| 305 | https://historysoa.com/items/show/305 | The Author, Vol. 08 Issue 02 (July 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+02+%28July+1897%29"><em>The Author</em>, Vol. 08 Issue 02 (July 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> | 1897-07-01-The-Author-8-2 | | | | | 29–56 | | | | | | | | | | | | | | | | | | <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=1897-07-01">1897-07-01</a> | | | | | | | 2 | | | 18970701 | Ube Butbor*<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. VIII.—No. 2.] JULY 1, 1897. [Peicb Sixpence.<br />
CONT<br />
PAfll<br />
General Memoranda 30<br />
From the Committee 81<br />
Literary Property—1. The Berne Convention. 2. The Eight of<br />
Criticism. S. Willonghby r. Kegan Paul. 4. The Cost of Pro-<br />
duction. 6. The Publishers' Vade Mecum 31<br />
New York Letter. By Norman Hapgood 39<br />
Notes from Elsewhere. By Robert H. Sherard 40<br />
Notes and News. By the Editor 42<br />
The Society as a Publishing Company 44<br />
The Subjunctive Mood. By Howard Collins. 46<br />
Disillusion. ByH. G.K «<br />
ENTS.<br />
PASS<br />
Book Talk 46<br />
Correspondence. — 1. Transliteration. 2. The Mockery of<br />
Realism. 8. The Need of a Literary Bureau. 4. Mutual<br />
Help among Writers 4»<br />
Personal 61<br />
Obituary—Mrs. Oliphant 61<br />
The Bronti1 Museum 61<br />
A Note from Buckle 52<br />
Literature in the Periodicals 62<br />
The Books of the Month 64<br />
PUBLICATIONS OF THE SOCIETY.<br />
1. The Annual Report. 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, 6*. 6d. per annum. Back numbers are offered at the<br />
following prices: Vol. I., ios. 6d. (Bound) ; Vols. II., III., and IV., 8s. 6d. each (Bound);<br />
Vol. V., 6j. 6d. (Unbound).<br />
3. Literature and the Pension List. By W. Morris Colles, Barrister-at-Law. (Henry Glaisher,<br />
95, Strand, W.C.) 3«.<br />
4. The History of the Societe des Gens de Lettres. By S. Squire Sprigge, 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. Squire Sprigge. 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 MonkswelFs Copyright Bill now before Parlia-<br />
ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br />
containing the Berne Convention and the American Copyright Bill. By J. M. Lely. Eyre<br />
and Spottiswoode. is. 6d.<br />
8. The Society of Authors. A Record of its Action from its Foundation. By Walter Besant<br />
(Chairman of Committee, 1888—1892). is.<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. 28 (#438) #############################################<br />
<br />
11<br />
AD VEIi TISEMENTS.<br />
$ociefp of Jlut^ors (gncotporcttei)).<br />
Sib Edwin Arnold, K.C.I.E., C.S.I.<br />
Alfred Austin.<br />
J. M. Babbie.<br />
A. W. X Beckett.<br />
Robert Bateman.<br />
F. E. Beddard, F.B.S.<br />
Sib Henry Bebgne, K.C.M.G.<br />
Sir Walteb Bksant.<br />
At)GU8TINE BlRRELL, M.P.<br />
Bev. Prof. Bonney, F.B.S.<br />
Bioht Hon. James Bryce, M.P.<br />
Eight Hon. Lord Burghclere, P.C.<br />
Hall Caine.<br />
Eoerton Castle, F.S.A.<br />
P. W. Clayden.<br />
Edward Clodd.<br />
W. Morris Colles.<br />
Hon. John Collier.<br />
Sir W. Martin Conway.<br />
F. Marion Cbawford.<br />
PRESIDENT.<br />
OOEOZR-a-IE MEBEDITH.<br />
COUNCIL.<br />
The Earl of Desabt.<br />
Austin Dobson.<br />
A. Conan Doyle, M.D.<br />
A. W. Duboubg.<br />
Prof. Michael Foster, F.R.S.<br />
D. W. Fbeshfield.<br />
Richard Gahnbtt, C.B., LL.D.<br />
Edmund Gosse.<br />
H. Rides Haggard.<br />
Thomas Hardy.<br />
Anthony Hope Hawkins.<br />
Jerome K. Jerome.<br />
Rudyard Kipling.<br />
Prof. E. Ray Lankesteb, F.R.S.<br />
W. E. H. Lecky.<br />
J. M. Lely.<br />
Mrs. E. Lynn Linton.<br />
Rev. W. J. Loftie, F.S.A.<br />
Sir A. C. Mackenzie, Mub.Doc.<br />
Prof. J. M. D. Meiklejohn.<br />
Hon. Counsel — E. M. Undebdown,<br />
Herman C. Merivale.<br />
Rev. C. H. Middleton-Wakk.<br />
Sir Lewis Morris.<br />
Henry Nobman.<br />
Miss E. A. Ormerod.<br />
J. C. Parkinson.<br />
Rioht Hon. Lord Pirbright, F.R.S.<br />
Sir Frederick Pollock, Bart., LL.D.<br />
Walter Herries Pollock.<br />
W. Baptists Scoones.<br />
Miss Flora L. Shaw.<br />
G. R. 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 />
COMMITTEE OF MANAGEMENT.<br />
A. W. a Beckett.<br />
Sib Walter Besant.<br />
Egerton Castle, F.S.A.<br />
W. Morris Colles.<br />
Chairman—H. Rider Haggard.<br />
Sir W. Martin Conway.<br />
D. W. Freshfield.<br />
Anthony Hope Hawkins.<br />
J. M. Lely.<br />
Sib A. C. Mackenzie, Mus.Doc.<br />
Henby Norman.<br />
Francis Storr.<br />
SUB-COMMITTEES.<br />
MUSIC.<br />
C. Villibrs Stanford, Mns.D. (Chairman)<br />
Jacques Blumenthal.<br />
J. L. Molloy.<br />
( Field, Roscoe, and Co., Lincoln's Inn Fields.<br />
ij. G. Herbebt Thbing, B.A., 4, Portugal-street. Secretary—G. Herbert Thrino, BA OFFICES: 4, Portugal Street, Lincoln's Inn Fields, W.C.<br />
ART.<br />
Hon. John Collier (Chairman)<br />
Sir W. Martin Conway.<br />
M.JH. Spiklmann.<br />
Solicitors-<br />
DRAMA.<br />
Henry Arthur Jones (Cluiirman).<br />
A. W. A Beckett.<br />
Edward Rose.<br />
.A.. IP. AATJLTT &c SO INT,<br />
LITERARY AGENTS,<br />
Formerly of 2, PATERNOSTER SQUARE,<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, 1b.<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 Record 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 moBt complete<br />
and efficient series published.<br />
Offices: Windsor House, Bream's-buildings, E.C<br />
THE ART of CHESS. By James Mason. Price 5s.<br />
net, by post 5s. 4d.<br />
London: Horace Cox, Windsor House, Bream's-buIldingB, E.C.<br />
THE KNIGHTS and KINGS of CHESS. By the Rev.<br />
G. A. MACDONNELL, B.A. With Portrait and 17 IUustra<br />
tions. Crown 8vo., cloth boards, price 2s. 6d. net.<br />
London: Hokace Cox, Windsor House, Bream'B-buildings, E.G.<br />
<br />
<br />
## p. 29 (#439) #############################################<br />
<br />
tTbe Hutbot*<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
VoL.Tm.-No. 2.] JULY i, 1897. [Pbick 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 notioe that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank of London, Chancery-lane, or be sent by registered<br />
letter only.<br />
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 />
EOR some years it has been the practioe to insert, in<br />
every number of The Author, certain " General Con-<br />
siderations," Warnings, Notices, &o., for the guidance<br />
of the reader. It has been objected as regards theBe<br />
warnings that the tricks or frauds against which they are<br />
directed cannot all be guarded against, for obvious reasons.<br />
It is, however, well that they should be 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 oarry on<br />
bis business in his own way.<br />
Let us, however, draw up a few of the rnles 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. Till.<br />
in his own organs: or by charging exchange advertise-<br />
ments.<br />
(3.) Not to allow a special oharge 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 />
III. The royalty system.<br />
In this system, which 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 "ides. 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 whioh will not, probably, come at all; but which<br />
may oome.<br />
The four points which 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 which 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 whioh 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 />
same time he will do well to send his agreement to the<br />
secretary before he signs it.<br />
D 2<br />
<br />
<br />
## p. 30 (#440) #############################################<br />
<br />
So THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
I. INVERT member has a right to ask for and to receive<br />
JQj advice upon his agreements, his choioe of a pub-<br />
lisher, or any dispute arising in the conduot of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, tho 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. Remember that questions connected with copyright<br />
and publisher's agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are oontinually<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, send 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. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
8. Send to the Editor of The Author notes of everything<br />
important to literature that you 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 upon<br />
them. (3) To keep agreements. (4) To enforce payments<br />
due according to agreements.<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, concludes agree-<br />
ments, examines, passes, and collects accounts, and, gene-<br />
rally, reliovcs members of the trouble of managing business<br />
details.<br />
2. That the terms upon which 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 all<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 ail cases, be sent<br />
to defray postage.<br />
7. That the Authors' Syndicate does not invite 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 some of the leading members of the Society -r<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 npon 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 cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make The Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and tho special subjects on which<br />
they are willing to write P<br />
Communications for The Author should reach the Editor<br />
not later than the 21 st of each month.<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are recoived. It must also be distinctly under-<br />
stood that the Society doeB 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 H If they will do<br />
this, and remit the amount, if still unpaid, or a banker's<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
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 conduct, whether he was honest<br />
<br />
<br />
## p. 31 (#441) #############################################<br />
<br />
THE AUTHOR.<br />
3»<br />
V* dishonest? Of course 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?<br />
Those who possess the "Cost of Production" are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of "doing sums," the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
IB set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, bo that it now stands<br />
at £g 4s. 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 oourse, 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 />
PROM THE COMMITTEE.<br />
THE Incorporated Society of Authors have<br />
forwarded the following congratulatory<br />
address to the Queen. The address has<br />
been signed by Mr. George Meredith (President<br />
of the Society), Mr. H. Rider Haggard (Chairman<br />
of the Committee of Management), and Mr. G.<br />
Herbert Thring (Secretary) :—<br />
"We, the undersigned, representing a body of<br />
more than 1400 authors, avail ourselves of your<br />
Majesty's gracious permission to oubmit, with<br />
the utmost loyalty and devotion, our most respect-<br />
ful congratulations on the sixtieth anniversary of<br />
jour Majesty's reign, glorious from every point of<br />
view, and unprecedented in every achievement<br />
which can enrich and advance your people.<br />
"We rejoice especially, and in this we believe<br />
that your Majesty, as an author, will sympathise<br />
with us, that during the last sixty years the<br />
achievements of literature in all its branches have<br />
been great beyond parallel.<br />
"Thus, among scholars, divines, and philoso-<br />
phers, we only need to mention the great names of<br />
Stanley, Carlyle, and Mill; in poetry, those of<br />
Tennyson, Browning, and Matthew Arnold; in<br />
history, those of Macaulay, Grote, Freeman, and<br />
Froude; in science, those of Darwin, Faraday,<br />
Huxley, Owen, and Tyndall; in fiction, those of<br />
Dickens and Thackeray. We desire also to allude<br />
to the splendid and sudden development of the<br />
genius of women in the sphere of literary work,<br />
as instanced, amongst others, by Elizabeth<br />
Barrett Browning, Mrs. Gaskell, George Eliot<br />
Miss Mulock, and Charlotte Bronte. With these<br />
leaders we rejoice to think that in this period<br />
there have lived and passed away many writers<br />
and workers in literature whom the world will<br />
not willingly suffer to be forgotten, such as Hood,<br />
William Morris, Lord Houghton, Charles Kings,<br />
ley, De Quincey, Wilkie Collins, and others in<br />
every branch of letters.<br />
"We invite your Majesty's attention to the fact<br />
that the dependencies and colonies working par-<br />
ticularly in the domains of poetry and fiction have<br />
begun to create a literature individual, indeed, to<br />
each community, but the common possession of<br />
your Empire.<br />
"We believe that it is above everything<br />
desirable to welcome whatever may help to bind<br />
together the myriads who call your Majesty Queen<br />
and Empress in the various quarters of the earth,<br />
and we submit that nothing is working more<br />
powerfully to this end than the literature of the<br />
English tongue which is open to and in the hands<br />
of all.<br />
"We respectfully recognise the deep interest<br />
which you, Madam, have always shown in the<br />
intellectual achievements of our time, whether<br />
literary or scientific, and we humbly pray that<br />
your Majesty may long be spared to reign over<br />
an Empire as illustrious for its literature as<br />
for its arms, its arts, its industries, and its<br />
trades." r, TT „<br />
G. Herbert Thring, Secretary.<br />
LITEEAEY PEOPEETY.<br />
L-—Revision op the Berne Convention in<br />
Germany.<br />
THE diplomatic conference on international<br />
copyright convoked in Paris on April 15,<br />
1896, to discuss a first revision of the<br />
Berne Convention, drew up an Additional Act,<br />
modifying certain articles of the Convention of<br />
Sept. 9, 1886, and also a Declaration explanatory<br />
of certain stipulations of the Convention. The<br />
Federal Council of the German Empire having<br />
given its assent to both of these documents, they<br />
were, in January of the present year, presented<br />
to the Reichstag, and received its sanction on the<br />
Feb. 10, 1897.<br />
The German Empire is thus the first of the<br />
countries of the Union in which the Additional<br />
Act and the Declaration drawn up at Paris have<br />
become law.<br />
The document in which the Imperial Chancellor,<br />
Prince von Hohenlohe-Schillingsfurst, placed<br />
before the Reichstag the Additional Act and<br />
the Declaration, is lying before us. (" Reichstag,<br />
<br />
<br />
## p. 32 (#442) #############################################<br />
<br />
32<br />
THE AUTHOR.<br />
9 Legislatur-Periode IV., Session 1895-97, No.<br />
640.") The contents are of a most interesting<br />
nature, comprising, besides the Additional Act<br />
and Declaration both in the original text and in a<br />
German translation, a Memorandum (Denk-<br />
schrift) and four appendixes. The whole is<br />
deserving of the serious attention of all -who are<br />
interested in questions of international, or indeed<br />
of national copyright, whilst many of the Chan-<br />
cellor's remarks bear upon questions of grave<br />
importance to both authors and publishers. One<br />
of the appendixes contains the Articles as they<br />
stood in the original Convention and as they now<br />
appear altered, side by side in parallel columns,<br />
offering a most convenient comparison of the two,<br />
and it must here suffice to mention that the<br />
modified Articles are numbers 2, 3, 5, 7, 12, and<br />
20, together with paragraphs 1 and 4 of the Final<br />
Protocol. From the Memorandum and the other<br />
appendixes the following passages have been<br />
selected as likely to be the most interesting to<br />
authors, but the perusal of the whole can be<br />
recommended, as no single particular of the<br />
results of the conference, however small, is over-<br />
looked in the valuable and suggestive notes which<br />
accompany them.<br />
The Memorandum amounts almost to a report<br />
of the part taken in the conference by the dele-<br />
gates of the German Empire. After enumerating<br />
the countries represented, the Memorandum con-<br />
tinues:<br />
"The Office of the International Union for the<br />
Protection of Literary and Artistic Works in<br />
Berne had previously forwarded certain ' Proposi-<br />
tions de l'Administration Francaise et du Bureau<br />
international,' and these furnished a base for the<br />
work of the conference. In addition to this, there<br />
were also to be considered, especially by the<br />
German delegates, certain wishes which, since<br />
the existence of the Berne Convention, had been<br />
expressed amongst ourselves in circles which these<br />
questions interested. The matter laid before us<br />
had been subjected to a careful examination in a<br />
number of previous conferences of the commis-<br />
saries of the associated Imperial and Prussian<br />
jurisdictions, and, to a great extent, had been<br />
further submitted to a searching inquiry at the<br />
hands of experts.<br />
UNIFORM COPYRIGHT LAW.<br />
"The 'propositions' above mentioned bore<br />
direct reference to the several articles of the<br />
previous Convention, or to the Final Protocol<br />
attached to it. It was evident from the way in<br />
which they were framed that it would be impos-<br />
sible in this conference also to look forward to the<br />
desirable consummation of a uniform international<br />
codification of the law of copyright; and, as the<br />
labours of the conference advanced, it became<br />
more and more plain that a uniform revised con-<br />
vention of that kind was absolutely unattainable,<br />
notwithstanding the best intentions on the part<br />
of the majority of the countries of the Union -<br />
The reason of this was the opposition of particular<br />
countries, based principally upon their own<br />
domestic legislation.<br />
"In consequence of this, the final result of the<br />
conference consists in the drawing up of an Addi-<br />
tional Act, bearing upon some articles of the<br />
previous Convention and of its Final Protocol<br />
