely<br />
as, on the whole, the best of those submitted."<br />
Some 500 lists were received, and they publish,<br />
also, another list, containing only one story by a<br />
single author—the authors selected being T. B.<br />
Aldrich, H. Bunner, F. R. Stockton, Mary E.<br />
Wilkins, Edgar Allan Poe, Nathaniel Hawthorne,<br />
Bret Harte, Mark Twain, E. E. Hale, G. W.<br />
Cable, and Richard Harding Davis.<br />
Mrs. Linnaeus Banks, the novelist, died at<br />
Dalston, on May 4, in her seventy-sixth year.<br />
Her best known stories are "God's Providence<br />
House" (the historic building in Chester which<br />
escaped the plague) and "The Manchester<br />
Man." Like the author of "Uncle Tom's<br />
Cabin," Mrs. Banks was well advanced in life<br />
before she began to publish any remarkable<br />
work. "God's Providence House" appeared<br />
when she was forty-five, and "The Manchester<br />
Man" about a decade later. As Miss Isabella<br />
Varley she had, however, written and published<br />
verses in Manchester newspapers as early as her<br />
sixteenth year. Her first collection of poems,<br />
"Ivy Leaves," appeared in 1844. Mrs. Banks<br />
was a native of Manchester, and her works were<br />
especially popular in Lancashire. It is told<br />
of the late Mrs. Banks that, when negotiating<br />
for the serial publication of one of her novels,<br />
she felt herself somewhat worsted in the<br />
bargaining. She accepted the terms, but, by<br />
way of revenge, exclaimed, "' It is naught, it is<br />
<br />
<br />
## p. 21 (#427) #############################################<br />
<br />
THE AUTHOR.<br />
2 1<br />
naught, saith the buyer; but when he is gone his<br />
way then he boasteth.'" The publisher was<br />
greatly pleased with the cleverness of the quota-<br />
tion, and his estimate of Mrs. Banks's work by<br />
no means suffered in consequence of her witty<br />
protest.<br />
Mr. Theodore Bent, the indefatigable explorer<br />
of South-East Africa and Arabia, died, on May 5,<br />
of malarial fever and pneumonia, at the age of<br />
fifty-two. His works included "The Cyclades;<br />
or Life among the Insular Greeks" (1885);<br />
"Ruined Cities of Mashonaland" (1892); and<br />
"Sacred Cities of the Ethiopians" (1893).<br />
FROM "POEMS" BY S. L. E.<br />
An jEolian Harp.<br />
From harp strings strained before the wind<br />
Strange music issues forth;<br />
It comoth now from east and west,<br />
And now from south and north.<br />
At first a sweet, low, moaning wail,<br />
Pathetic, fitful, mild;<br />
Then, gathering strength—the sound bursts forth<br />
In music strong and wild.<br />
We listen breathless; joyful strains<br />
Must crown this fitful play.<br />
Alas! the mnBic drops and falls,<br />
And, moaning, dies away.<br />
The song of life, the Christian song,<br />
Begins full oft in pain;<br />
Then, gathering strength, bursts forth in song,<br />
Begins a heavenly strain.<br />
Begins—a hopeful prelude gives<br />
Of heavenly music here;<br />
But soon ib quenohed in death—the theme<br />
Is for another sphere.<br />
There will earth's wild, tumultuous notes,<br />
And discords here too strong,<br />
Be gathered up in one complete,<br />
One rapturous, perfect song.<br />
A SUGGESTED RECONSTITUTE.<br />
AT the recent annual meeting of the Society I<br />
brought forward a proposition for the<br />
direct election of the Council by the whole<br />
body of the members of the Society. Sir W.<br />
Besant asked me to put my suggestions into<br />
writing for publication in The Author, and this<br />
request I now comply witb.<br />
Of course we all know that, at present, the<br />
Council, however generally representative it may<br />
be, is in no sense elective; for the members of the<br />
Society have no voice in the choice of their<br />
"representatives." No doubt, in the early days of<br />
the Society this arrangement was judicious, for<br />
the great body of members were ignorant and<br />
helpless, whilst a few leading spirits alone had<br />
any adequate knowledge of the needs and true<br />
interests of the Society. It was therefore well<br />
that those who so generously devoted time<br />
and labour to promoting the interest of their<br />
fellow authors should be given a free hand in<br />
their choice of colleagues; in other words, it was<br />
perhaps well that the infant Society should be<br />
governed autocratically.<br />
But it is obvious that the rigime which is good<br />
for infancy is highly unsuitable for adolescence,<br />
and that sooner or later the Society must be<br />
released from leading strings and allowed to<br />