(this Additional Act embraces all the countries of<br />
the Union except Norway), and of a 'Declara-<br />
tion' attached to the Berne Convention and the<br />
Additional Act. This Declaration embraces all the<br />
countries of the Union, including Norway, with<br />
the exception of Great Britain. (The ultimate<br />
agreement of the Republic of Hayti to both may<br />
be regarded as certain).<br />
"Although, under these circumstances, it must<br />
be admitted that the result of the Paris Inter-<br />
national Copyright Conference lacks coherence<br />
and finality, it is just, on the other hand, to<br />
emphasise the fact that, practically speaking, the<br />
contents of the new stipulations will be found to<br />
be, as far as is possible, adapted to the views<br />
resulting from recent developments of the law re-<br />
specting such matters. Taken in connection with<br />
the other Articles of the Berne Convention, which<br />
remain unaltered, they are calculated to form a<br />
convenient base both for a practical exposition<br />
of uniform international copyright, and for a<br />
further development of it. In addition, in No. 5.<br />
of the " Voeux" which the conference adopted, it<br />
has also expressed its hope that the consultations<br />
of the next conference may again result in a text<br />
uniformly applicable to all countries within the<br />
Union.<br />
"So far as Germany is concerned, what was<br />
effected in Paris practically corresponds with the<br />
wishes expressed by those amongst ourselves<br />
interested in the matter. On the one hand,<br />
account was taken of our legitimate efforts, as,<br />
for example, in the case of the extension of the<br />
period of protection of the exclusive right of<br />
translation; and, on the other hand, a check has<br />
been in several ways placed upon the disadvan-<br />
tages arising from exaggerated effoits in favour<br />
of prolongation of copyright."<br />
PROTECTION OF THE OUTSIDE AUTHOR.<br />
The Memorandum proceeds next to describe<br />
and comment upon the additions made to the<br />
several Articles of the Convention of 1886, taking<br />
them one by one. Amongst other passages of<br />
great interest may be quoted the following<br />
respecting the modification of Article 3:<br />
<br />
<br />
## p. 33 (#443) #############################################<br />
<br />
THE AUTHOR.<br />
33<br />
"It results from the wording of the revised<br />
3rd Article that an author of a country outside<br />
the Union, in order to enjoy the protection<br />
accorded hy the Union, must comply with the<br />
conditions and formalities prescribed by the<br />
country in which he publishes his work or causes<br />
it to be published. If he has complied with these<br />
preliminaries, he enjoys the full protection which<br />
the Union guarantees—that is to say, he is pro-<br />
tected not only against unauthorised editions,<br />
but also against unauthorised translations, and<br />
unauthorised representations, or exhibitions of<br />
the work which he has published in one of<br />
the countries of the Union, in accordance with<br />
Article 5 of the Convention, to which refers<br />
Article 1, iii., of the Additional Act, and Article 9<br />
of the Convention.<br />
"The author who does not belong to a country<br />
of the Union is in a worse position than one who<br />
does belong to one in this respect, that his un-<br />
published works cannot obtain protection in a<br />
country of the Union. It was considered at the<br />
Paris Conference that this difference in the treat-<br />
ment of the author outside the Union (one arising<br />
from the nature of the case) would form an<br />
inducement to other States to join the Union."<br />
UNAUTHORISED TRANSLATIONS.<br />
Respecting the new Article 5, which deals with<br />
the very important question of translations, the<br />
Memorandum remarks:<br />
"How far an author is to be internationally<br />
protected against unauthorised translations of his<br />
work is an important question. On the part of<br />
Germany a strong effort was made to obtain a<br />
complete uniformity in all replies to this question.<br />
In consequence of the opposition of some coun-<br />
tries of the Union that was not possible. How-<br />
ever, a real step in the direction of the evolution<br />
of international protec tion was made by the pro-<br />
posed alteration of Article 5, clause 1. The<br />
author's exclusive right to translate,* which<br />
according to the previous stipulation was secured<br />
him for ten years only after the publication of<br />
the original, is in future to be extended to the<br />
whole period during which the original is pro-<br />
tected against piracy in its original language,<br />
provided that the author has published a transla-<br />
tion of his own within those ten years. Apart<br />
from this limitation, the reproduction of a work<br />
in an unauthorised translation is therefore placed<br />
upon the same footing as an unauthorised repro-<br />
duction in the original form. This principle has<br />
been already accepted by the Legislatures of a<br />
number of countries (for example, Belgium,<br />
France, Spain, and, according to the general<br />
opinion, Great Britain), and is strongly supported<br />
by German authors.<br />
"On the side of Germany there was no hesitation<br />
about agreement to this modification. The idea<br />
that protection of translations is a contradiction<br />
because the author has a right to his work only<br />
in the language in which he wrote it, may be con-<br />
sidered as exploded. How far it may seem<br />
requisite to limit the duration of an exclusive<br />
right of translation is a question of expediency.<br />
At the conclusion of the Berne Convention the<br />
shorter limit of time was decided upon from a<br />
hope that this regulation might persuade the<br />
countries which held back from the Union the<br />
more rapidly to overcome their hesitation.<br />
Weight can no longer be attached to that con-<br />
sideration. So far as German interests are con-<br />
cerned, the real hesitations respecting any further<br />
limitation of liberty of translation come practi-<br />
cally to this—a misgiving that the result would<br />
be to increase the difficulty and the expense of the<br />
translation of foreign works into German. If,<br />
in addition, the possibility of the author's<br />
entirely withholding his work from translation<br />
is suggested, that danger is a very remote one.<br />
Besides, this case is provided for by the limita-<br />
tion which has been introduced into Article 5. In<br />
addition to this, however, some misgiving is<br />
expressed that, in consequence of the extension of<br />
the protection, we should more frequently than<br />
hitherto have to content ourselves with inadequate<br />
translations, in consequence of these alone having<br />
been authorised by the author. But, as a matter<br />
of fact, in the present state of the law, the con-<br />
sequence of the fierce competition is that good<br />
translations are often placed at a disadvantage by<br />
inferior but cheaper ones. And this circumstance<br />
cannot but have a deleterious effect upon the<br />
production of good translations. In the nature<br />
of things it will be a matter of consequence<br />
rather to the author himself than to anyone else<br />
that the translation should be a good one.<br />
Ordinarily no one is more interested than he, or<br />
the publisher to whom he has assigned the pro-<br />
duction of the translation, to provide, by the<br />
choice of the translator, and by the supervision of<br />
the work, that the result shall bj satisfactory.<br />
But both author and publisher will feel more dis-<br />
posed for such enterprises when they no longer,<br />
have any occasion to be anxious lest, after a short,<br />
interval, someone else should publish another<br />
translation which may obtain command of the<br />
market in consequence of its greater cheapness,<br />
notwithstanding its actual inferiority.<br />
"It by no means follows that, in consequence of<br />
the extension of the duration of the copyright,<br />
translations at the present moderate prices will be<br />
in the future withdrawn from the market. The<br />
danger of the price being placed too high is limited<br />
in this case, exactly as in the case of originaj<br />
<br />
<br />
## p. 34 (#444) #############################################<br />
<br />
34<br />
THE AUTHOR.<br />
German works, by the trade competition.<br />
Besides, in the province of literature, the lower<br />
price can certainly not be regarded as an advan-<br />
tage, when what is offered for it is of inferior<br />
value. In the interests of the community it is<br />
by all means to be desired that unsatisfactory<br />
translations of foreign works, many of them of<br />
no value in themselves, should not be put before<br />
the reading public in such excessive numbers as<br />
at present. Both from the point of view of the<br />
German author and that of the actual national<br />
book trade, it will be a gain to have placed a<br />
check upon the flooding of .the book market with<br />
worthless translations.<br />
EXCLUSIVE EIGHT OF TRANSLATION.<br />
"It must also be considered a step in advance<br />
for Germany that a wider protection of the<br />
exclusive right of translation has been secured by<br />
Germany for the foreign author. This will pre-<br />
pare the way for a German literature of good<br />
translations. On the other hand, respecting a<br />
just treatment of German authors in the other<br />
countries of the Union, both their perfectly<br />
reasonable wish not to see their works translated<br />
by persons who have no authority to do so, and<br />
their very material pecuniary interests, connected<br />
with the increasing dissemination of German<br />
literature in foreign countries, alike plead for<br />
the widest possible extension of this sort of<br />
protection.<br />
"The exclusive right of translation depends<br />
upon the condition that the individual work shall<br />
first of all be under the protection of the Con-<br />
vention—that is to say, that those conditions and<br />
formalities have been complied with which are<br />
prescribed by the Legislature of the country of<br />
origin to secure the original work from reproduc-<br />
tion. (Article 2, clause 2, of the Convention.)<br />
On the other hand, it is not necessary that the<br />
author should also have complied with sundry<br />
peculiar stipulations respecting the right of trans-<br />
lation contained in the law of the country of<br />
origin (as, for example, the Imperial law of<br />
June 11, 1870, s. 6)."<br />
THE PERIOD OF PROTECTION.<br />
The extension of the period of protection<br />
beyond ten years is made further depeudent upon<br />
the fact that the author shall have, within that<br />
period, published a translation in a country<br />
within the Union, in that language, or in those<br />
languages, for which the period of longer pro-<br />
tection will be claimed. After the lapse of this<br />
period of ten years the right of translation into<br />
all the other languages in which translations of<br />
the work have noc appeared, will have fallen into<br />
the public domain. The period of ten years begins<br />
from the date of publication of the original work.<br />
It follows next, from No." 2 of the Declaration,<br />
that dramatic and dramatico-musical works, which<br />
have not appeared in print, and therefore, not-<br />
withstanding their actual performance, are not<br />
held to be published, are protected as long against<br />
translation as they are against being reproduced<br />
in any other way. In addition to this, according<br />
to the wording which has been chosen, the<br />
owner of the copyright (even though, in conse-<br />
quence of the lapse of the appointed period, he<br />
may have lost his rights for the future, either<br />
entirely, or for this or that language) is not pro-<br />
hibited from taking legal proceedings against a<br />
translation which has previously appeared in an<br />
illegal manner.<br />
PROTECTION OF NEWSPAPER ARTICLES.<br />
The following passage deals with the new<br />
stipulations for the protection of newspaper<br />
articles and articles in periodical publications:<br />
"Also respecting the protection of articles<br />
appearing either in newspapers or in periodical<br />
publications, the proposals made by the German<br />
delega es were substantially adopted by the<br />
Conference.<br />
"For the future are protected:<br />
"1. Absolutely; Boinances and novels ap-<br />
pearing iu Feuilletous. Under the head of novels<br />
are included, as was more precisely explained at<br />
Paris, short stories and anecdotes, as well as,<br />
under certain circumstances, such compositions<br />
as do not contain mere news, but have been<br />
embellished by touches of the author's imagi-<br />
nation.<br />
"2. Conditionally: it being presupposed that<br />
eithtr the newspaper article, or the number in<br />
question of the periodical publication, is furnished<br />
with an express prohibition of reproduction—all<br />
other articles in periodicals. If the prohibition<br />
is omitted such articles may be reprinted, if the<br />
source whence they are taken is mentioned. It<br />
was also taken for granted at Paris that the<br />
mention of source should not amount merely<br />
to a mention of the name of the newspaper or<br />
periodical publication in which the article in<br />
question had appeared, but, in the case of the<br />
article being signed, should include also the<br />
name of the author.<br />
"The distinction between longer and shorter<br />
articles, similar to that in the German copyright<br />
law of June 11, 1870, was left an open question,<br />
as it had been previously left by the Berne<br />
Convention.<br />
"3. Unrestrictedly is permitted the reproduction<br />
of political articles, news, and 'current topics,'<br />
as hitherto, either in the original language or in<br />
translations, and that notwithstanding a pro-<br />
<br />
<br />
## p. 35 (#445) #############################################<br />
<br />
THE AUTHOR.<br />
35<br />
hibition on the part of the author even expressly<br />
notified, and without any mention of source."<br />
WHAT BBITAIN DECLINED TO ACCEPT.<br />
Perhaps no part of the whole document is more<br />
interesting to English authors than that which<br />
deals with the Declaration which our English<br />
delegates found themselves unable to accept<br />
"Whilst reading it the English author will be unable<br />
to avoid reflecting sadly that he is, in consequence<br />
of some of our own statutes, in a distinctly worse<br />
case than the German author. It seems, however,<br />
that even so the fact that this Declaration has<br />
become law in Germany may be of importance<br />
to English dramatists.<br />
"All the stipulations which are contained in<br />
the Declaration of May 4, 1896, might have<br />
been included in the Additional Act had not<br />
difficulties about accepting them as an inter-<br />
national arrangement been raised by the delegates<br />
of Great Britain on the ground of the domestic<br />
legislation of their country.<br />
"The Conference was accordingly compelled to<br />
choose between either forfeiting entirely the par-<br />
ticipation in the Additional Act of the United<br />
Kingdom of Great Britain and Ireland, with its<br />
extended colonial territories, or collecting the<br />
explanatory prescriptions here in question, to<br />
which Great Britain could not agree, in a sepa-<br />
rate document. The Conference chose the latter<br />
course, and respecting three doubtful points<br />
decided as follows:<br />
"1. Latterly judgments have been given by<br />
several courts according to which the protec-<br />
tion of a literary or artistic work published<br />
in one country of the Union must depend in<br />
another country of the Union, not only upon<br />
compliance with those conditions and formalities<br />
which are prescribed by the country of origin,<br />
but also upon compliance with those required for<br />
the home productions in the other country in<br />
which protection is claimed. Under these cir-<br />
cumstances it seemed desirable once and for all to<br />
make it clear, by an authoritative interpretation<br />
of the meaning of Article 2, clause 2, that the pro-<br />
tection afforded to literary and artistic works by<br />
the Berne Convention of Sept. 9, 1886, and<br />
the Additional Act of May 4, 1896, depends<br />
alone upon compliance with the conditions and<br />
formalities required by the country in which the<br />
work originated."<br />
Respecting the second point, we may quote:<br />
"2. Having regard to the fact that the protec-<br />
tion which the Berne Union guarantees is, under<br />
certain circumstances, made dependent upon this<br />
—that the work in question must have been<br />
published in one of the countries of the Union—<br />
it appeared to the great majority of the delegates<br />
VOL. VIII.<br />
of the various States represented at Paris neces-<br />
sary that the term 'publication' should be defined.<br />
According to the definition of 'publication'<br />
given, in consequence, under No. 2 of the Decla-<br />
ration, 'to publish' (veroffentlichen: publier) is<br />
equivalent to 'to bring out' (herausgeben:<br />
(Salter), by which is to be understood the first<br />
multiplication (Vervielfaltigung) with a view to<br />
public sale."<br />
The third point deals with a matter that has<br />
long been a very sore subject with English<br />
novelists.<br />
"3. The fact that the dramatisation of popular<br />
romances, and also the production in the form of<br />
romance of attractive dramatic pieces, has of late<br />
become constantly more and more common, led<br />
to a desire definitely to include all such cases<br />
under the heading of ' adaptations' mentioned in<br />
the 10th Article of the Berne Convention. The<br />
opposition of the British delegates compelled the<br />
Conference to renounce either incorporating a<br />
declaration to this effect with the article itself, or<br />
altering the article in the Additional Act."<br />
As regards Germany, the new declaration (Die<br />
Umgestaltung eines Romans in ein Theaterstuck<br />
oder eines Theaterstucks in einen Roman fallt<br />
unter die Bestimmungen von Artikel 10) amounts<br />
simply to giving complete expression to the view<br />
which has for a long time past found acceptance<br />
in this country—namely, that all such transforma-<br />
tions as are here dealt with can be included in<br />
the term "adaptations," and that it is simply the<br />
office of the judge to examine and determine,<br />
with the assistance of experts, whether, in each<br />
case, an adaptation lies before him or a new work<br />
has been created. We were able to assent with-<br />
out hesitation, as the intervention of the tribunal<br />
is provided for in the 1 oth article.<br />
THE MEANING OF PUBLICATION.<br />
In Appendix III. the definition of "publica-<br />
tion," which is the second point of the " Declara-<br />
tion, is discussed at somewhat greater length.<br />
As the international importance of this definition<br />
may not be at first sight quite plain, the clear<br />
elucidation of the point here given seems well<br />
worth quoting. As a matter of fact, one of the<br />
cases here mentioned as a possible one has<br />
actually recently occurred, and was mentioned in<br />
the March number of The Author.<br />
"According to various provisions of the<br />
Berne Convention (Articles 2, 3, 5, 7, 9), the<br />
grounds and the duration of the covenanted pro-<br />
tection depend either upon the country in which<br />
the work was published or upon the date of pub-<br />
lication. In the meantime it has been found in<br />
practice that in the application of these dire«-<br />
tions a difference of opinion exists respecting what<br />
E<br />
<br />
<br />
## p. 36 (#446) #############################################<br />
<br />
36<br />
THE AUTHOR.<br />
is meant by publication. Taken in its widest<br />
sense, publication is that act which for the first<br />
time brings the work into publicity. The public<br />
reading aloud of a literary composition might be<br />
considered an act of this kind. So miiht the<br />
public performance of a play, or of a musical<br />
work; or the public exhibition of a picture, or of<br />
a sculpture. In a narrower sense, publication<br />
takes place only when the work is by means of<br />
reproduction put within the reach of the public<br />
—that is, has been brought out as a publica-<br />
tion."<br />
The practical range of the question which has<br />
been raised is very important. For example, if<br />
an opera has been originally produced in Germany,<br />
and then appears in print in Italy, which of these<br />
two countries is to be considered the " country of<br />
origin" (in the sense of Article 2) will depend<br />
upon which of the above definitions of " publica-<br />
tion is chosen." In the case of a play which has<br />
been put upon the boards before its appearance in<br />
the book market, the duration of the exclusive<br />
right of translation (according to article 5 as it<br />
has hitherto stood, and, under certain circum-<br />
stances, also as it now stands in its altered form)<br />
depends upon whether the former or the latter<br />
date is to be accepted as that of publication. In<br />
this connection also Article 2, clause 1, and<br />
Article 3 are of moment.<br />
"For if any act which brings the work into<br />
publicity is to be regarded as publication, the<br />
author, whether he belongs to one of the countries<br />
of the Union or not, immediately secures himself<br />
the protection of the Convention by causing his<br />
work, before it has been in any way multiplied by<br />
reproduction, to be either produced (auffiihren)<br />
or exhibited (aufstellen) within the Union. This<br />
protection is thenceforward a lasting one. The<br />
circumstance that the author afterwards has his<br />
work brought out by a publisher in a country<br />
outside the Union is in no way prejudicial to him.<br />
On the other hand, the author who belongs to a<br />
country of the Union would lose the protection to<br />
which his unpublished work is entitled so soon as<br />
he allowed it to be performed or exhibited in a<br />
country outside the Union. An author who did<br />
not belong to the Union would, under the same<br />
circumstances, be robbed of the prospect of pro-<br />
curing himself protection under the Union. For<br />
both it would be equally useless afterwards to<br />
bring out (herausgeben) the work for the first<br />
time within the Union. But if only production<br />
by a publisher is esteemed as publication, in all<br />
the above instances the case would be exactly th-i<br />
contrary."<br />
Having regard to this uncertainty, it was pro-<br />
posed by agreement to limit the meaning of<br />
"publication " so as to ensure a uniform adminis-<br />
tration of the Convention in all the different<br />
countries. Hereupon the position taken by<br />
Germany, having regard to the well-known sense<br />
of the Imperial law respecting copyright, was<br />
that publication must be regarded as consisting<br />
in the putting forth of reproductions. It may<br />
here be left as an open question whether this<br />
view might be at once deduced from Article 9,<br />
clause 3, of the Berne Convention. But in any<br />
case its being so pre-eminently to the purpose is<br />
an argument in its favour. Besides, the de-<br />
sirability in legal questions of giving full import-<br />
ance to certainty is in favour of it, as there will<br />
often be difficulties in the way of proving whether<br />
a work may, in some way or another, previously<br />
have obtained publicity. The grounds which had<br />
led to making publication within the Union the<br />
point of departure of protection, also pointed to<br />
t.he adoption of the narrower view of publication.<br />
It could be nothing but disadvantageous to the<br />
publishing world within the Union if the author<br />
could avail himself of protection by means of so<br />
transitory an act as performance or exhibition<br />
would often be, and the subsequent first edition<br />
became of no importance. On the other hand, it<br />
would be a facility contrary to the aims of the<br />
Union given to the authors of States outside it, if<br />
they were thus enabled by a transitory act of<br />
this sort to create protection for themselves and<br />
to publish the work in some other region.<br />
So, according to the Declaration, "veroffent-<br />
licht" (publiees) is equivalent to "herausgegeben"<br />
(editces). Doubt can scarcely arise about what<br />
is meant by this. A work is published (heraus-<br />
gegeben) in a given country, when the reproduc-<br />
tions of it there, for the first time, having been<br />
brought into publicity with a view to sale, come<br />
into the market. No importance, as the rule at<br />
present stands, is attached to the question whethrr<br />
the copies offered for sale have been also supplied<br />
within the Union, which will generally be the<br />
case. Such a requirement, apart from the diffi-<br />
culties attached to carrying it out, would not be<br />
justified, since the advantages which publication<br />
within the Union carries with it are already<br />
sufficient to attach the concession of protection to<br />
publication.<br />
II.—The Right of Criticism.<br />
In July, 1808, an action was brought by Sir<br />
John Carr against Messrs. Hood and Sharpe,<br />
booksellers. The facts, which were not denied,<br />
were as follows:<br />
The plaintiff was the author of certain books<br />
called respectively " The Stranger in France," for<br />
which he received the sum of ,£100; "The<br />
Summer Tour in France," for which he received<br />
<br />
<br />
## p. 37 (#447) #############################################<br />
<br />
THE AUTHOR.<br />
37<br />
£500; "The Stranger in Ireland," for which he<br />
received ,£200; and "The Tour through Ireland,"<br />
for which he received .£600. He had written<br />
another book, called " The Stranger in Scotland,"<br />
for which he expected a sum of money equal at<br />
least to what he had before received, when the<br />
defendants produced a book called " My Pocket<br />
Book," in which the plaintiff's writings were held<br />
up to derision. In consequence, his book became<br />
greatly depreciated, and his publishers refused to<br />
look at " The Stranger in Scotland "; hence this<br />
action.<br />
Sir Richard Phillips, the publisher in question,<br />
was asked if he ever read reviews. He declared<br />
that he did not, knowing the scurrility, partiality,<br />
and misrepresentation with which they abounded,<br />
and the manner in which they were produced.<br />
The Attorney-General contended that" My Pocket<br />
Book " was only fair criticism. Lord Ellenborough<br />
observed "that every man had a right to criticise<br />
the writings of another, and even to hold them<br />
up to ridicule, so that he cast no personal re-<br />
flections on the author. If fair criticism injured<br />
the sale of a work, it was damnum absque<br />
injuria. As to the present question, if the<br />
criticism went beyond observations on the work<br />
or on the author, merely as such, it was action-<br />
able, and not otherwise." The jury found for<br />
the defendant.<br />
I have always thought, as a matter of common<br />
sense, that the right to criticise a book should<br />
be exactly the same as the right to criticise<br />
anything else that is sold. For instance, a man<br />
who criticises a baker's bread, and charges the<br />
baker with using alum and potatoes, and other<br />
substances besides flour, would certainly be liable<br />
to an action for libel. He would have to prove<br />
the use of alum and potatoes. So a man<br />
who charges a writer with plagiarism, inde-<br />
cency, vulgarity, incompetence, or ignorance—<br />
charges constantly hurled at authors by critics<br />
who are too often personal enemies or rivals—<br />
would have to prove his charges in open court.<br />
That is to say, if he could only justify a charge of<br />
ignorance by a single point or a few points only,<br />
he would be very rightly cast in damages. Lord<br />
Ellenborough used the word "fair" criticism.<br />
What is "fair" criticism? It is, surely, such<br />
criticism as can be defended in open court. One<br />
would by no means seek to suppress "fair"<br />
criticism, without which literature would become<br />
flabby, but it is very much to be desired that<br />
critics themselves should remember what " fair"<br />
criticism means. One or two actions at law<br />
would probably do more to improve certain<br />
current criticism than all the remonstrances in<br />
the world. W. B.<br />
vol. vm<br />
III.—WlLLOUGHBY V. KeGAN PAUL AND Co.<br />
High Court of Justice:—Queen's Bench Division.<br />
(Before Mr. Justice Hawkins and a Middlesex<br />
Special Jury.)<br />
Willoughby v. Kegan Paul, Trench, Trflbner, and<br />
Co. (Limited).<br />
In this action Sir Edward Clarke, Q.C., and<br />
Mr. A. M. Bremner appeared for the plaintiff, Sir<br />
John Willoughby; and Mr. Cock, Q.C., Mr. E.<br />
Glen, and Mr. J. H. Lindsay for the defendant<br />
company.<br />
This action was for damages for libels alleged<br />
to be contained in a book called " How We made<br />
Rhodesia," published by the defendant company.<br />
On the case being called on,<br />
Mr. Cock, Q.C., on behalf of the defendants,<br />
expressed his regret that the passages complained<br />
of had appeared in a book published by them.<br />
They acknowledged that there was no foundation<br />
for any suggestion against the plaintiff's character,<br />
and withdrew every imputation. They consented<br />
to pay the plaintiff the sum of .£200, and would<br />
withdraw the book.<br />
Sir Edward Clarke, on behalf of the plaintiff,<br />
stated that, while he had thought it neces-<br />
sary to clear his character as a military man<br />
and a man of honour, he was willing to accept<br />
the apology and the terms offered by the defen-<br />
dants.<br />
His Lordship said that he was glad the case<br />
had been so dealt with. It would have been im-<br />
possible for the plaintiff to have slept under the<br />
allegations made against him, but his character<br />
was now absolutely cleared.<br />
The record was then withdrawn. — Times,<br />
June 16. .<br />
IV.—Cost of Production.<br />
The following is an actual printer's estimate<br />
for printing a book 224 pages, or 14 sheets, in<br />
length, crown 8vo., small pica, 28 lines on a page,<br />
or 280 words. (N.B.—The MS. turned out to<br />
be 15 sheets in length.) The estimate is for 250<br />
copies. The printers have their works in the<br />
country.<br />
£ s. d.<br />
Composition per sheet, .£1 5*.<br />
(This includes footnotes, of<br />
which there are some in<br />
every page) 17 10 o<br />
Printing, 48. 3d a sheet 2 19 6<br />
Paper 2 12 6<br />
Binding, at 4<f. a volume 434<br />
•£27 5 4<br />
e 2<br />
<br />
<br />
## p. 38 (#448) #############################################<br />
<br />
38<br />
THE AUTHOR.<br />
Turning to the Society's " Cost of Production,"<br />
p. 27, we find the following:<br />
Composition, .£1 7 s. 6d. a sheet 19 5 o<br />
Printing (see p. 63), 48. od. a<br />
sheet 2 16 o<br />
Paper, 9*. od. a sheet 6 6 o<br />
Binding, ts,d 4 3 4<br />
£32 10 4<br />
So that the printers'estimate is actually .£5 55. od.<br />
less than that of the Society. "We are constantly<br />
coming across such cases as this. Members of<br />
the Society who are proposing to pay for produc-<br />
ing their own books should make a note of this,<br />
and should look into their estimates with the<br />
greatest care. The secretary has the name of the<br />
firm.<br />
The following letter speaks for itself. Of<br />
course, it is an old story. We have exposed the<br />
game over and over again. But still it goes on.<br />
A manuscript is sent to a certain firm of<br />
advertising publishers. Whether it is read or<br />
whether it is not read, matters little, because<br />
the reply is always the same. It is to the effect<br />
that the reader thinks so highly of the work<br />
that the worthy firm are emboldened to make<br />
"the following favourable offer." There then<br />
comes a demand for as much money as they think<br />
they can safely ask. Should this be objected to,<br />
they proceed to offer lower terms. The invariable<br />
clause at the end of the letter is to the effect that<br />
"this is the best time of the year for publish-<br />
ing." Eeaders will observe that while this London<br />
firm generously offered to do the job for .£50, a<br />
local printer offered to do it for £18! Aspirants<br />
who receive such letters would do well to<br />
remember that the offer made has nothing<br />
whatever to do with the literary merits of the<br />
work, so that, in throwing the letter into the fire,<br />
as they ought to do, they need not therefore<br />
assume that their work is worthless. Let them<br />
proceed, instead, to try if they can find a respect-<br />
able publisher, and hear what he says.<br />
"June 11, 1897.<br />
"Iam tempted by the invitation in the columns<br />
of the outspoken Author to give you an experience<br />
I have had with an ' enterprising ' firm of pub-<br />
lishers.<br />
"The copy of the letter I received speaks<br />
for itself. Second thoughts came to the rescue,<br />
and prevented me from launching a book at the<br />
upset price of .£50. The MS. languishes in a<br />
drawer, and may remain there until it is moth-<br />
eaten. But I must confess the temptation was<br />
strong, and visions of fame at the expense of my<br />
shilling shocker haunted me for days. My fame<br />
is not yet come, nor will I risk publishing at my<br />
own cost; especially when I read your repeated<br />
and timely warnings. I may say a local firm<br />
agreed to print and publish 1000 copies of this<br />
magnum opus for £18. Even that didn't draw<br />
me; for what is worth publishing is worth<br />
acceptance at the hands of any decent publisher.<br />
All this goes to prove that my book in 'attractive<br />
covers' is not worth having. It is a pity other<br />
tyros do not see the matter in the same light.—<br />
I am, yours faithfully, "S. R."<br />
"Publishers,<br />
"London.<br />
"Dear Sir,—We now beg to reply to your letter of the<br />
8th inst. Our terms for a is. book in attractive paper<br />
covers would be J50; £30 when you sign the agreement,<br />
and £20 when yon see the proofs. The edition to be 3000<br />
copies—you could not well print less of a is. book. Two-<br />
thirds of the proceeds of sales to be your property, and<br />
the book to be advertised at our sole expense to the amount<br />
of £7.<br />
"This is the best time of year for is. books, and we<br />
could put yours on the market in a month from now.<br />
"Awaiting your instructions,<br />
"Faithfully yours,<br />
And here is another letter on the same subject<br />
referring to the same worthy gentlemen :—<br />
"May I add my chronicle of recent experience<br />
to those you have already published?<br />
"Some time ago I sent the MS. of a novel to a<br />
certain publishing firm. A little later I received<br />
an answer to the effect that the novel had im-<br />
pressed them 'favourably,' and that they there-<br />
fore offered me the following 'favourable terms'<br />
(The expression was theirs, but the italics are<br />
mine.) I was to pay, in ali, £88. Needless to<br />
say, I rejected the offer of terms so favourable—<br />
to themselves—and requested the return of the<br />
MS. _____ "G. E. M. G."<br />
V.—The Publisher's Vade Mecum.<br />
The following table is prepared for the use of<br />
publishers as a ready reckoner. It means the<br />
price paid by the retail trade, subject to certain<br />
discounts:<br />
5 P-o-<br />
10 p. c.<br />
I2i p.c.<br />
15 P- 0.<br />
1.<br />
d.<br />
1. d.<br />
s. d.<br />
>. d.<br />
s. d.<br />
6<br />
3i<br />
3*<br />
3-ft<br />
3A<br />
I<br />
0<br />
7&<br />
11*<br />
6i<br />
«H<br />
I<br />
6<br />
ioi<br />
ioi<br />
2<br />
0<br />
« 3<br />
1 2<br />
1 ii<br />