govern itself and to exercise the franchise; and I<br />
think that many members agree with me in hold-<br />
ing that the time for a Reform Bill has now<br />
arrived. Last year an attempt was made to<br />
introduce a small elected element into the Society,<br />
but this attempt resulted in failure. The reason<br />
for this failure I alluded to at the annual meeting,<br />
but it is unnecessary to repeat my remarks here,<br />
since we are looking forward and not back-<br />
ward.<br />
I proposed that the whole Council shall be<br />
directly elected by the Society, each member<br />
serving, say, three years, and a third of the Council<br />
retiring every year. For the purpose of election<br />
the Society should be divided into faculties, each<br />
faculty electing a proportionate number of<br />
councillors. For instance we should require a<br />
faculty out of Fiction, Poetry, Music, Education,<br />
Physical Science, and so on. It would be neces-<br />
sary to fix a minimum number of members for<br />
each faculty, and as a basis for negotiation I<br />
suggest that no faculty should be constituted with<br />
fewer than 100 members. Where the writers<br />
upon any subject were too few to claim a faculty<br />
for themselves, they should be classed with writers<br />
on allied subjects into a joint faculty, just as at<br />
London University the graduates in music, being<br />
too few to claim a faculty of their own, are classed<br />
for voting purposes with the graduates in science.<br />
Thus it might be necessary, at present, to put<br />
sociologists, historians, and legal writers into one<br />
faculty; to class dramatists, poets, and all other<br />
writers on aesthetics together; to put psychologists<br />
into the Physical Science faculty, and so on; but<br />
these are all matters of detail that can easily be<br />
arranged. Similarly when a writer belongs<br />
equally to two subject-faculties he should be<br />
allowed to decide in which he would be classed for<br />
voting purposes.<br />
One point I must especially emphasise. It is<br />
absolutely essential to this scheme that each<br />
faculty, whether including 100 or 400 members,<br />
should elect the same number of representatives,<br />
<br />
<br />
## p. 22 (#428) #############################################<br />
<br />
22<br />
THE AUTHOR.<br />
for the Society is concerned with the interests of<br />
every branch of literature, and not merely with<br />
the interests of a majority of its present members.<br />
We must here adopt the old political principle<br />
that interests and classes, not simply heads, must<br />
be counted. Unless this system be adopted it is<br />
clear that one slightly dominant faculty might<br />
outvote the others, and "nobble" the whole<br />
machinery of the Society in the interests of one<br />
class of writers only. This, of course, would soon<br />
lead to a secession of the other members, and the<br />
foundation of a rival Authors' Society, and that<br />
would be a disaster which we must avoid at all<br />
hazards. Therefore we must make it a tine qua<br />
nun that each faculty elect the same number of<br />
representatives.<br />
One word more and I have done. The elec-<br />
tions must be real and not formal. Everyone<br />
who has belonged to any of our scientific societies<br />
knows that, although theoretically their consti-<br />
tution is a pure democracy, yet actually it is a<br />
pure oligarchy, for the outgoing council always<br />
nominate their successors, and the society goes<br />
through the farce of filling up ballot papers<br />
which never include the names of any rival candi-<br />
dates, for it is considered "bad form " to oppose<br />
the council's nominees. Against this un-English<br />
abuse we must make stringent safeguards, and I<br />
therefore propose that, at each election there shall<br />
be at least two candidates for every vacancy, so<br />
that the election must necessarily be real. I pro-<br />
pose that the initiative shall be left with private<br />
members of each faculty, but that if in any<br />
faculty there be fewer than two candidates pro-<br />
posed for each vacancy, the Council, or preferably<br />
individual members thereof, shall propose suffi-<br />
cient candidates to make up the required number;<br />
but otherwise the Council should nor, interfere in<br />
the elections.<br />
Such is, in brief, the outline of the Reform<br />
Bill which I have the honour of laying before<br />
the Council and my fellow-members of the<br />
Society; and I hope that the English spirit<br />
of popular government and an unrestricted fran-<br />