I Ii<br />
2<br />
6<br />
1 6\<br />
1 Si<br />
1 S<br />
1 4i<br />
3<br />
0<br />
1 10<br />
1 8f<br />
1 8i<br />
1 7i<br />
3<br />
6<br />
2 2i<br />
2 1<br />
2 oi<br />
1 ui<br />
4<br />
0<br />
2 Si<br />
2 4i<br />
2 3i<br />
2 2}<br />
4<br />
6<br />
2 g{<br />
2 7i<br />
2 <H<br />
2 5*<br />
5<br />
0<br />
3 «i<br />
2 11$<br />
2 ioJ<br />
2 oi<br />
6<br />
0<br />
3 7l<br />
3 Si<br />
3 4i<br />
3 3i<br />
I<br />
6<br />
4 8<br />
4 5i<br />
4 3i<br />
4 2i<br />
0<br />
4 "i<br />
4 8i<br />
4 7<br />
4 Si<br />
<br />
<br />
## p. 39 (#449) #############################################<br />
<br />
THE AUTHOR.<br />
39<br />
The calculations are based on sale price 13 as<br />
12, but, as it is not the custom to give this dis-<br />
count on single copies, the average is, of course,<br />
very sensibly raised.<br />
NEW YORK LETTER.<br />
New York, June 16.<br />
THERE is as usual more gossip than impor-<br />
tant news at this period of the year.<br />
Whether the market is really any more<br />
depressed than it is on the average at the begin-<br />
ning of summer may be doubted, although a<br />
member of the firm of Roberts Bros., of Boston,<br />
remarked the other day that he he had never<br />
known things so dead. He lays it to the bicycle;<br />
but then we lay everything to the bicycle. He<br />
said that nothing would sell now except history<br />
and translations; and although the statement is<br />
absurd, it does point to the popularity of these<br />
two branches of the publishing business. Known<br />
writers, he admitted, might be published any<br />
time and pay something, but a new writer would<br />
only invite his own death by publishing before<br />
times changed.<br />
This same firm, which once stood high, has<br />
just returned a novel which it accepted two years<br />
ago. During those two years it has been writing<br />
every few months to the author telling why it was<br />
thought advisable to postpone publication a little<br />
longer. That is the kind of business that the<br />
respectable publishing houses here look upon as<br />
disreputable.<br />
Two men of wide experience in the book world<br />
have given ine within a short time directly<br />
opposite advice on the best time of year to pub-<br />
lish. A well-known author said: "Bring out<br />
your first volume in the spring; you won't sell<br />
quite so many copies, but you will get more<br />
notice. Most of the important books are published<br />
in the fall when the reviewers are too crowded for<br />
space. In the spring they are seeking something<br />
worth writing about, and if a new writer offers<br />
anything promising they will spread on his book."<br />
A week or two later a member of a large pub-<br />
lishing firm advised me to beware of the spring,<br />
for my own sake as well as for the sake of the<br />
publisher. The important thing in his mind was<br />
to start the book among the readers directly,<br />
instead of among the reviewers.<br />
Papers in various cities have taken up a letter<br />
written a month or so ago to the Dial of Chicago<br />
by John J. Chapman, attacking the magazines<br />
for their timidity. He said they preferred to give<br />
their readers what they know they will read,<br />
instead of doing what he thought they ought to<br />
do, giving the best literature they could get. A<br />
multitude of replies have defended the commercial<br />
point of view, and at the same time have pre-<br />
tended that the magazines do publish the best<br />
writing they can find. The facts are simple.<br />
All the prominent periodicals in this country are<br />
run, not for artistic or literary satisfaction, but<br />
for money. The editors are probably paid salaries<br />
ranging from 5000 dols. to 10,000 dols. on the<br />
most successful magazines, and there are several<br />
assistant editors and a host of subordinates. A<br />
magazine editor remarked to me the other day,<br />
"We charge ten cents for our paper, and we don't<br />
calculate to give our readers but ten cents<br />
worth." I suggested that there might be some<br />
satisfaction in having a paper run by men who<br />
were willing to make less and give more. He<br />
said that that was a boy's point of view, and that<br />
publishing a magazine was a serious matter when<br />
it was done by men. He had his dream, how-<br />
ever. When he was finally where he wanted to<br />
be financially, he would found an ideal magazine,<br />
and in it he would publish some of the best<br />
books which appear, as nearly all the best writing<br />
is destined for publication in book form. He<br />
thought that a first-rate magazine should be made<br />
up of serials.<br />
I do not know what editors receive in England,<br />
but it is hard to believe that it will ever be<br />
possible for the owners and editors of our<br />
periodicals to make them worth much from a<br />
literary point of view as long as they look upon<br />
them merely as business investments. There has<br />
been another change of management in the<br />
Forum; Dr. J. M. Rice succeeding Mr. Keet. It<br />
is an open secret that the best editor this or any<br />
similar publication has had in this country for a<br />
long time, Mr. Page, now of the Atlantic, left<br />
because the owners, who are largely Hebrews,<br />
wanted to see some money come out of the paper.<br />
It would interest me a great deal to know how<br />
many men have to make their living out of the<br />
Fortnightly and Contemporary, and what scale<br />
they have to live on.<br />
It is very hard to keep from talking about Mr.<br />
Munsey. He is the most daring and the most<br />
entertaining adventurer in the publishing world.<br />
In the June number of his magazine, in a personal<br />
chat with his readers, he discusses his aims and<br />
how he hopes to carry them out. He has been asking<br />
his readers to decide for him whether the con-<br />
tinued stories were worth while; and he says that<br />
the success of his magazine is, in his opinion,<br />
mainly due to the short, unsigned articles, espe-<br />
cially, I believe, what he calls " Storiettes." He<br />
has, however, undertaken to make himself neces-<br />
sary to the elect, whom he pretends to despise,<br />
somewhat on the principle that I explained in<br />
<br />
<br />
## p. 40 (#450) #############################################<br />
<br />
4°<br />
THE AUTHOR.<br />
connection with the "Library of World's Best<br />
Literature." He is giving a series of articles on<br />
"My Favourite Novelists," signed by the best<br />
known names, and the criticism by Frank Stock-<br />
ton on Defoe and Dickens, in the current number,<br />
is very high-class work. This -will be followed by<br />
articles on the same subject by Mark Twain, Walter<br />
Besant, Marion Crawford, Richard Harding Davis,<br />
Paul Bourget, S. R. Crockett, Mrs. Burton Harri-<br />
son, James Whitcomb Riley, General Lew Wal-<br />
lace, and Bret Harte. The other publishers<br />
promise him bankruptcy. "Munsey succeeded<br />
first," said one, "because he paid nothing for his<br />
pictures or his articles; now he is beginning to<br />
thrash about—he is advertising, and that is a bad<br />
sign. Then the people are beginning to demand<br />
fees for their pictures and payment for their con-<br />
tributions." Mr. Munsey is serene, however, and<br />
remarks that the same prophecy was made about<br />
him when he began the ten cent, principle, If it<br />
were not for the fear of seeming to wish to ad-<br />
vertise him, I should like to talk indefinitely<br />
about this exaggerated representative of American<br />
publishing principles.<br />
The process of making contemporary Ameri-<br />
can writing familiar to the French goes on, and<br />
Madame Blanc is being most unjustly scolded for<br />
her part in it, on the ground that she is patronis-<br />
ing. La Revue de Paris has translated Hamlin<br />
Garland's "A Member of the Third House." M.<br />
Brunetiere will give his impressions of Americans<br />
in La Revue de deux Monde*; and he will also<br />
contribute a series of articles on French litera-<br />
ture to the Atlantic Monthly.<br />
It now looks as if books for libraries and<br />
educational institutions would be let in free<br />
under the new tariff, although it is not yet<br />
decided. The Macmillan Company have for-<br />
warded a letter to the Committee on Tariff Revi-<br />
sion, in which they say: "In the present law<br />
and for some time past there have been legal<br />
exemptions from the collection of a tariff on books<br />
in favour of libraries and educational institutions,<br />
and some of these, it is currently reported, have<br />
become regular smuggling agencies, importing<br />
free of duty, not only for themselves, but for any<br />
friends who want to buy, to the extent of their<br />
legal limit as to number, and in some cases<br />
without regard to that limit. The exempted<br />
institutions, which furnish naturally a large<br />
proportion of the book business of the country,<br />
can import through the booksellers, but, for<br />
whatever reason, nearly all have found it<br />
wise to avoid the booksellers, and that to such<br />
an extent as greatly to undermine the bookselling<br />
business of the country." They suggest that<br />
either exemption be done away with and the<br />
present duty continued, which might work hard-<br />
ship to educational institutions, or that the duty<br />
on books be made so low that there need be no<br />
exemptions at all.<br />
The librarian's annual report puts the number<br />
of books in the library of Congress at 748,115<br />
—an increase of 16,674 for the year. There are<br />
245,000 pamphlets. During the year there were<br />
72,470 new copyrights—an increase of 4896,<br />
attributed mainly to the extension of the inter-<br />
national copyright system, which now includes<br />
eleven countries: Belgium, Chili, Denmark, France,<br />
Germany, Great Britain, Italy, Mexico, Portugal,<br />
Spain, and Switzerland.<br />
Colonel Higginson and Professor H. T. Peck<br />
are among the writers who will spend the summer<br />
in Europe. Mr. Howells goes to Carlsbad.<br />
Norman Hapgood.<br />
NOTES FROM ELSEWHERE.<br />
June 21.<br />
THE friendly move to which I alluded last<br />
month has been much commented upon,<br />
and the hope has been expressed that I<br />
may be mistaken in supposing that the author of<br />
the letters was a dear confrere. My reason for<br />
this supposition was that the critics of the papers<br />
were abused by my pseudo-ego by name, and that<br />
their names are not generally known by the out-<br />
side world.<br />
The book in question has given offence to some<br />
people, and the journalists who are in the pay of<br />
these people have considered fair every means of<br />
discrediting it and of vilifying its author. Let<br />
me mention some instances. They are curiosities<br />
of criticism.<br />
In one case a Bradford paper informed its<br />
readers that the author of the book was not an<br />
Englishman, and, ergo, merely wrote it to vilify<br />
a nation alien to him. In the second case a<br />
Manchester journalist wrote a leader of more than<br />
a column's length on a statement invented by<br />
himself as my own, a statement which was the<br />
direct opposite of something I had said. When<br />
I drew his attention to the matter, he responded<br />
by printing as his authority what purported to<br />
be a quotation from the book. This quotation<br />
was made up of words and phrases picked here<br />
and there from the book and supplemented with<br />
phrases and words supplied by the writer. This<br />
is done, remember, in a leading provincial paper,<br />
and in the most prominent part of that paper.<br />
Another paper contented itself with announcing<br />
the book under a totally false description. Thus,<br />
published at 2*. 6d. with forty illustrations, it was<br />
described as published at 6*. with one illustration.<br />
<br />
<br />
## p. 41 (#451) #############################################<br />
<br />
THE AUTHOR.<br />
41<br />
A fourth informed its readers that the book<br />
was rendered practically useless by the careless<br />
way in which some of the sheets had been turned<br />
in printing and passed by the binder.<br />
Altogether, if any of my readers wish for novel<br />
experiences and a wider knowledge of the use to<br />
which the pen can be put, let me recommend<br />
them to publish a book dealing with social<br />
reform.<br />
That some such book as the one alluded to was<br />
necessary, would appear from a letter I received<br />
the other day from one of the unfortunate indi-<br />
viduals whose acquaintance I made when I was<br />
collecting the materials. This is a middle-aged<br />
man, a skilled worker, who works fourteen hours<br />
a day. He occupies a two-roomed cottage in a<br />
slum, and has only one child dependent on him.<br />
It occurred to me that a month in the country<br />
might save the child's life, for he is going to join<br />
his mother and brothers and sister, and I wrote<br />
to the father to ask him to let me have the boy<br />
down to the duchy. He answered: "I am very<br />
sorry to inform you that my social condition<br />
remains unchanged" (12*. a week at a skilled<br />
trade). "I am still rubbing against the roughest<br />
side of the world, and I suppose it will remain so<br />
to the end of the chapter. In fact, I have given<br />
iip all hope long ago. With regard to your offer<br />
to my little boy, I am very sorry indeed that I<br />
cannot accept it—not from choice, for T certainly<br />
would like to see the little fellow get such a<br />
treat; but the truth is I cannot keep him in<br />
anything like a presentable appearance." Sans<br />
commentaires, n'est-ce pas? A propos, this<br />
reminds me of the outcry which was raised<br />
by us literary folk at an offer made by a literary<br />
employer of £10 for 400,000 words. It was<br />
calculated and set forth with just indignation<br />
that at this rate of payment the literary craftsman<br />
would have to produce 166 words for a penny.<br />
We have living in England able-bodied men and<br />
women who at this very moment are producing<br />
220 Flemish tacks hand-wrought, for that sum of<br />
one penny; each tack involving from twenty to<br />
thirty different manipulations. The question is,<br />
of course, which is more useful and valuable a<br />
commodity, the 166 words, or the 220 Flemish<br />
tacks? It should also be remembered that to pro-<br />
duce the 220 Flemish tacks, a certain outlay has<br />
to be made on fuel, repair of tools and rent. So<br />
we can console ourselves with the thought that<br />
the very worst sweating in the literary labour<br />
market is very much more lenient than in many<br />
other branches of industry.<br />
Here is a little drama of rural life which has<br />
been passing under my eyes recently, which I<br />
commend to the English Maupassant—or one of<br />
them. If people tell him that he has a morbid<br />
imagination, let him refer them to me. A village<br />
schoolmaster, who had lost his place by drunken-<br />
ness, came into a sum of money exceeding ,£1000.<br />
He placed this money in the bank, and announced<br />
in the public-house which he frequented that he<br />
intended to drink every penny of it. "And when<br />
it's all spent?" he is asked. "Then I shall hang<br />
myself." So he sets to work, and gets drunk<br />
regularly. He is often seen at mid-day lying in<br />
the ditch by the roadside; at nights he is wheeled<br />
home by brother topers in a barrow. The tree on<br />
which he intends to hang himself is designated,<br />
and one day, returning from the neighbouring<br />
town, he displayed the rope. He is pointed out to<br />
strangers, the story is told, and attention is called<br />
to the tree. It is an understood thing that, as<br />
soon as the money is all spent, the man will hang<br />
himself. Lately the money has been getting low,<br />
and the boys of the village now follow the man<br />
when he staggers homewards. This takes place<br />
in England of to-day.<br />
If French dramatic authors suffered formerly<br />
from the piracy of foreigners, they have been com-<br />
pensating themselves handsomely since the Berne<br />
Convention protected their property. In fact,<br />
unless the agents moderate their demands, the<br />
adapters in England and elsewhere will soon have<br />
to abandon the business as unremunerative.<br />
Fancy prices are the rule, and, in many cases,<br />
the performance of the adaptation has resulted<br />
in a dead loss. But dramatists the world over<br />
look to Paris for their light. I was much<br />
amused once to witness a transaction between an<br />
English dramatic author and the French dra-<br />
matic agent. My friend wanted to buy the<br />
English rights of a j>lay which had recently been<br />
produced in Paris, not because it had been a<br />
success—for it had been withdrawn after four<br />
performances—but because it contained one good<br />
scene, which could be admirably worked into a<br />
play which he was then writing. A similar<br />
scene, even more adaptable, was to be had in<br />
another French play, which had been produced<br />
at the same time. It was like buying a chair<br />
or a horse—all most business-like. "How much<br />
for so and so?" "Four thousand francs," said<br />
the agent. "That's a good deal." "You can<br />
take it or leave it." "You see, I only want one<br />
scene." "We can't cut up the material." "I<br />
thought perhaps Messrs. would accept<br />
." "I can telephone to them at once if<br />
you wish, but I know it is quite useless." Then<br />
the agent telephoned. "Absolument impossible"<br />
was the answer—" absolutely impossible, as I told<br />
you." "Well, I'll see next door"—there was<br />
another agency on the same landing. "They have<br />
another play which would suit me even better."<br />
"As Monsieur likes." We went next door, and<br />
<br />
<br />
## p. 42 (#452) #############################################<br />
<br />
\2<br />
THE AUTHOR.<br />
asked the price of the other play. "Eighteen<br />