chise will be amply strong enough in the<br />
Society to ensure its adoption.<br />
F. H. Perky Coste.<br />
BOOK TALK.<br />
THE Jubilee celebrations are causing a healthy<br />
stoppage for a week or two in the free<br />
flow of new books. As one result, the<br />
autumn season will perhaps prove to be an unusu-<br />
ally busy one this year.<br />
The Royal Asiatic Society will commemorate<br />
the completion of the sixtieth year of the reign<br />
of Queen Victoria by founding a gold medal for<br />
distinguished scholarship, to be awarded trien-<br />
nially for the best work on an Oriental subject in<br />
the English language.<br />
A series of small books upon the "Imperial"<br />
platform is projected by Messrs. Horace Marshall<br />
and Sons, entitled "The Story of the Empire,"<br />
edited by Mr. Howard Angus Kennedy. The<br />
series will begin with a volume by Sir Walter<br />
Besant on "The Rise of the English-Speaking<br />
Race"; to be followed by volumes on South<br />
Africa, by Mr. E. F. Knight; on Australia and<br />
New Zealand, by Miss Flora Shaw; and on<br />
Canada, by Mr. Kennedy. These books will be all<br />
short; and, it is hoped, attractive and instructive.<br />
Mrs. Alfred Baldwin's " Story of a Marriage"<br />
has been added to Messrs. Macmillan's Colonial<br />
Library.<br />
"Daughters of Thespis: a story of the Green<br />
Room," is the title of Mr. John Bickerdyke's new<br />
novel. The publishers are Messrs. Simpkin,<br />
Marshall and Co., Limited. The same author<br />
has recently published through Mr. L. Upcott<br />
Gill, 170, Strand, an illustrated six-shilling<br />
volume entitled "Wild Sports in Ireland." It<br />
includes descriptions of the author's considerable<br />
yachting, wildfowling, and fishing experiences on<br />
the large Shannon lakes.<br />
"False Gods," a novel by Mrs. Albert S.<br />
Bradshaw, has just been published by Messrs.<br />
Henry and Co.<br />
Two poems by Mrs. Albert S. Bradshaw have<br />
been taken by Messrs. George Routledge and Co.<br />
for publication in the "Fernandez Reciter," just<br />
published.<br />
Miss Bertha Thomas has written a series of<br />
stories presenting various pictures of modern<br />
English society. The book, entitled "Camera<br />
Lucida; or, Strange Passages from Common<br />
Life," will be published by Messrs. Sampson Low<br />
and Co.<br />
Mr. Guy Boothby's new story, "The Fascination<br />
of the King," is about to be published by Messrs.<br />
Ward, Lock, and Co.<br />
Mr. Clark Russell has written "A Tale of Two<br />
Tunnels," which Messrs. Chapman and Hall will<br />
publish.<br />
Mr. Hume Nisbet and Mr. Alan St. Aubyn<br />
each has a new work of fiction in course of publi-<br />
cation by Messrs. White.<br />
Mr. Marion Crawford has written a novel<br />
entitled "A Rose of Yesterday," which Messrs.<br />
Macmillan will publish.<br />
<br />
<br />
## p. 23 (#429) #############################################<br />
<br />
THE AUTHOR.<br />
23<br />
Mr. Lane is publishing this month two volumes<br />
—one of prose and one of verse—of the works of<br />
Col. John Hay, the new American Ambassador<br />
to the Court of St. James's. The books are<br />
"Castilian Days " and " Poems."<br />
Mr. Tom Gallon's novel, "Tatterley," is being<br />
adapted for the stage by Mr. Norman Forbes.<br />
Professor Miall, of Leeds, has written " Thirty<br />
Years of Teaching," a volume which Messrs. Mac-<br />
millan will publish shortly.<br />
Professor George Adam Smith, of the Free<br />
Church College, Glasgow, has undertaken to write<br />
the biography of the late Professor Henry Drum-<br />
mond. The possessors of material connected with<br />
the subject are invited to send it to Professor<br />
Smith, 22, Sardinia-terrace, Glasgow; or to<br />
Messrs. Hodder and Stoughton.<br />
The Indian prince and famous English cricketer,<br />
K. S. Ranjitsinhji, has written a book upon the<br />
game. It will be published by Messrs. Black-<br />
wood.<br />
"The Diary of Master William Silence " is the<br />
title of a study of Shakespeare and of Elizabethan<br />
sport, which Mr. Justice Madden, of the Irish<br />
Bench, has written. It will be published by<br />
Messrs. Longmans, Green, and Co.<br />
The long-expected Life of Lord Tennyson will<br />
be published on Oct. 6, the fifth anniversary<br />
of the poet's death, by Messrs. Macmillan and<br />
Co.<br />
"Are We to go on with Latin Verses?"<br />
This inquiry is the subject of a pamphlet by<br />
the Hon. Edward Lyttelton, head master of<br />
Haileybury College, which Messrs. Longmans will<br />
publish.<br />
Mr. W. M. Rossetti has selected and edited a<br />
volume of "Poems " by the late Mr. J. Lucas<br />
Tupper, who was a contributor to the Germ in<br />
1850. The volume will be published by Messrs.<br />
Longmans.<br />
Miss Ella Fuller Maitland is publishing a col-<br />
lection of her verses, under the title " The Song<br />
Book of Bethia Hardacre."<br />
A volume of poems by Mr. F. W. Bourdillon,<br />
some of which are new, while others appeared<br />
anonymously in Oxford some years ago, is to be<br />
published by Messrs. Lawrence and Bullen. The<br />
title will be "Minuscula: Lyrics of Nature, Art,<br />
and Love."<br />
Mr. Henry Craik, C.B., is writing a history of<br />
Scotland from the Union, which will deal in special<br />
detail with the 100 years following 1745.<br />
General Maurice, C.B., is writing a volume on<br />
"National Defence" for Messrs. Macmillan's<br />
English Citizen series.<br />
The rebuilding of the London Library will be<br />
begun next month. A number of Spanish books<br />
have been added to the collection lately, but the<br />
library is still deficient in the literature of the<br />
Romance languages.<br />
At the 107th anniversary dinner of the Royal<br />
Literary Fund subscriptions were announced to<br />
the amount of nearly <£iooo, headed by the<br />
sixtieth donation of £100 by Her Majesty the<br />
Queen. Lord Lister, who presided, said that<br />
Literature was an uncertain calling by no means<br />
rewarded according to its deserts. To a man<br />
of high literary culture and exquisite sensibility,<br />
the mercy extended through this fund blessed<br />
those who gave and those who but for that would<br />
have been lost to the world.<br />
A fine copy of the extremely rare quarto, the<br />
"Excellent History of the Merchant of Venice"<br />
(1600), was sold at Sotheby's for ,£315. This is<br />
the highest sum ever realised for a first edition of<br />
one of Shakespeare's plays.<br />
Mr. Vere Foster is printing the correspondence<br />
of the two Duchesses of Devonshire, in which<br />
there will be letters of Fox, Sheridan, Gibbon,<br />
Moreau, Napoleon, the Emperor Alexander I. of<br />
Russia, and others. The work will be entitled<br />
"The Two Duchesses."<br />
Mrs. Patmore is engaged writing a memoir<br />
of her husband. She will be assisted in the<br />
work by Mr. Basil Champneys and Mr. Frederick<br />
Greenwood. Mr. Champneys has also designed<br />
the monument to be erected over the grave<br />
of the poet in Lymington Cemetery, and per-<br />
mission has been granted by the authorities<br />
for trees to be planted near the spot. To<br />
the expense of the latter object all who wish<br />
to do so may send contributions to Rev. Father<br />
O'Connell, The Presbytery, Lymington; or to<br />
Mr. F. G. Stephens, 10, The Terrace, Hammer-<br />
smith, W.<br />
Messrs. Swan Sonnenschein have brought out<br />
a one-volume storv, entitled "A Princess of<br />
Islam." The author is Mr. J. W. Sherer, C.S.I.,<br />
whose chapters ou the great Mutiny formed a<br />
feature in Col. Maude's book published in 1895.<br />
The new story is mainly devoted to the domestic<br />
life of the Indian Muslims — a curious and<br />
interesting subject.<br />
A curious illustration is to hand (says a corre-<br />
spondent) of the small equipment of historical<br />
knowledge requisite for a successful journalist.<br />
Here is an editor who in expressing sympathy<br />
with the Greeks observes that the best soldiers<br />
are subject to panic when ill led! Under a<br />
Wellington or a Nelson, Tommy is "practically<br />
invincible; at Fontenoy or Bunker's Hill he runs."<br />
<br />
<br />
## p. 24 (#430) #############################################<br />
<br />
24<br />
THE AUTHOR.<br />
The writer ought surely to have known that as<br />
much valour was shown by the private soldiers at<br />
these two fights as at Waterloo. If any use was<br />
to be made of the argument it would have been<br />
more to the purpose to compare the Royalists and<br />
Roundheads at Naseby. But this, doubtless, is<br />
"ancient history," which journalism, we know,<br />
disdains.<br />
"The Note-book of Tristram Risdon " |(i6o3-<br />
1628) has long lain buried in the richly-stocked<br />
library of Exeter Cathedral. It is a companion<br />
to the well-known "Chronological Description or<br />
Survey of the County of Devon," published in<br />
1714, and contains much information which<br />
closely concerns Devonshire genealogists. Mr.<br />
James Dallas, F.L.S., Curator of the Exeter<br />
Museum, has transcribed the MS., and the<br />
volume is about to be issued by Mr. Elliot Stock.<br />