thousand francs." So we returned to the first<br />
office, and there the business was completed. My<br />
friend got the rights, and has them still, for he<br />
was never able to make anything of his purchase<br />
to suit an English manager. The eighteen thou-<br />
sand franc goods, by the way, was disposed of the<br />
same day -next door, and cost the manager about<br />
as many pounds.<br />
When a young dramatic author writes a play in<br />
France he is certain that it will be read if he<br />
submits it to the management of one of the<br />
thidtres subventionnes, and that, if suitable, it will<br />
be produced. By graceful tradition it is custo-<br />
mary at the Francais and Odeon to grant his<br />
entrees to an author who has submitted a play<br />
even when this is not suitable, if it shows a certain<br />
standard of merit. In France there is every<br />
encouragement to write plays. This is perhaps the<br />
reason why so many good plays are written there.<br />
In England things are different, as I am told.<br />
A few days ago, I was driven by a violent storm<br />
to take refuge in a farmhouse. It was a big house,<br />
and the farmer seemed a prosperous agriculturist.<br />
His wife supplied me with tea and let me dry<br />
myself before the fire. She begged to be excused,<br />
as she had to attend to her butter; and as to the<br />
farmer, he had to absent himself also to do some-<br />
thing to the bullocks. So I asked the farmer's<br />
wife if she would lend me a book. "It doesn't<br />
matter what it is." "We have no books in the<br />
house." .And so it was. There was not a book<br />
of any sort, except the family Bible in the draw-<br />
ing room. They took in no papers. They had<br />
never heard of any of the great writers of England.<br />
The farmer had once read a storv about a miner.<br />
Et voilh!<br />
A day or two later it fell to me to escort a<br />
young lady home from an afternoon affair to a<br />
neighbouring town. She was very fond of<br />
reading. I asked her about her tastes. She<br />
had never heard of Dickens, she thought she<br />
knew a Mr. Reade, did he not let out bicycles at<br />
C ?and no, she had never read any-<br />
thing by Wilkie Collins. As to living authors—<br />
O, popularity and press cuttings !—there was not<br />
one of our great men whose name had penetrated<br />
so far. She might have read this book or that,<br />
she said, but she never troubled about the<br />
author's name.<br />
I do not think that this could be matched in<br />
France.<br />
May I, for this time, adopt a new signature?<br />
It is the way by which the writers of literary<br />
paragraphs in some of the English and American<br />
papers like to designate me when quoting from<br />
these pages. It is rather neat.<br />
"A Me. Shbeabd."<br />
P.S.—To-morrow we shall be able to send four<br />
ounces for a penny. What an impetus this will<br />
give to what the Americans call "the shooting<br />
of paper-bolts." Poor, poor editors! Four<br />
ounces for a penny!<br />
NOTES AND NEWS-<br />
THE death of Mrs. Oliphant will be to<br />
millions among those who speak and read<br />
our language the death of a personal<br />
friend, deeply loved. For nearly fifty years her<br />
busy pen has been running, her active brain has<br />
been at work. And her work has been always<br />
goo I: sometimes excellent: and sometimes of the<br />
very first order. There is little in English litera-<br />
ture that can surpass the greatness of conception,<br />
the skill of execution, the artistic atmosphere,<br />
the terror and the vividness of "The Beleaguered<br />
City," a book in which her imaginative power<br />
touched its highest point. Mrs. Oliphant wrote<br />
many books besides novels: they may be de-<br />
scribed as Impressions of History and Biography,<br />
rather than finished works—amoi;g them three<br />
monograms, on Dante, Cervantes, and Moliere,<br />
for her own series of "Foreign Classics for<br />
English Readers." These works may live or may<br />
die: probably they are already dead. The writer<br />
will be remembered for her novels. Out of these<br />
the world will select two or three, and the rest<br />
will be forgotten. It is the common lot: what<br />
more can a writer expect? Pity that so much<br />
good work should be lost: but posterity will be<br />
chiefly concerned with its own writers, its own<br />
art, and its own manners and customs. As for<br />
the two which will live, I venture to prophecy<br />
that they will be " The Beleaguered City " and<br />
"Salem Chapel." Mrs. Oliphant was a member<br />
of our Society from its foundation. She refused,<br />
however, a place on the Council on the ground of<br />
age-<br />
In the June number of The Autlwr a brief<br />
mention was made of a speech by Mr. Lecky—<br />
now, as all friends of literature are pleased to see,<br />
the Right Hon. W. E. H. Lecky—on the multipli-<br />
cation of books. We are bound to receive with<br />
the greatest respect any utterance of Mr. Lecky,<br />
but, surely, when he complains of the multiplica-<br />
tion of books he is confusing things. What<br />
would it matter, let us ask, if a hundred<br />
books a day were published? Simply nothing<br />
at all. In every branch of learning, science,<br />
and philosophy there are a few, and only a<br />
few, authorities: in the great field of history<br />
the writers whom the world will receive are<br />
limited to half a dozen or so; in poetry, the<br />
<br />
<br />
## p. 43 (#453) #############################################<br />
<br />
THE AUTHOR.<br />
43<br />
■world will only read the works of a dozen living<br />
writers; in fiction there are about two hundred,<br />
or two hundred and fifty at the outside, who<br />
succeed in getting a hearing; in essays and<br />
criticism the number who obtain any vogue is<br />
certainly not more than twenty or thirty. What<br />
happens, then, with the books which, it is com-<br />
monly and foolishly stated, "flood the market"?<br />
Nothing happens. The circulating libraries take<br />
a few copies : the publisher's name has a certain<br />
power of recommending a few more: the book-<br />
sellers do not "stock" them: they die. By far<br />
the greater number of published books have no<br />
life at all: they find no readers and no purchasers:<br />
the reviews mention them: they die. They cost,<br />
for the most part, very little to produce; by their<br />
extremely limited sale they pay their expenses<br />
with something over. Take for instance, our<br />
old friend the average 6*. book. An edition<br />
of a thousand copies can be produced, advertising<br />
and all, for about .£65. The cost of production<br />
is covered, allowing a shilling a copy for the<br />
author, by the sale of 5 20 copies. What possible<br />
■effect upon the vast world of English readers—<br />
even upon the smaller world of London—even,<br />
again, upon the still smaller world of literary<br />
London—by a tiny circulation of 520copies? It<br />
may be argued that a book may have so small a<br />
sale, and yet be a book destined to live and to<br />
produce a great effect. If so, the effect must be<br />
produced by a vast increase of circulation. But,<br />
indeed, there are very few such books. If a good<br />
book of any kind in any branch be produced, it<br />
is speedily singled out and thrust into notice and<br />
popularity. __t<br />
In another part of the June number was an<br />
account of Mr. Herbert Paul's article in the Con-<br />
temporary Review on the English novel. It is a<br />
very remarkable thing how all people, in all pro-<br />
fessions, especially the men who do not write<br />
novels, are always ready to write about the<br />
modern novel. For my own part, if I were an<br />
•editor, I would have an article every month,<br />
always from the pen of a man more or less<br />
distinguished, on the English novel. I should<br />
begin with the Archbishop of Canterbury, who<br />
should tell us what a novel ought to be: the<br />
Bishop of London would certainly be able to tell<br />
us what a novel is: the Premier would probably<br />
delegate Mr. Arthur Balfour to write on the<br />
subject for him. From the Presidents of the<br />
College of Physicians, the College of Surgeons,<br />
the Law Institute, the Institute of Civil Engineers,<br />
and other learned bodies a great deal of light and<br />
learning could be expected. In a word, as the<br />
modern art of fiction was thus continually being<br />
examined and dissected, I would openly recog-<br />
nise the abiding interest of the subject by<br />
devoting to it a monthly article, and, to repeat, I<br />
would invite none but men of distinction to con-<br />
tribute. After going on for twenty years,<br />
however, no one would be one whit nearer to<br />
understanding how it is done. For, indeed,<br />
the art of holding an audience cannot be taught;<br />
the mechanical part may be taught, the magical<br />
part is personal.<br />
Mr. Herbert Paul is reported to have said in<br />
his article that Charles Reade and Wilkie Collins<br />
have fallen into oblivion. That is a great mistake.<br />
With these authors, as happens to all, the world<br />
has made a selection. Both of them wrote a<br />
great many novels: both of them survive in two<br />
— Wilkie Collins in "The Woman in White"<br />
and "The Moonstone," Charles Reade in "The<br />
Cloister and the Hearth" and "It is Never too<br />
Late to Mend." Of the latter two a cheap<br />
edition issued the other day went through<br />
150,000 copies of each in three weeks. That does<br />
not look like oblivion. Lovers of Reade, whom I<br />
myself consider a writer very near to the highest<br />
place among English novelists, will not allow<br />
many others of his novels to fall into oblivion.<br />
These two writers, however, illustrate exactly<br />
what is said above about Mrs. Oliphant. First,<br />
to delight your own generation; then, to leave two<br />
books or so which shall still delight generations<br />
to come—what happier lot cimld man desire?<br />
I hope that readers of The Author will give a<br />
little more than passing attention to the " Pub-<br />
lisher's Vade Mecum," which appears on another<br />
page. It is a kind of "ready reckoner," which<br />
shows what discounts made to the trade really<br />
mean. Those who have taken an interest in the<br />
denials of our figures will remember that we have<br />
always maintained that the sum of 3*. 6d. repre-<br />
sents the average price obtained by the publisher<br />
for his 6s. book: that this statement has been<br />
stoutly denied: that we have published in these<br />
columns proofs that the estimate is strictly correct.<br />
We have now the paper in daily use among<br />
many of them, at least, which shows that on<br />
the 10 per cent, discount—the common one<br />
up to the latest intelligence — and counting<br />
thirteen as twelve, the price to the trade of the 6s.<br />
book is 3*. 5^<Z. Now, single copies are not sold<br />
thirteen as twelve, nor do they obtain discount,<br />
except "for the account." Their price is from<br />
3». Sd. to 3«. lo^d., which, of course, runs up the<br />
3*. ${d. very materially. From the other figures<br />
before me, some of which have been already given<br />
in The Author, I am convinced that in all agree-<br />
ments for the 6*. book the average trade price of<br />
3*. 6d. may be accepted. As regards the cost of<br />
production, our own book on the subject is fairly<br />
good, but it wants to be brought down to the<br />
<br />
<br />
## p. 44 (#454) #############################################<br />
<br />
44<br />
THE AUTHOR.<br />
present time. Paper has gone down in price very<br />
greatly-. In another column (pp. 37, 38) will be<br />
found a comparison between an actual printer's<br />
estimate and our proposed cost. It will be found<br />
on examination that the proposed cost of is. on<br />
large editions must be materially reduced.<br />
The following lines have been sent me by an<br />
American reader. They appeared some years<br />
since in " Putnam's Papers."<br />
At a library desk stood some readers one day<br />
Crying " Novels, oh, novels, oh, novels!"<br />
And I said to them, " People, oh, why do yon Bay<br />
'Give ns novels, oh, novels, oh, novels?'<br />
Is it weakness of intellect, people," I cried,<br />
"Or simply a space where the brains should abide t"<br />
They answered me not, or they only replied,<br />
"Give ns novels, oh, novels, oh, novelB!"<br />
Here are thousands of books that will do you more good<br />
Than the novels, oh, novels, oh, novels!<br />
Yon will weaken your brain with such poor mental food<br />
As the novels, oh, novels, oh, novels!<br />
Pray take history, mnsio, or travelB or plays,<br />
Biography, poetry, science, essays,<br />
Or anything else that more wisdom displays<br />
Than the novels, oh, novels, oh, novels!<br />
A librarian may talk till he's black in the face<br />
About novels, oh, novels, oh, novels!<br />
And may think that with patience he may raise the taste<br />
Above novels, oh, novels, oh novels!<br />
He may talk till with age his round shoulders ore bent,<br />
And the white hairs of time 'mid the black ones are sent;<br />
When he handB his report in, still seventy per oent.<br />
Will be novels, oh, novels, oh, novels!<br />
There is complaint about the illiteracy of under-<br />
graduates. WheD have they been, as a rule, any-<br />
thing but illiterate, as a body? What time or<br />
leisure has the undergraduate for books, when he<br />
has athlet ics to consider first and the examinations<br />
next? The bookish boy at school is an extremely<br />
i-are person: at the university he is just as rare.<br />
When one's attention is wholly occupied by<br />
other things, what room is there for literature, or<br />
art, or anything? Perhaps a defence of youthful<br />
illiteracy might be set up. Thus: It is very<br />
good for young men to practise manly sports; it<br />
is especially desirable that those who read, for the<br />
highest honours and are certain to become the<br />
intellectual leaders of their time, should be physi-<br />
cally fit for the work; there is not room for the<br />
pursuit of more than two subjects with absorption;<br />
if athletics is one subject, the Senate House is the<br />
other. And what becomes of literature? Well,<br />
in the after years, when sports have lost their<br />
attraction, when the profession has been entered<br />
upon and the great heat of study is over, when the<br />
quiet country vicarage gives many idle hours—<br />
then the illiterate undergraduate becomes uncon-<br />
sciously a reader, a student in literature, and<br />
sometimes even a writer. Walter Besant.<br />
THE SOCIETY AS A PUBLISHING<br />
COMPANY.<br />
IS the consideration of the possibility that the<br />
I.S.A. shall be their own publishers going<br />
to die out, I wonder? May I make a pro-<br />
position? I do so with extreme diffidence, for I<br />
am obscure and almost unknown in the world of<br />
letters. Will not some influential person take up<br />
my proposal?<br />
England has its Royal Academy, founded for<br />
the purpose of raising the status of artists; to<br />
consolidate their efforts; to provide means for<br />
presenting their work to Ihe public. 'Why should<br />
not England have its Royal Society of Authors<br />
too? And why should not its Royal Society of<br />
Authors publish the works of its own members;<br />
decide the status of writers; consolidate their<br />
efforts, and thus provide means for presenting<br />
their work to the public? That Her Majesty-<br />
would give her gracious sanction to the title one<br />
cannot doubt. The Queen, who has throughout<br />
her glorious reign endeavoured to promote the<br />
welfare of her people, would assuredly not—in<br />
this the sixtieth year of her rule—refuse her<br />
royal sanction to any scheme brought forward<br />
for the aid and furtherance of literature and<br />
talent in her land.<br />
Why, then, should not the members of the<br />
I.S.A. join together and make this Society an abid-<br />
ing monument to England, and a commemora-<br />
tion of Her Majesty's long reign? The painter<br />
must produce his best work ere he dare hope to<br />
find it hung in the Academy. So let the author<br />
strive to accomplish something worthy his Society<br />
ere he may hope to have it published by them.<br />
Art is encouraged—and rightly—-in every country,<br />
and in every age. Art, says Schiller, found man<br />
a savage, and makes him lord of nature. But,<br />
unhappily, if we are to judge from many publica-<br />
tions of recent years, we may be allowed to<br />
question whether the art of the present day<br />
(literary art, at any rate) is helping to develop<br />
"lords of nature."<br />
I remember how proud of my country men and<br />
women I used to feel, years ago, while living in<br />
Paris, when I heard, as I often did hear, the<br />
words: "Ah! Oui, c'est une traduction Anglaise;<br />
certainment vous pouvez la lire." Alas, for my<br />
English pride! Only the other day I read that,<br />
since the publication of certain books, the Germans<br />
have found it necessary to forbid the perusal, by<br />
young girls, of English novels.<br />
I feel very strongly on this point. Literature<br />
is one of the highest arts. To attain to anything<br />
worthy in any art there must be noble endeavour.<br />
There very often is, of necessity, self-sacrifice, and<br />
it is right that it should be so. It is only through<br />
trial that we can show the spirit of the true<br />
<br />
<br />
## p. 45 (#455) #############################################<br />
<br />
THE AUTHOR.<br />
45<br />
artist; only through warfare that we can prove<br />
ourselves conquerors. We must accept the<br />
challenge if we would win the prize. Thus,<br />
in having to prove ourselves worthy to gain<br />
the help and countenance of a powerful society<br />
we should have to work. Let the "honour<br />
be won by good work and true—and by that<br />
alone.<br />
My suggestions are :—<br />
1. That the I.S.A. unite and become a limited<br />
liability company. Shares of £i.<br />