Two hundred and fifty copies only will be printed<br />
for subscribers.<br />
Headon Hill's new novel "By a Hair's<br />
Breadth," which begins to run in Cassell's Maga-<br />
zine this month, will be published in volume form<br />
when it has finished its serial course, simulta-<br />
neously in London and New York. The English<br />
publishers will be Messrs. Cassell and Co., and the<br />
American rights have been acquired by Messrs.<br />
Dodd, Mead, and Co., of New York.<br />
—> • «^<br />
LITERATURE IN THE PERIODICALS.<br />
The Literature or the Victorian Era. H. D-<br />
Traill. Fortnightly Review for June.<br />
The Apotheosis op the Novel under Queen<br />
Victoria Herbert Paul. Nineteenth Century for May.<br />
Canton English. Colonel Wilkinson J. Shaw. New<br />
Revievi for May.<br />
Shall English Become a Dead Language? Review<br />
of Reviews for April; Spectator for May 1.<br />
Stevenson as a Writer. Mr. George Moore in Daily<br />
Chronicle for May 12; E. Le Gallienne in Westminster<br />
Gazette for May 19.<br />
Canadian Poetry. John A. Cooper. National Review<br />
for May.<br />
A Poet op Spring [Herriok],—Temple Bar for May.<br />
On the Theory and Practice op Local Colour.<br />
W. P. James, Macmillan's for May.<br />
The day of estimates of Victorian literature is<br />
upon us. Mr. Lang, indeed, opened the ball a<br />
few months ago. Dr. Traill contributes a more<br />
lengthy review to the new Fortnightly. Except<br />
for the triumph.* of the Romantic and Naturalist<br />
movement in English poetry, the literature of the<br />
nineteenth century, he says, will mean exclusively<br />
the literature of the Victorian Era. The two<br />
decades—1837-1857—which witnessed the birth<br />
of the works of Tennyson Browning, Carlyle,<br />
Macaulay, Dickens, Thackeray, and Ruskin, was<br />
a dazzling period which need fear no com-<br />
parison with the most famous periods of English<br />
history.<br />
From 1857 to 1877 the tide of literary produc-<br />
tion was steadily receding. Only, it produced<br />
Mr. Swinburne—beside whom Dr. Traill declines<br />
to place Rossetti or Matthew Arnold. In fiction,<br />
George Eliot's advent might, at first sight, appear<br />
to retrieve the literary credit of the period, but<br />
"we should be careful not to mistake the ap-<br />
proval of the critical and cultured English society<br />
for a popular pronouncement. The middle Vic-<br />
torian Era is not really the age of Tennyson in<br />
poetry and George Eliot in prose fiction; it is the<br />
age of Trollope as a novelist and of Martin<br />
Tupper as a poet"—and "one need not cast<br />
about for any severer criticism on the taste of the<br />
time." The reaction, as regards fiction, may be<br />
said to have begun when Mr. Blackmore gave<br />
"Lorna Doone to the world; and certainly,<br />
from the middle of the seventies to the present<br />
time, the art of the novelist has displayed a<br />
vitality, a strength, a many-sided activity, on<br />
which we may justly pride ourselves. They have<br />
witnessed Mr. Hardy's elevation to a foremost<br />
place among English novelists; Mr. Meredith's<br />
emergence from the shadow of an almost lifelong<br />
neglect; and the career of Stevenson. The last—<br />
"the youngest, and much younger than the<br />
eldest "—has naturally exercised the greatest influ-<br />
ence. To him we owe the new romantic move-<br />
ment, whose only serious competitor for popularity<br />
at the present day is the "Kailyard " school. As<br />
to this latter band of writers, Dr. Traill observes:<br />
"Time may be trusted to sift out the Scotch<br />
novelists who are novelists first and masters of<br />
the Doric afterwards from those with whom this<br />
order of procedure is reversed; and it will be in-<br />
teresting to note which of them will prove his<br />
substance and solidity as a wi-iter by remaining<br />
in the sieve."<br />
Dr. Traill also notices a remarkable improve-<br />
ment in workmanship during the last dozen years,<br />
which has made it difficult, in the case of dozens<br />
of novels which are issued from the press every<br />
year, to discover the delineating line between the<br />
merits of their form, and the merits or demerits<br />
of their matter. In a concluding passage he has a<br />
word of mordant reproof for some present-day<br />
criticism:<br />
If the democratic movement has made for the wider<br />
diffusion of the literary faculty, it has, on the other hand,<br />
infected the published estimates of literary productions<br />
with the peculiar and characteristic vices of democracy—<br />
with its vehemence, its ignorance, its inconsistency, its<br />