2. That works published by the Society be only<br />
such as tend to raise the tone of English<br />
literature.<br />
3. That the members be limited to the number<br />
already on the list; new members enlisted only<br />
as old ones pass from the Society.<br />
4. That an entrance fee of £1 be charged<br />
all new members, plus the annual subscrip-<br />
tion (unless the Committee sanction free<br />
entrance).<br />
5. That a certain number (say fifty) of eminent<br />
writers be elected as members who have done<br />
honour to the cause of literature in England.<br />
These members to hold the highest honour as in<br />
L'Acadcmie Francaise.<br />
Is my scheme Utopian? I think not. With<br />
a few of our leaders at the head of such a move-<br />
ment, I feel convinced that before the end of this<br />
great Commemoration Year it would be almost, if<br />
not quite, un fait accompli.<br />
E. W. H.<br />
THE SUBJUNCTIVE MOOD:<br />
DAY USE.<br />
ITS PRESENT<br />
ALL readers of The Author will be much<br />
indebted to Miss Meyer for her excellent<br />
article in the June number on the subjunc-<br />
tive, and very grateful for the labour expended in<br />
stalking this wily mood through the pages of so-<br />
many standard works.<br />
With the assistance of some figures which she<br />
has kindly allowed me to use, it will be possible,<br />
I think, to prove that, contrary to what Miss<br />
Meyer wrote, we are "nearer to a clear and<br />
succinct rule than before." Repeating her former<br />
summary:—<br />
Approximate<br />
number of words<br />
Author. Book. in book.<br />
E. Dowden Life of Sonthey 67,000<br />
T. Hardy Pair of Blue Eyes 99,000<br />
Henry James ... Daisy Miller 56,000<br />
Andrew Lang ... Custom and Myth 68,000<br />
W. E. H. Lecky History of Rationalism,<br />
vol. 1 102,000<br />
The Egoist 190,000<br />
On Compromise 57,000<br />
Social Rights and Duties,<br />
vol. H 71,000<br />
Men and Books 99.000<br />
Life of Coleridge 60,000<br />
George Meredith<br />
John Morley ,..<br />
Leslie Stephen...<br />
L. Stevenson<br />
D. Trail<br />
Total 869,000<br />
We find that in the ten volumes selected are<br />
approximately 900,000 words, and that there<br />
are only fifteen instances of the subjunctive mood<br />
of any other verb than the verb "to be," twelve<br />
of which are distributed among only three of the<br />
books, and hence three of the authors. That, in<br />
fact, its use is "exceedingly rare." Therefoi-e,<br />
we shall not be wrong in saying to beginners<br />
— for whom these articles were commenced —<br />
Only use the subjunctive mood of the verb "to<br />
be." Writers of years' standing, yearning, and<br />
only then, to employ it with other verbs may<br />
use it once in a volume, although the propor-<br />
tion of authors who do not use it at all would<br />
tend to show that this is an unwarranted<br />
frequency.<br />
The next point to arise, is when to use<br />
"to be" in this mood? The following<br />
figures which I have re-arranged may serve as.<br />
a guide:<br />
The verb " to be" after:—<br />
Dowden .<br />
Hardy ... .<br />
James<br />
Lang<br />
Leoky<br />
Meredith ..<br />
Morley<br />
Stephen ..<br />
Stevenson<br />
Traill<br />
Total<br />
If<br />
+Sub.<br />
13<br />
26<br />
18<br />
23<br />
12<br />
32<br />
22<br />
28<br />
32<br />
12<br />
218<br />
-Sub.<br />
3<br />
'4<br />
'5<br />
'5<br />
'4<br />
54<br />
'5<br />
7<br />
>5<br />
4<br />
'55<br />
Whether<br />
+ Sub.<br />
4<br />
-Sub.<br />
Though<br />
Although<br />
Unless<br />
1 As it were"<br />
<br />
<br />
## p. 46 (#456) #############################################<br />
<br />
46<br />
THE AUTHOR.<br />
The point for consideration here is, is it not justi-<br />
fiable to recommend to beginners that if a form<br />
of words can only be used on an average twice in<br />
a complete volume of a hundred thousand words<br />
it should be omitted entirely, especially when its<br />
correct usage entails a consideration so careful as<br />
to prohibit its easy employment? Bearing in<br />
mind the practical good of a simple rule, I think<br />
the answer should be—yes! This being granted,<br />
a very great simplification of the results of the<br />
foregoing table follows: The subjunctive of "to<br />
be" should only be used after "if" Tt should<br />
not be used after whether, though, although,<br />
unless. The column headed "as it were" is<br />
added as an illustration of the existence of one<br />
of Professor Skeat's "petrified phrases."<br />
Now, as "if" is used so many times, both with<br />
and without "to be" in the subjunctive, it<br />
becomes necessary to try and find out the reason<br />
for this varying practice. Miss Meyer's un-<br />
published analysis shows the following:—<br />
The subjunctive of "to be" is used<br />
after "if" — in hypothetical in-<br />
stances with real contingency 213 times.<br />
Where a definite assertion is withheld 44 „<br />
Total ... 257 „<br />
The subjunctive of "to be " is not<br />
used after "if "—in hypothetical<br />
instances without real contingency 62 times.<br />
When the style is familiar 55 „<br />
Total ... 117 „<br />
Passing from these general statements to par-<br />
ticulars, I find the following instances of its<br />
detailed use, which may be of interest to some<br />
readers, and possibly of use to those fond of<br />
statistics:<br />
If" and<br />
Were<br />
Be<br />
Total<br />
la<br />
Wan<br />
Are<br />
Am<br />
Total<br />
5<br />
4<br />
9<br />
0<br />
2<br />
0<br />
O<br />
2<br />
Hardy<br />
26<br />
0<br />
26<br />
7<br />
6<br />
2<br />
0<br />
14<br />
James<br />
18<br />
0<br />
18<br />
1<br />
8<br />
7<br />
0<br />
"5<br />
Lang<br />
6<br />
24<br />
30<br />
3<br />
6<br />
6<br />
0<br />
IS<br />
5<br />
16<br />
21<br />
4<br />
9<br />
1<br />
0<br />
14<br />
26<br />
6<br />
32<br />
28<br />
9<br />
8<br />
9<br />
54<br />
12<br />
•5<br />
27<br />
•3<br />
0<br />
2<br />
0<br />
IS<br />
7<br />
37<br />
44<br />
3<br />
1<br />
3<br />
0<br />
7<br />
20<br />
H<br />
34<br />
S<br />
7<br />
2<br />
1<br />
IS<br />
Trail<br />
10<br />
6<br />
16<br />
1<br />
3<br />
0<br />
0<br />
4<br />
Total<br />
I3S<br />
122<br />
257<br />
65<br />
Si<br />
31<br />
10<br />
155<br />
In conclusion—passing over some inconsistencies<br />
■as unnecessarily complicating the argument—will<br />
some of those in authority favour the pages of<br />
TJie Author with their views upon the following<br />
suggested rule, which seems at least to represent the<br />
•current use of the subjunctive mood among some<br />
of our best present day writers, and hence help<br />
those who are not yet standing upon the highest<br />
rungs of the ladder of ltterature?<br />
SuOaKSTED EULE.<br />
(in hypothetical instances,<br />
use the suhjnnc- ) or<br />
tiveof "to be"<br />
DISILLUSION.<br />
You might, perhaps, have loved me yet—<br />
As angels loved before they fell—<br />
Bnt on a day of Fate we met,<br />
And meeting broke the spell.<br />
The poet should be like a bird<br />
That sings in May where woods are green,<br />
Divined by glimpses, gladly heard,<br />
But never plainly seen.<br />
H. G. K.<br />
Only after<br />
"If"<br />
use not<br />
where definite assertion<br />
is withheld,<br />
in hypothetical instances,<br />
without real contin-<br />
gency,<br />
or<br />
where the style is fami-<br />
liar.<br />
F. Howaed Collins.<br />
BOOK TALK<br />
DE. SAMUEL SMILES has recovered from<br />
his accident of a year ago, and is prepar-<br />
ing a new book of a character identical<br />
with that of " Self-Help" and his other works.<br />
Mrs. Humphry Ward is at work on a new<br />
novel.<br />
Mrs. Hodgson Burnett is engaged upon a new<br />
novel for publication in the autumn.<br />
<br />
<br />
## p. 47 (#457) #############################################<br />
<br />
THE AUTHOR.<br />
47<br />
Mr. C. Arthur Pearson has become a publisher.<br />
He announces novels by Mr. H. G. Wells, Mr. Max<br />
Pemberton, Mr. W. W. Jacobs, Mr. Frankfort<br />
Moore, and Mr. G. B. Bargin.<br />
Madame Sarah Grand is writing a new novel,<br />
which will be a study of a woman's life from the<br />
cradle to the grave, and will probably introduce<br />
the subject of heredity.<br />
An account of a "Trip to Venus " has been<br />
written by Mr. John Munro, and will be published<br />
by Messrs. Jarrold and Sons.<br />
Mr. Lane announces a skit on Mr. Le<br />
Gallienne's romance "The Quest of the Golden<br />
Girl." The title will be "The Quest of the<br />
Gilt-Edged Girl," and the author, Richard De<br />
Lyrienne.<br />
Mr. Frederick Wedmore has prepared a selec-<br />
tion of "Poems of Love and Pride of England,"<br />
which will be published early in July by Messrs.<br />
Ward, Lock, and Co.<br />
Mrs. Leith-Adams has written a novel entitled<br />
"Madelon Lemoine," which Messrs. Jarrold will<br />
publish.<br />
The late Mrs. Hungerford's last work, "The<br />
Coming of Chloe," will be issued early this<br />
month by Messrs. White.<br />
A story by Mr. Warren Bell will inaugurate<br />
the "Henrietta Volumes," a new library of fiction<br />
in paper covers which Mr. Grant Richards is<br />
publishing. Mr. Richards also publishes Mr.<br />
Grant Allen's new romance entitled " An African<br />
MiUionaire."<br />
Mr. David Hannay will write a volume on<br />
"The Later Renaissance" for the series on<br />
periods of European literature which Professor<br />
Saintsbury is editing and Messrs. Blackwood<br />
publishing.<br />
"Secretary to Bayne, M.P.," is the title of a<br />
story by Mr. Pett Ridge, to be published soon.<br />
Later on, " Mordemly," a novel treating of low<br />
life, will come from the same pen.<br />
Mr. Silas K. Hocking has completed a new<br />
story, called "God's Outcast," which will run in<br />
the Leistire Hour.<br />
Mrs. Annie S. Swan has finished a new Scotch<br />
story, entitled "The Curse of Cowden," which<br />
Messrs. Hutchinson will publish.<br />
Mr. Morley Roberts has a novel, entitled<br />
"Strong Men and True," in course of publication<br />
by Messrs. Downey and Co.<br />
Mr. Lewis Sergeant has written a work entitled<br />
"Greece in the Nineteenth Century," which will<br />
be published shortly by Mr. Fisher Unwin.<br />
Eighteen years ago Mr. Sergeant wrote "New<br />
Greece," which is long out of print, and so much<br />
as is applicable to the present time will be trans-<br />
ferred now to the new work. A large part of the<br />
new volume is devoted to the relations between<br />
Greece and the Powers during the last twenty<br />
years, and there is also an account of contempo-<br />
rary Greek literature.<br />
An account of the late Turco-Greek war by Mr.<br />
Clive Bigham, who was the Times correspondent<br />
with the Ottoman Army, will be published by<br />
Messrs. Macmillan, entitled "The Campaign in<br />
Thessaly."<br />
Mr. Demetrius Boulger is engaged upon a new<br />
"Life of Sir Stamford Raffles," for which he has<br />
the sanction and co-operation of the Raffles,<br />
family. The book will contain a large number of<br />
new letters and other documents, and will be<br />
issued by Messrs. Horace Marshall and Sons early<br />
in October.<br />
Mr. Leonard Huxley is making good progress,<br />
with the biography of his father.<br />
Mr. Andrew Lang's Christmas book for 1897<br />
is to be called the " Pink Fairy Book."<br />
In the sonnet printed in The Author last month<br />
(on page 14), line three should have been " His<br />
own, or flout," not " flount."<br />
The Right Hon. (as he now is) Sir Herbert<br />
Maxwell, M.P., and Mr. F. G. Aflalo are to edit<br />
an Anglers' Library. The first volume in the<br />
series will be on "Coarse Fish," by Mr. C. H.<br />
Wheeley. Messrs. Lawrence and Bullen are the<br />
publishers.<br />
Messrs. J. M. Dent and Co. now become the<br />
publishers of the monthly review, Natural<br />
Science.<br />
The anniversary meeting of the Scottish<br />
branch of the Franco-Scottish Society will be<br />
held in Edinburgh from the 12th to the 17th<br />
inst. Among the papers to be read are "The<br />
Influence of Scottish Philosophy upon the<br />
French," by Professor Boutroux; "The Teaching<br />
of French Literature in Scottish and English<br />
Universities," by Dr. Sarolea; and "Le Mouve-<br />
ment Neo-Hellenique dans la Litterature Fran-<br />
caise," by Professor Croiset.<br />
"Through Finland in Carts," Mrs. Alec<br />
Tweedie's new book of travel, is now ready. It<br />
is published by Messrs. A. and C. Black. There<br />
are nineteen full-page illustrations. Mrs. Tweedie<br />
has not simply gone first to a hotel and then read<br />
up all the books about Finland; she has lived<br />
among the people, and learned their life and their<br />
ways of thought, and of manners. The volume<br />
contains her experiences and an estimate of a<br />
people very little known by Western Europe.<br />
<br />
<br />
## p. 48 (#458) #############################################<br />
<br />
4«<br />
THE AUTHOR.<br />
Mr. Robert Sherard's new novel "Uncle<br />
Christopher's Treasure" has been re-christened.<br />
It will be published in the autumn by the<br />
Messrs. Pearson under the title of "The Magpie<br />
House."<br />
Mr. J. LI. Warden Page has completed his<br />
''North Coast of Cornwall." It is to be pub-<br />
lished this month, in time for the tourists and the<br />
holidav-makers. Mr. W. Crofton Hemmons, of<br />
Bristol, publishes Mr. Page's work. All lovers<br />
.of the west country know Mr. Page's " Dartmoor"<br />
and the " Coasts of Devon and Lundy" (Horace<br />
iCox).<br />
The autobiography of Nelson, the Common-<br />
place Book of Robert Burns, and five original<br />
manuscripts of poems and novels by Sir Walter<br />
Scott, were sold by auction on the 15th ult. by<br />
Messrs. Sotheby, Wilkinson, and Hodge. The<br />
Nelson lot included not only the autobiography,<br />
but autograph letters to John McArthur, corre-<br />
spondence with Earl Nelson and Lady Nelson, a<br />
full-length tinted lithograph portrait (one-armed)<br />
a sketch of the ball which killed Lord Nelson,<br />
and a complete transcript of the "Memoir" for<br />
the press—thirty-three articles in all. The<br />
collection was bought for <£iooo by Messrs.<br />
Sotheran. A collection of twenty-three autograph<br />
letters from Nelson to his friend Admiral Sir<br />
Thomas Trowbridge fetched ,£280.<br />
Of the Scott manuscripts "The Lady of the<br />
Lake" 1810 realised £1290; a portion of " Tales<br />
of a Grandfather," <£io6; the introductory essay<br />
on "Popular and Ballad Poetry," "Halidon<br />
Hill," and "Doom of Devorgoil," =£62; "Old<br />
Mortality," <£6oo; the original manuscript of<br />
"Castle Dangerous," dictated by Scott to his<br />
amanuensis, W. Laidlaw, but with numerous<br />
corrections and additions in the author's hand,<br />
£32. The Burns Commonplace Book or Private<br />
Journal, commenced by Burns on April 9, 1787,<br />
and consisting of thirty-eight pages of the poet's<br />
handwriting, in capital preservation, sold for<br />
£365.<br />
Mr. James Payn is publishing, through<br />
Messrs. Downey, a new novel entitled "Another's<br />
Burthen."<br />
Mr. David Pryde, author of "Pleasant Memo-<br />
ries of a Busy Life," has written a study of life<br />
and character in the east of Scotland—or, rather,<br />
in the " kingdom " of Fife. It will be published<br />
l>v Messrs. Morison Brothers, Glasgow, under<br />
the title "The Queer Folk of Fife."<br />
The first volume in a series upon Historical<br />
Women will be published immediately by the<br />
Roxburghe Press. It will be "Victoria, Queen<br />
and Empress," written by Mr. Richard Davey.<br />
Mr. Wickham Flower has finished a little<br />
volume in the defence of an old reading in Dante's<br />
"Inferno," and the work will be published<br />
shortly by Messrs. Chapman and Hall.<br />
The fourth volume of the series of "Periods<br />
of European History," published by Messrs.<br />
Rivington, Percival, and Co., will be "Europe in<br />
the 16th Century," by Mr. A. H. Johnson, M.A.,<br />
Historical Lecturer to Merton, Trinity, and Uni-<br />
versity Colleges, Oxford. It will be published<br />
immediately.<br />
Messrs. Hutchinson and Co. have in hand a<br />
volume of poems by Miss Helen Marion Burnside,<br />
with a title-page designed by the author, which<br />
will be issued in the autumn.<br />
Miss Burnside has also written two tales for<br />
children, entitled respectively "The Little V.C."<br />
and "The Adventures of a Postage Stamp,"<br />
which will be published by Messrs. Thomas<br />
Nelson and Sons.<br />
The Queen has been pleased to accept the<br />
original copy of Surgeon-Colonel John Mac-<br />
Gregor's Jubilee poems, entitled "Victoria<br />
Maxima et Victoria Regina," which were specially<br />
mounted and embroidered by Mrs. MacGregor.<br />
Some of the poems were written for the present<br />
celebration, and some ten years ago, in honour of<br />
the previous Jubilee of 1887, when the author was<br />
on active service in Upper Burmah during the<br />
late Burmese War. We believe it is intended to<br />
publish them shortly in combination with other<br />
poems by the same author.<br />
Mr. Mark Twain's book on his tour round the<br />
world is finished, and will appear in the autumn.<br />
The scenes of Mr. Gilbert Parker's forthcoming<br />
novel are laid in the French-Canadian village of<br />
Bonaventure, and the period is that of the abor-<br />
tive rising under Louis Papineau, who aimed at<br />
establishing une nation Canadienne on the banks<br />
of the St. Lawrence. The two leading characters<br />
in the novel are Tom Ferrol, an attractive Irish<br />
rapscallion, and Christine Lavilette, a charming<br />
French-Canadian girl. The title of the book is<br />
"The Pomp of the Lavilettes," and it will be<br />
published shortly.<br />
The business of Messrs. Osgood, Mcllvaine,<br />
and Co., publishers, Lonr on, has been amal-<br />
gamated with that of Messrs. Harper Brothers,<br />
New York, and will in future bear the latter<br />
name.<br />
The Jubilee articles for the Illustrated London<br />
Ncics and the Queen were written by the editor<br />
of this paper. He also wrote for a Chicago firm<br />