insatiable thirst for the sensational, its vulgar admiration for<br />
artistic vulgarity, its utter laok of measure and reserve.<br />
From the exaggerated eulogy, the shameless reclame which<br />
<br />
<br />
## p. 25 (#431) #############################################<br />
<br />
THE AUTHOR.<br />
attends even the most moderate of contemporary successes<br />
in literature, sober criticism revolts . . and it needs a<br />
determined fair-mindedness on the part of the critic to<br />
refrain from judging the whole literary movement of the<br />
time by these repellent incidents.<br />
"The novel threatens to supersede the pulpit.<br />
. . Perhaps few of us realise the extent to<br />
which the novel is a growth of the present reign.<br />
If we put aside the great and conspicuous in-<br />
stances of Defoe, Richardson and Fielding, of<br />
Fanny Burney, Jane Austen, and Walter Scott,<br />
there is scarcely an English novelist now read<br />
who died before Her Majesty's accession to the<br />
throne." Thus Mr. Herbert Paul. The weight of<br />
responsibility that has been shown to result from<br />
this serious view which is taken of themselves by<br />
the new class of novelists does not, however,<br />
wholly recommend itself to Mr. Paul. "Those<br />
who love, Uke Horace, the golden mean, may look<br />
back," he says," with fondness to the beginning of<br />
Her Majesty's reign, when novelists had ceased to<br />
be pariahs and had not become prigs." The poli-<br />
tical novel is among the more or less literary<br />
products of the Victorian age, and chief of poli-<br />
tical novelists is, of course, Mr. Disraeli. But<br />
how far is either the political or the historical<br />
novel (which may be considered as a variety of<br />
the political) legitimate or desirable r "I must<br />
confess to thinking," Mr. Paul answers, "that a<br />
novel should be a work of the imagination, and<br />
that it must stand or fall upon its own merits,<br />
without reference to any external standard what-<br />
ever. A novel which only interests those who are<br />
interested in the subject of it does not, if this<br />
view be correct, belong to the highest class." The<br />
"novel with a purpose" is also a product of the<br />
Victorian age. Dickens began it when he ran<br />
a tilt at the Poor-law in "Oliver Twist," and con-<br />
tinued it when he attacked the Court of Chancery<br />
in "Bleak House." Charles Kingsley's novels<br />
had a great practical influence in the promotion<br />
of sanitary improvement; although their earnest-<br />
ness was not conducive to literary perfection.<br />
And if novels with a purpose are to be written<br />
at all, they could hardly be written more wisely<br />
than Charles Reade, whose purposes were in every<br />
respect benevolent and praiseworthy, wrote them<br />
—Charles Reade whom, by the way, Mr. Paul<br />
classes with Whyte Melville and Wilkie Collins<br />
as authors who have fallen into oblivion. Mr.<br />
Paul is happy, too, that the school of Dickens<br />
is at last dying out. Their dreary mechanical<br />
jokes, their hideous unmeaning caricatures, their<br />
descriptions that describe nothing, their tears<br />
of gin and water, provoke only unmitigated<br />
disgust. But Dickens is absolved from responsi-<br />
bility for the long lingering train of weak<br />
imitators. His position is "unassailed and<br />
unassailable. He must always remain an<br />
acknowledged master of fiction and a prince of<br />
English humourists."<br />
Mr. Stead's alarm for the language is not<br />
shared by the writer in the Spectator. Mr. Stead<br />
pictures one language being spoken in London,<br />
another in Chicago, and a third in Melbourne,<br />
the users of these dialects being mutually un-<br />
intelligible. He proposes that to avert the<br />
danger of our race being struck with the curse of<br />
Babel, a sort of academy of editors and men of<br />
letters should be formed, who would keep the<br />
language true and make our words and phrases<br />
keep line. Assuming for the moment that the<br />
danger feared by Mr. Stead doesexist, the Spectator<br />
replies that this suggested remedy would be worse<br />
than the disease, and they would rather see the<br />
English language grow so disunited that it would<br />
cease to be a single language, than see it perish<br />
by being confined in an academic strait-waistcoat.<br />
The beauty of any language is its freedom and<br />
adaptability; when it has become fixed and rigid<br />
it is dead. Again, no committee could tell<br />
whether a word is a good word or a bad word, or<br />
whether it is wanted or not. Thousands of words<br />
which we now consider absolutely essential to the<br />
language were, when they were first introduced,<br />
described as quite unnecessary and the mere<br />
surplusage of pedantry or affectation. Each<br />
word must take its chance. But all this is beside<br />
the question, for the Spectator writer does not<br />
admit the need for an academy for the English<br />
language; he denies the proposition that the<br />
English race in its various habitations is taking<br />
to unintelligible dialects. "We have never met<br />
a newspaper article in modern English, much less<br />
a printed book, whether hailing from America or<br />
Australia, which, if not deliberately intended to-<br />
be a skit on current local slang, was not perfectly<br />
intelligible to every educated man who uses the<br />
English language as his mother tongue." Free<br />
trade in words has kept the language steady. Books<br />
written in the Elizabethan age are still perfectly<br />
intelligible. The language will broaden and<br />
deepen, and yet remain as clear as ever.<br />
CORRESPONDENCE.<br />
I.—The Output op Authors.<br />
IFIND it stated in The Author for May i that<br />
I confess to having written two of my books<br />
at the rate of 7000 words a day. I made no<br />
such confession. I said that while I had two of<br />
my earlier books in hand I must have written as<br />
much as 7000 words a day, but that that included<br />
<br />
<br />
## p. 26 (#432) #############################################<br />
<br />
26<br />
THE AUTHOR.<br />
a mass of journalistic work—a very different thing<br />
from invention.<br />
H. G. Wells.<br />
Heatherlea, Worcester<br />
Park, Surrey.<br />
II. —The Moi-meme in Journalism.<br />
Students of literary methods cannot fail to<br />
have remarked the extensive growth of late of<br />
the moi-meme style of contribution, whether as<br />
applied to books, the drama, parliamentary<br />
reporting, or even the telegraphic views of "our<br />
own " or " our special." Is this new departure a<br />
healthy one? I venture to think not. The<br />
advantage of a lavish employment, over initials,<br />
of the personal pronoun is by no means apparent.<br />
Rightly or wrongly, a feeling is engendered that<br />
the impartial duties of a writer towards the organ<br />
he represents are being sacrificed upon the altar<br />
of egoism. Thus the small, not infrequently very<br />
insignificant, " I myself" flouts the more potent<br />
editorial " we " in quite a cheeky fashion. As a<br />
matter of fact, the general public are apt to<br />
resent individual opinions as above indicated, and<br />
fail as a rule to even identify such contributors,<br />
save when pseudonyms or initials are of established<br />
reputation. Anonymity in journalism, apart<br />
from book reviewing, seems to me the wisest<br />
course for all parties concerned.<br />
Cecil Clarke.<br />
Authors' Club, S.W.<br />
March 17. _<br />
III. —The Criticism of "Dolomite<br />
Strongholds."<br />
That "the works of members should not be<br />
criticised in The Author" is a healthy rule, and I<br />
was glad to see it formulated, on p. 287, in the<br />
last number. But, in the previous number<br />
(p. 264), I am sorry to see that Sir William<br />
Martin Conway has managed to insert a very<br />
damaging criticism of a member's book, which he<br />
names in full—"' Dolomite Strongholds,' by J.<br />
Sanger Davies "—and the attack is none the less<br />
effective because it is brought in " to illustrate"<br />
Sir W. M. Conway's novel views of the moral<br />
obligations which should govern his reviewing, or<br />
should not. What necessity was there for giving<br />
the full title and author's name? The " illustra-<br />
tion" in no way needed it.<br />
Of course, as Sir W. M. Conway declares that<br />
he has "reviewed with open hostility .<br />
only three books," I am not seeking a reason<br />
for the supposition that he intended, in this<br />
case, "to kill the book if he can," although<br />
members of the Alpine Club did once suggest<br />
something.<br />
But why trouble your readers, who are chiefly<br />
non-climbers, with a climbing criticism of my<br />
book? Sir William Martin Conway informs<br />
them: "The book is not a good. one from the<br />
point of view of an expert climber."<br />
The opinion, as an opinion, is a perfectly legiti-<br />
mate one, especially coming from one who pro-<br />
jected and announced a little book of his own upon<br />
the same group of mountains, with the aid, how-<br />
ever, of another hand.<br />