a short volume on the Sixty Years' Reign. This<br />
work has been produced in this country by the<br />
<br />
<br />
## p. 49 (#459) #############################################<br />
<br />
THE AUTHOR.<br />
49<br />
Globe. It was written for American readers, who,<br />
as a general rule, are wonderfully misinformed on<br />
the government and social order of this country.<br />
■Consequently, it contains certain passages which<br />
may appear superfluous to English readers.<br />
The editor is also under contract to deliver to<br />
Messrs. Chapman and Hall a story of the ordinary<br />
one volume length before the end of September.<br />
It will be finished, it is hoped, in the month of<br />
August. Mr. Walter Pollock, in collaboration<br />
•with Miss Lilian Mowbrey, has produced a roman-<br />
tic play in five acts, entitled "King and Artist"<br />
—William Heinemann. The period is the year<br />
1540. Benvenuto Cellini is one of the principal<br />
(characters.<br />
CORRESPONDENCE.<br />
I.—Translitebation.<br />
THIS once thorny subject—which Sir W.<br />
Hunter rendered plain in India some<br />
twenty years ago — has been rearing its<br />
prickles in the European newspaper press since<br />
the recrudescence of Graeco-Turkish conflict.<br />
Almost every principal nation has its own way<br />
•of pronouncing vowels and consonants, and<br />
this leads to impenetrable darkness when the<br />
.correspondents and editors try to express, each<br />
in the fashion of his country, the sounds of<br />
names—mostly Arabic — of which they do not<br />
know the meaning. To make the matter worse,<br />
the representatives of the London papers attempt<br />
to spell Turkish names as they hear them pro-<br />
nounced by foreigners, until it becomes difficult,<br />
-even for well-educated people, to make out what<br />
may be the designation intended to be conveyed.<br />
We hear of Edhem Pacha and Sey Foola Beg, of<br />
Nedgib and Eedschid, and have to enter into<br />
abstruse reflection and calculation before we can<br />
ascertain what our well-intentioned informants<br />
wish us to understand.<br />
The evil proceeds from the varying use of<br />
letters.<br />
Thus, the French use ch for s/t, dj for j, e for a;<br />
the Germans express the Arabic jim by dsch;<br />
Italy has her own fashions, not very different<br />
from the French.<br />
Surely, it is desirable that some common system<br />
of transliteration should be adopted, by which an<br />
English or American reader could be guided to<br />
some dim conception of the names and titles of<br />
distinguished Orientals.<br />
The Russians transliterate like the French, and<br />
the English system is peculiar to ourselves, so<br />
that it may not prove easy to decide which of the<br />
various methods is to be adopted. But that is<br />
urely a point of convention; only let some<br />
efinite code be adopted, and scrupulously<br />
followed by all the journalists of Christendom.<br />
It will be of no importance whatsoever whether<br />
the mysterious words be transliterated after this<br />
or that fashion, so long as uniformity be pre-<br />
served. Surely a congress might sit and settle<br />
the details. H. G. K.<br />
[On this important subject perhaps the follow-<br />
ing experience may prove useful. Many years<br />
ago the Palestine Exploration Society found itself<br />
face to face with the same difficulty. Every man<br />
who worked for them in Syria followed his now<br />
method of transliteration in his reports. The<br />
result was bewildering. Finally, the committee<br />
resolved that the method adopted by Dr. Robin-<br />
son, the American traveller, should be followed in<br />
all their printed documents. The result was that<br />
their readers were no longer confused.—W. B.]<br />
II.—The Mockeby of Realism.<br />
Mr. Howard Collins's article on the subjunctive<br />
reminds me of an appeal that I made to you<br />
some months ago on the subject of an authority<br />
for the protection of the good old language com-<br />
monly called "the Queen's English." From<br />
Addison to Macaulay writers were content to<br />
follow certain acknowledged rules: words, of<br />
course, were added from time to time as new ideas<br />
arose or new objects were created, but the<br />
grammatical structure conformed to established<br />
standards, and—except in the case of royal or<br />
noble authors—one was usually able to under-<br />
stand what was meant. Setting aside Queen's<br />
Speeches, diplomatic despatches, and the like,<br />
where ambiguity might be intentionally caused,<br />
the adherence to these rules and standards<br />
brought the meaning of printed matter home to<br />
all men and women of average culture and intelli-<br />
gence. But it is no longer so in our modern<br />
days of universal "education." Literature now<br />
means novel-writing, and novels—if they are to<br />
be profitable—must be written for the third-class<br />
passenger and the board school alumnus; with<br />
what consequences we can see. As in the days<br />
of Horace:<br />
Soribimus indocti dooidqne.<br />
The mass and multitude of readers run as they<br />
read, and only ask to be amused; and that can<br />
be done by and as well as by-<br />
Thackeray or Meredith.<br />
Another curious result is the extraordinary<br />
etiquette as to topics. You may be almost as<br />
paradoxical and heterodox as you like if you will<br />
only maintain a discreet reserve and primness of<br />
manner. There is a convention, for example, that<br />
no reference is ever to be made to a certain<br />
P<br />
(1<br />
<br />
<br />
## p. 50 (#460) #############################################<br />
<br />
5°<br />
THE AUTHOR.<br />
portion of the human frame; motives may be<br />
Belfish and conduct lawless, but people must be<br />
painted in kit-cat. Dr. Conan Doyle has said<br />
of this that the modern fiction-writer never hits<br />
below the belt. But it is not altogether a ques-<br />
tion of hitting; a touch of friendliness is as bad.<br />
You may talk as much as ever you please about<br />
brain work or even of brain-fever; your charac-<br />
ters may have all sorts of sentiments in their<br />
breasts, and pulmonary phthisis has its allotted<br />
share of romantic pathos; the heart is supreme<br />
by old tradition, and even its diseases are ad-<br />
missible; the death of Svengali, has it not<br />
thrilled two continents? The legs and feet may<br />
be under a cloud in the United States, but are<br />
not quite unmentionable; in English fiction they<br />
are even cultivated. But the engine-room, the<br />
place of the machinery and propelling power,<br />
is everywhere tabu; excepting to those vulgar<br />
folk who talk of "pluck," and of "white-livered<br />
scoundrels," and call a spade " a spade."<br />
Yet, if you come to think of it, the region<br />
between the diaphragm and the pelvis contains<br />
the seat of all we do or suffer. A man could<br />
live awhile with tubercles on his lungs, heart-<br />
complaint and softening of the brain; but take<br />
away the healthy life of the region in question,<br />
and you will soon see a paralysis of the pre-<br />
sumptuous " higher " organs. It may not be amiss<br />
for the romantic school to describe the adven-<br />
tures of cherubs, but it is the most hollow mockery<br />
of realism to ignore the primary instincts which<br />
are the basis of all our actions. H. K.<br />
III.—The Need of a Literary Bureau.<br />
In conversation this week with an editor of a<br />
notable paper, we agreed as to the usefulness of<br />
an establishment where editors could at once lay<br />
their hands on what they wanted, and authors<br />
could find an immediate outlet and market for their<br />
work.<br />
Consider what time an editor might save by<br />
not having to wade through a mass of MSS. in<br />
order to discover suitable matter, and how the<br />
author would be benefited by knowing the exact<br />
periodical where his poem, article, dialogue, or story<br />
would be accepted. At present he gropes blindly<br />
in the darkness of uncertainty. The majority of<br />
writers, unless on the regular staff of a paper,<br />
heedlessly send their work about on a postal-<br />
roaming expedition, to seek a haven where it<br />
might be generously welcomed and paid for.<br />
What heartaches, disappointments, tribulations,<br />
the long-suffering community of scribblers might<br />
save if a competent distributing agency would<br />
only do this work for them!<br />
Looking at the matter from a commercial—<br />
often the necessary—standpoint, it seems to me<br />
that the rules which govern manufacturers of any<br />
commodity ought also to apply to the products of<br />
the brain. For instance, a manufacturer of nails<br />
deals with the wholesale house or middleman who<br />
supplies the shops, instead of selling his nails to<br />
the latter. Why, then, is there not a literary<br />
middleman who can at once dispose of an author's<br />
wares?<br />
In France such institutions are common.<br />
There are bureaus where even plays, songs, and<br />
musical pieces are distributed where they are<br />
needed; it is therefore surprising that what is<br />
deemed necessary in France should be completely<br />
ignored in this country.<br />
I believe the matter has been often broached in<br />
The Author, but as yet no one has had the<br />
courage or the spirit to carry out what would<br />
prove a boon to editors and contributors.<br />
The bureau could be made profitable, the editor<br />
and author paying a yearly subscription, whilst<br />
the latter would not grudge 10 per cent, com-<br />
mission to secure an immediate profitable<br />
customer.<br />
The Authors' Society might, I think, with their<br />
knowledge and experience easily further or bring<br />
this undertaking to a practical issue. They have<br />
helped, they have advised, they have protected<br />
the writers of books, and opened their eyes,<br />
to the greed of rapacious publishers; but to<br />
found and successfully inaugurate a practical<br />
institution of this kind would prove their<br />
crowning usefulness.<br />
Isidore G. Abcher.<br />
IV.—Mutual Help amono Writers.<br />
The communication from " An Occasional Con-<br />
tributor," in the June number of The Author<br />
opens up a wide field for possibilities of mutual<br />
self-help among the portion of the community—<br />
members of the Society and others—engaged in<br />
literary work. Why should not literary people,<br />
whether known actually personally to one another<br />
or not, communicate their various personal expe-<br />
riences, give and take advice, or otherwise, direct<br />
through the Society or post? Much disappoint-<br />
ment might be avoided, many of the pit-falls<br />
which beset the path of a young author might be<br />
escaped. Much mutual work might be accom-<br />
plished, many pleasant and useful literary friend-<br />
ships might be the result. Although in no way<br />
seeking an advertisement, or making any claim to<br />
a literary standing, yet the quarter of a century or<br />
so connection that I have had more or less with<br />
literary work may enable me to counsel usefully<br />
on many points those who are mere beginners or<br />
have had less; and that advice I should ever be<br />
<br />
<br />
## p. 51 (#461) #############################################<br />
<br />
THE AUTHOR.<br />
pleased to give. On the other hand, I am only<br />
:stul a, learner, and shall be till the end of my days,<br />
.and shall be just as glad often to ask and receive<br />
;advice as T shall be to give it.<br />
Thomas W. D. Lisle.<br />
Amesbury, Salisbuiy.<br />
PERSONAL.<br />
AMONUMENT to the late Joseph Thomson,<br />
the African explorer, was unveiled at his<br />
native place—Thornhill, Dumfriesshire—<br />
last month by Sir Clements Markham, president<br />
of the Royal Geographical Society.<br />
Mr. William Holden, custodian of the Grenville<br />
Xiibrary at the British Museum, has retired on a<br />
pension, having passed fifty years in the service of<br />
the Trustees.<br />
Mr. Qeorge Smith is about to give a dinner to<br />
the contributors to the "Dictionary of National<br />
Biography," in celebration of the completion of<br />
the list of names. Vol. 52, issued last week, in-<br />
cluded the articles on Shakspeare, by Mr. Sidney<br />
Lee; Scott, by Mr. Leslie Stephen; and Seeley,<br />
by Professor Prothero.<br />
Mr. Henry James has become London corre-<br />
spondent with Harper's Weekly.<br />
Mrs. Olive Schreiner has been obliged by<br />
indisposition to leave London and to seek com-<br />
plete rest at a quiet seaside place.<br />
The Women Writers of England held their<br />
annual dinner at the Criterion Restaurant, London,<br />
on June 14; Mrs. Steel presided, and spoke upon<br />
the ethics of literature. There were many things<br />
in the commercial aspect of literature, she said,<br />
that even men acknowledged to be wrong, and<br />
which might be amended if women would be both<br />
bold and honest, now they had got their say.<br />
Miss Montresor proposed the toast of "Absent<br />
Friends," and Mrs. Creighton subsequently made<br />
a speech on the pleasures of research. The com-<br />
pany included also Mrs. J. R. Green, Mrs.<br />
Thackeray Ritehie, Miss M. A. Dickens, Mrs.<br />
Meade, Miss Mary Kingsley, Mrs. Clifford, "Edna<br />
Lyall," and Miss Adeline Sergeant. At the out-<br />
set of the dinner, after "The Queen" had been<br />
honoured, the following telegram was despatched:<br />
"A hundred and twenty women writers, at their<br />
-annual dinner, humbly and heartily congratulate<br />
Victoria, Queen, Empress, and authoress, on her<br />
Diamond. Jubilee."<br />
OBITUARY.<br />
MRS. OLIPHANT died on the 25th ult., at<br />
her house at Wimbledon, from cancer.<br />
Born at Walliford, near Musselburgh,<br />
Midlothian, in 1828, she began to write in 1849,<br />
when "Passages in the Life of Margaret Mait-<br />
land" appeared. She rapidly obtained a foothold<br />
among fiction readers, and subsequently traversed<br />
also the fields of popular biography and history.<br />
Altogether she had written about 100 books,<br />
among which may be mentioned " The Chronicles<br />
of Carlingford," " It was a Lover and His Lass,"<br />
"The Prodigals," "Diana Trelawny," "Neigh-<br />
bours on the Green," "Sir Robert's Fortune,"<br />
"Old Mr. Tredgold," "Life of Edward Irving,"<br />
"Memoir of the Life of Laurence Oliphant and<br />
of Alice his Wife," "Memoir of Count Montalem-<br />
bert," "Francis of Assisi," "Jeanne d'Arc,"<br />
"Historical Sketches of the Reign of Queen<br />
Anne," "Royal Edinburgh," "The Makers of<br />
Venice," "The Makers of Florence," "The<br />
Makers of Modern Rome," "The Literary History<br />
of England in the End of the Eighteenth and<br />
Beginning of the Nineteenth Century," and a<br />
"Child's History of Scotland." She also con-<br />
tributed " Molicre" and "Cervantes" to Black-<br />
wood's series of Foreign Classics for English<br />
readers, edited by herself, and "Sheridan" to<br />
the English Men of Letters Series. Only recently<br />
she published two stories, entitled "Two Ways<br />
of Life," and wrote a biography of the Queen for<br />
the Diamond Jubilee number of the Graphic. She<br />
was engaged upon a " History of the Blackwood<br />
Group," which was to run to three or four<br />
volumes, two of which are practically ready for<br />
publication. She was a frequent contributor to<br />
Blackwood's Magazine, in which many of her<br />
novels originally appeared. Mrs. Oliphant,<br />
whose maiden name was Wilson, was pre-<br />
deceased by her husband and two sons.<br />
RE-OPENING OF THE BRONTE. MUSEUM.-<br />
Apeil 10, 1897.<br />
Tf^HE following report, written for The Author,<br />
I has been unavoidably delayed. Readers<br />
will rather hear about the Bronte Museum<br />
late than never:—<br />
Moorside Haworth is said to be uncouth and<br />
rugged, but at least she has learned the elements<br />
of hospitality. Dr. Robertson Nicoll and Mr.<br />
Clement Shorter, not coutent with the hard<br />
work they have already done in the interests<br />
<br />
<br />
## p. 52 (#462) #############################################<br />
<br />
52<br />
THE AUTHOR.<br />
of Bronte lore, wished to add one more to<br />
their efforts; and Haworth generously put by<br />
her winds and rain for the time being, and<br />
gave them as cheery weather as they could have<br />
hoped for.<br />
A sympathetic crowd assembled in front of the<br />
museum doors at three o'clock. Mr. Shorter briefly<br />
declared the museum re-opened for the summer,<br />
after which everyone dispersed in the direction<br />
of the moors. Mr. Wade, the rector, was most<br />
courteous in his willingness to show the visitors<br />
the rectory.<br />
In the evening a well-attended meeting was<br />
held in the Baptist schoolroom. Mr. Brigg, in<br />
the chair, performed his duties cheerily and well,<br />
and, in introducing the author of "Charlotte<br />
Bronte and Her Circle" to the audience, he had<br />
a singularly pleasant task. Mr. Shorter struck a<br />
true note when he claimed to be at home amongst<br />
us. From the start there could be no doubt as<br />
to the reception in store for him from those<br />
who had read the biography, and I think we<br />
abandoned for the time being our prerogative as<br />
Yorkshiremen to express a little less than we feel.<br />
His speech, dwelling as it did on a subject of<br />
which he has shown himself the master, could not<br />
fail to be interesting; nothing could have been<br />
happier than the chatty way in which he talked<br />
to us, as a friend among friends. Mr. Shorter<br />
expressed a lively desire to see the Bronte<br />
biography re-written once for all, and that by a<br />
Yorkshireman and a literary artist. If Mr.<br />
Shorter himself is possessed only of the latter of<br />
these two essentials, it is surely our misfortune<br />
rather than his fault that another soil is respon-<br />
sible for him.<br />
Dr. Robertson Nicoll followed with a speech of<br />
rare power. There was something very con-<br />