But why drag in this, or any other opinion,<br />
with full title of book and the author's name,<br />
into an illustration in a letter to The Author?<br />
True, there was a balancing clause, that he<br />
"praised" the same book in a popular weekly<br />
because it was " quite amusing," &c.; and, from<br />
the context, I may gain the further comfort that<br />
the readers of popular weeklies, "being possibly<br />
the fools they are," will get "no false notions of<br />
any importance " from my book.<br />
But I must decline to see the compensation<br />
even in this " praise," and I trust that there will<br />
be no further criticism of the works of any<br />
member of the Authors' Society in the pages of<br />
The Author.<br />
J. Sanger Davies.<br />
IV.—A Good Word for Editors.<br />
I recently sent a short story to one of our<br />
current publications, and received a cheque from<br />
the editor for just twice the amount asked.<br />
Though the fee named was a modest one, it<br />
was at a rate of payment that is, I believe, often<br />
used. That the story may have been worth more<br />
than the author asked for it makes no difference<br />
to the liberality of the transaction, but helps<br />
to prove that editors are not all mean and<br />
grasping.<br />
Why do I write this? Justice is my plea.<br />
May 17, 1897. Margarita.<br />
V.—Answers to some of the Questions in<br />
"A Self-Examination Paper for Candid<br />
Critics."—[The Author for May.]<br />
1. I have only read " Robinson Crusoe " in Ger-<br />
man, where the hero figures as Crusoe Robinson.<br />
I never make any remarks upon the book, affec-<br />
tionate or other.<br />
3. I published an article in the National<br />
Review for July, 1890, showing the "Vicar of<br />
Wakefield" to he one of the coarsest and<br />
most grossly absurd stories in English litera-<br />
ture.<br />
5. Ranke's "History of the Popes," of course.<br />
—Contemplating the ruins of St. Paul's with a<br />
view to sketching them. Who doesn't know<br />
that?<br />
<br />
<br />
## p. 27 (#433) #############################################<br />
<br />
THE AUTHOR.<br />
27<br />
6. Give the article. Will any do?<br />
4. (b.) I have a ri^ht to draw comparisons<br />
between any two novelists that are comoarable.<br />
Does M. C. V. intend to insinuate that, for<br />
instance, George Eliot, Mrs. Gaskell, Mrs.<br />
Oliphant, and, say, Mrs. Humphry Ward, are not<br />
comparable to Jane Austen, or that the female<br />
novelist of the present day is "incomparable "?<br />
In either case I disagree with him.<br />
Frederic H. Balfour.<br />
THE BOOKS OF THE MONTH.<br />
[April 24 to Mat 22—240 Books.]<br />
"Actinotus." The Power of (he Pane. 3/6. Sonnenschein.<br />
Adcock. A. St. John. East-End IdyllB. 8/6. Bowden.<br />
Alexander, Mrs. Mrs. Crichton'B Creditor. White.<br />
Anonymous. America and the Americana. Heinemann.<br />
Anonymous: A. O. M. Two Brothers. Gardner.<br />
Anonymous: M. R. S. OptimuB, and Other Poems. 2/6.<br />
Sonuenschein.<br />
Anonymous. The Platitudes of a Pessimist. 6- Kegan Paul.<br />
Anonymous. The Revolutionary Tendencies of the Age. 6/- Putnam's.<br />
Anonymous. The Sale Prices of 189*!. Vol. I. Henry Grant.<br />
Archer, William. The Theatrical " World" of 1896. 3/6. Scott.<br />
Archibald, D. The Story of the Earth's Atmosphere. 1 - Newnea.<br />
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CROCKFORD'S<br />
CLERICAL DIRECTORY 1897.<br />
8 EI NO A<br />
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also a List of the Parishes of each Diocese in England and Wales<br />
arranged in Rural Deaneries.<br />
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HATHERSAGE<br />
A Tale of North Derbyshire.<br />
CHARLES EDMUND HALL,<br />
Author of " An Ancient Ancestor," &c.<br />
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Sporting Days in Southern India:<br />
BEING REMINISCENCES OP TWENTY TRIPS<br />
IN PURSUIT OF BIG GAME,<br />
CHIEFLY IN THE JflADRAS PRESIDENCY.<br />
Lieut -Col. A. J. 0. POLLOCK, Royal Scots Fusiliers.<br />
WITH NUMEROUS ILLUSTRATIONS BY WHYMPER<br />
AND OTHERS.<br />
CONTENTS.—Chapters L, IL, and III.—The Bear. IV. and V.—The<br />
Panther. VI., VII., and VIII.—The Tiger. IS. and X.—The<br />
Indian Bison. XL and XII —The Elephant. XIII.—Deer<br />
(Cervidaj) and Antelopes. XIV — The Ibei. XV. and XVI.—<br />
Miscellaneous.<br />
London: Horaoe Cox, Windsor House, Bream's-buildings, E.C.<br />
Printed and Published by Horace Cox, Windsor House, Bream's-buildings, London, E.C. | https://historysoa.com/files/original/5/304/1897-06-01-The-Author-8-1.pdf | publications, The Author |