vincing in the quiet, well-chosen periods in which<br />
he gave expression to his enthusiasm — an<br />
enthusiasm which has led him to do more for<br />
Bronte literature, perhaps, than any literary man<br />
of the age. Dr. Nicoll laid stress on the hard-<br />
ships through which the Bronte family passed;<br />
on the unfailing heroism and strength under trial<br />
exhibited by the three sisters; on the remarkable<br />
union of these with the power of feeling passion,<br />
the power of restraining passion, and the power<br />
of giving it an outlet in literary form. He<br />
gave credit to the moor-environment of<br />
Haworth for suggesting all that was strongest<br />
and best in the Bronte novels, and claimed<br />
that the sisters, despite accidents of birth,<br />
were essentially Yorkshire in character, habits,<br />
and associations.<br />
As the upshot of the meeting, one thing is<br />
abundantly clear—the Brontes live to-day as they<br />
never lived in their own time. There is nothing<br />
easier of diagnosis than mock enthusiasm,<br />
and at the same time there is no doubting<br />
the genuine fervour which once in a while we<br />
find reflected in the faces of an audience. Little<br />
Haworth, wild, provincial to the heart, has pro-<br />
duced literature that will only die with the<br />
language; of her ruggedness has been born<br />
strength, from her tenderness has sprung im-<br />
mortality.<br />
Halliwell Sutcliffe.<br />
A NOTE PROM BUCELE.<br />
THE following note may be read by those who<br />
doubt the existence or the importance of a<br />
love for literature among the people:—<br />
"The extension of knowledge being thus<br />
accompanied by an increased simplicity in the<br />
manner of its communication, naturally gave<br />
rise to a greater independence in literary men,<br />
and a greater boldness in literary inquiries. As<br />
long as books, either from the difficulty of their<br />
style or from the general incuriosity of the people,<br />
found but few readers, it was evident that authors<br />
must rely upon the patronage of public bodies or<br />
of rich and titled individuals. And as men are<br />
always inclined to flatter those upon whom they<br />
are dependent, it too often happened that even,<br />
our greatest writers prostituted their abilities by<br />
fawning upon the prejudices of their patrons.<br />
The consequence was that literature, so far from<br />
disturbing ancient superstitions and stirring up<br />
the mind to new inquiries, frequently assumed a<br />
timid aHd subservient air, natural to its subordi-<br />
nate position. But now all this was changed.<br />
Those servile and shameful dedications; that<br />
mean and crouching spirit; that incessant homage<br />
to mere rank and birth; that constant confusion<br />
between power and right; that ignorant admira-<br />
tion for everything which is old, and that still<br />
more ignorant contempt for everything which is<br />
new; all these features became gradually fainter ,<br />
and authors, relying upon the patronage of the<br />
people, began to advocate the claims of their new<br />
allies with a boldness upon which they could not<br />
have ventured in any previous age."<br />
<br />
<br />
## p. 53 (#463) #############################################<br />
<br />
THE AUTHOR. 53<br />
LITERATURE IN THE PERIODICALS.<br />
Woman's Place in the World of Letters. Mrs.<br />
J. B. Green. Nineteenth Century for June.<br />
Poetry and the Jubilee: A Temptation for Mil-<br />
lionaires. Richard Le Gallienne. Westminster Gazette<br />
for Jane a i.<br />
Self-Consciousness in Poetry. The Spectator of<br />
Jnne 12.<br />
School of Fiction. Mrs. Meade and Sir W. Besant.<br />
New Century Revietv for Jnne.<br />
The Real Monsieur D'Artaqnan. Sir Herbert<br />
Maxwell. Blackwood's Magazine for June.<br />
Oxford and Jowett. A. M. Fairbairn, D.D. Contem-<br />
porary Review for June.<br />
The Abuse of Dialect. Matmilla n's for Jnne.<br />
Our Men of Letters and Our Empire. W. Gress-<br />
well. Temple Bar for Jnne.<br />
A Plea for the Study of Sonnets. Emily G. Kemp.<br />
Temple Bar for Jnne.<br />
Notable Beview.<br />
Francis Thompson's " New Poems." Daily Chronicle for<br />
May 29.<br />
Woman remains essentially mysterious, even in<br />
her literary venture, says Mrs. J. R. Green; she<br />
does not come forward unprotected and bare to<br />
attack, but she covers her advance with a whole<br />
machinery of arrow-proof bides and wooden<br />
shelters, or seeks safety in what is known in<br />
Nature as protective mimicry. The problem of<br />
this precaution and disguise is not to be solved<br />
by merely accounting for a prudent demeanour,<br />
which may be explained by timidity, self-distrust,<br />
a sensitive vanity, and hatred of criticism. "To<br />
the truth first pointed out by Schopenhauer—<br />
that there is another and a greater force than<br />
Thought in the Universe, namely, the force<br />
of Will—woman remains the living witness."<br />
Here are her perplexities as Mrs. Green states<br />
them :—<br />
She is haunted by a twofold experience. Primitive<br />
emotions and instincts that rise from abysses of Nature<br />
where she herself is one with the world that lies below con-<br />
sciousness, carry with them an authority so potent and<br />
tyrannical that she is impelled to rank them above all<br />
functions of intelligence. On the other hand, a rude<br />
and ruthless discipline warns her that these are but<br />
the raw material with which Nature works, lopping off<br />
here, and cutting down there, everything that pnshes<br />
above the sanctioned level. By a thousand indications,<br />
too. Life mocks her with the awful panorama of emotion<br />
continually swept before the power of common realities<br />
of the world life shifting sand driven before the storm—<br />
nothing stable that is not comprehended. Nowhere is the<br />
bewildering civil strife of Nature, the battle that is with<br />
confused noise and garments rolled in blood, stranger or<br />
less intelligible than in the devastated field of woman's<br />
experience.<br />
With the exceptions, it may be said, of Mrs.<br />
Hutchinson, Mrs. Catherine Macaulay, and Mme.<br />
de Stael, woman has left on one side, or only-<br />
skirted, the fields of theological, metaphysical,<br />
and political speculation, an aloofness which is<br />
possibly of the same character as her detachment<br />
from the whole classic world. "The Modern<br />
Englishwoman has in no way been subdued to<br />
the civilisations of Greece and Rome; her cry<br />
still resounds: 'Let them see no wisdom<br />
but in Thy eternal law, no beauty but in<br />
holiness.'" Perhaps woman is never quite<br />
self-forgetful enough for frank expression of<br />
her feeling, save under the passionate impulse of<br />
poetry. True, such prose writers as Charlotte<br />
Bronte and George Eliot at the height of their<br />
argument overleap common bounds; "but," says<br />
Mrs. Green, " it may be doubted whether there is<br />
any woman save Christina Rossetti (and, within<br />
her own limits, Emily Bronte), whose sincerity<br />
has never faltered, and whose ardent soul has-<br />
constantly scorned to wear the livery of any pas-<br />
sion save its own." Woman is an anarchist of<br />
the deepest dye; she has allied herself with the<br />
poor, and all who like herself were seeking some-<br />
thing different from that which they knew, and<br />
the two great religions which have expressed tha<br />
feminine side of feeling, the Buddhist and the<br />
Christian, have been sustained by her ardour;<br />
Stoicism has been routed, and the enormous value<br />
supposed to attach to each separate being, the<br />
importance of life and death, have been given a<br />
prominence such as was never before known—<br />
and this has been mainly done by woman, who is<br />
herself perhaps Nature's chief witness to the<br />
truth that humauity is not the centre of the<br />
universe. And the future? The feminine as<br />
opposed to the masculine forces in the modern<br />
world are becoming more and more decisive in<br />
human affairs; but " if woman is to deliver her<br />
true message, or to be the apostle of a new era,<br />
she must throw aside the curiosity of the stranger<br />
and the licence of the anarchist. The history and<br />
philosophy of man must be the very alphabet of<br />
her studies, and she must speak the language of<br />
the world to which she is the high ambassador,<br />
not as a barbarian or foreigner, but as a skilled<br />
and fine interpreter. From culture she must<br />
learn deeper lessons than ' Taste,' and the Reason<br />
which in the last resort must give stability to the<br />
shadows projected by her instinct must be hon-<br />
ourably reckoned with."<br />
May not poor poetry presume to be " like things<br />
of the season gay 'r1" asks Mr. Le Gallienne.<br />
He is pleading for an adequate recognition, at<br />
this Jubilee season, of the fact that in nothing<br />
has the Victorian era juster reason to pride itself<br />
than in its literature. Novelists live in castles,<br />
build mansions for themselves, and are generally<br />
self-supporiing; for the most part poets must<br />
either be supported, or, in the process of earning<br />
their honest livings, surely and swiftly cease to<br />
be poets. The poet only wants to be fed—not<br />
for idleness, but, like every other worker, for the<br />
<br />
<br />
## p. 54 (#464) #############################################<br />
<br />
54<br />
THE AUTHOR.<br />
service he does the community. State support<br />
being out of the question—" a proposal more<br />
appropriate for the Millennium than the Jubilee"<br />
—Mr. Le Gallienne addresses his appeal less to<br />
the nation than to the nation's millionaires. To<br />
these he shows such a way of originality in the<br />
spending of their money as will lift them at once<br />
out of the mere rabble of millionaires. He puts<br />
it thus:<br />
ft year's rest for these men, 0 millionaires, a year's rest<br />
—to work in. How easy it were for you to give them all<br />
five years' rest—to work in, mind!—a whole life's rest.<br />
With the stroke of a pen yon conld endow all the<br />
genius that deserves and needs endowment; yon conld be<br />
the virtual founders of Twentieth Century English Litera-<br />
ture! .£50,000 invested at 4 per cent, would provide eight<br />
poets with JB250 a year for life; and what is £50,000,<br />
seriously speaking, to pay for the honour of doing so great<br />
a servioe to your country? . . . Have you not said<br />
that you would spend more on your stables than the sum I<br />
. ask? Or if one of you cannot Bee your way, how about a<br />
syndicate of Maecenases P<br />
The Spectator differs a little from Professor<br />
Courthope in the examples he has cited of the<br />
"vast growth of individual self-consciousness"<br />
as one of the main causes of the poetical deca-<br />
dence. The poets were Matthew Arnold, Algernon<br />
Swinburne, and Eudyard Kipling. As to the<br />
latter two, the Spectator "should not have<br />
thought that, whatever their faults may be, there<br />
was any exaggerated element of self-conscious-<br />
ness in either of them "; and as to Arnold, with<br />
whom the article deals principally, the writer<br />
argues that the "individual self-consciousness"<br />
in his poems was not of the kind fatal, or other-<br />
wise than exalting, to his genius as a writer, and<br />
that, in fact, Wordsworth is often guiltier of the<br />
fatal kind of self-consciousness — that which<br />
throws up the oddities and unmeaning eccentri-<br />
cities of individuals, instead of bringing out<br />
more fully the characteristics of human nature<br />
at large—than Arnold. As evidences that the<br />
self-consciousness is not of the kind which dwells<br />
on what is petty and egotistic in the poet's mind,<br />
the writer instances " Empedocles on Etna," and<br />
the lines in " The Scholar Gipsy " which express<br />
the craving of the Oxford student for a calm life.<br />
Pidgin English is discussed by Colonel Shaw<br />
(in an article in the New Revieie for May,<br />
which we had no space to notice last month),<br />
who locates the birthplace of this dialect as<br />
Canton. It is so easily learned that it i3 popular<br />
with the native hangers-on of the English.<br />
English merchants find it profitable too, because<br />
while it takes six years to learn the Chinese<br />
language (which has eighteen dialects, in addi-<br />
tion to the Mandarin, or Court, dialogue), Pidgin<br />
can be acquired in as many months—and it serves<br />
-their turn. At Hong Kong, in spite of official<br />
discountenance, Canton English still holds its<br />
own. At Canton and various coast settlements<br />
the Chinese have regular schools and classes in<br />
which it is taught, and it is believed that similar<br />
arrangements exist, under the rose, in our colony<br />
of Hong Kong itself. The vocabulary is made<br />
up of three classes of words: (1) words purely<br />
English; (2) words purely Chinese, a very small<br />
proportion; and (3) words of doubtful parentage.<br />
The word •' pidgin" means "business." Thus<br />
"joss-pidgin" is divine worship; "singsong<br />
pidgin," theatricals; "coolie-pidgin," work of a<br />
labourer; "too muchie pidgin," press of work.<br />
"My" stands for " I or me "; "you" is used as<br />
in English; "he" does duty for he, him, she,<br />
her, or it. There are no genders. The possessive<br />
adjectives and pronouns are formed by the addi-<br />
tion of the word "belong," so that "belong to<br />
pidgin" means "his or her business." "That"<br />
and " this " are used much as in English, but the<br />
former also takes the place of our "the."<br />
"Number one" is the phrase for excellence or<br />
superiority either in a person or a thing. Thus,<br />
the Bishop of Victoria is ordinarily described in<br />
Hong Kong as "that number one heaven-pidgin<br />
man." When the youth in the missionary school<br />
is puzzled by difficulties in the study of pure<br />
English, he is apt to seek refuge in the easier<br />
Pidgin, and it is told of one convert that he<br />
could not be made to understand the Psalm for<br />
the day: "Why do the heathen so furiously rage<br />
together:" until his European teacher rendered<br />
the line into Chinese, when as the meaning<br />
dawned upon him he broke out, to the great<br />
scandal of all present: "My savee: what for<br />
that Heathen man makee too muchie bobbely."<br />
The popularity of the dialect is remarkable,<br />
although in the Colonial Government schools at<br />
Hong Kong every possible effort is made in the<br />
opposite direction :—<br />
It is spoken not only by the English residents in com-<br />
municating with their servants and employees, but also by<br />
the merchants and visitors to China of all other nations.<br />
The Dutch captains who voyage to Hong Kong from Batavia,<br />
with little knowledge of our pure vernacular, are often excel-<br />
lent hands at Pidgin. The French and Germans make use<br />
of it with few exceptions, and learn it on arrival quite as a<br />
distinct study.<br />
In the New Century Mrs. Meade replies to<br />
criticism of the proposed '• school of fiction,"<br />
holding that it would serve to weed o.it the<br />
incapable, the weak, and the commonplace<br />
novelists; and Sir Walter Besant states his<br />
opinion that a " School of Literature and Com-<br />
position" would raise the standard of literary<br />
art, and allow clever young writers to have a<br />
systematic study of English literature, style, logic,<br />
and the art of putting things.<br />
<br />
<br />
## p. 55 (#465) #############################################<br />
<br />
THE AUTHOR.<br />
55<br />
Sir Herbert Maxwell gives an account in Black-<br />
tcood's of the real D'Artagnan, from whose<br />
memoirs Dumas's famous trilogy was written.<br />
He was a great intriguer, a great lover, and a<br />
great warrior. "You will always be the same,<br />
Sir," said Mazarin to him; "the first petticoat—<br />
and serious matters fly out of the window."<br />
THE BOOKS OF THE MONTH.<br />
[Mat 24 to June 23—219 Books.]<br />
Adams, D. C. 0., and Carter. T. T. The Salnta and Missionaries of<br />
the Anglo-Saxon Era. First series. Mowbray.<br />
Allen, Grant Cities of Belgium. (Historical Guide). 8/6 net.<br />
Richards.<br />
Allen, James Lane. The Choir Invisible. 6/- Macmillan.<br />
Ames, P. W. The Mirror of the Sinful Soul. A translation by<br />
Queen Elizabeth when eleven years of age. 10 6 net. Afiher.<br />
Anglican Pulpit Library. Vol. VI:—The SnndajB after Trinity. 15/-<br />
H odder and Stoughton.<br />
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A FLYING VISIT<br />
TO the<br />
AMERICAN CONTINENT.<br />
WITH NOTES BY THE WAY.<br />
By F. DALE PAWLE,<br />
London: Horace Cox, Windsor House, Bream's-buildings, E.C.<br />
Second Edition, Revised and Enlarged. Crown 8vo., limp cloth,<br />
2s. fid. net; pontage, 3d. extra.<br />
THE<br />
PRINCIPLES OP CHESS<br />
IN THEORY AND PRACTICE.<br />
JAMES '"MASON.<br />
CONTENTS. — 1. Elements of Chess. 2. General Principles.<br />
3. Combination. 4. Exposition of Master Play Complete.<br />
London: Horace Cox, Windsor House, Bream's-buildings, E.C.<br />
MRS. GILL,<br />
TYPE-WBITINO OFFICE,<br />
35, LUDGATE HILL, E.C.<br />
(ESTABLISHED 1883.)<br />
Authors' MSS. carefully copied from Is. per 1000 words. Duplicate<br />
copies third price. Skilled typists sent out by hour, day, or week.<br />
French MSS. accurately copied, or typewritten English translations<br />
supplied. References kindly permitted to Sir Walter Besant; alBO<br />
to MesBrs. A. P. Watt and Son, Literary AgentB, Hastings House,<br />
Norfolk-streot, Strand, W.O.<br />
THE AUTHOR'S HAIRLESS PAPER-PAD.<br />
(The Leadenhall Pbess Ltd.),<br />
50, Leadenhall Street, London, TC.C<br />
Contains hairless paper, over which the pen<br />
slips with perfect freedom.<br />
Sixpence each: 5s. per dozen, ruled or plain.<br />
Super-royal Hvo., price 20s., post free.<br />
CROCKFORD'S<br />
CLERICAL DIRECTORY 1897.<br />
BEING A<br />
STATISTICAL BOOK OF REFERENCE<br />
For farts relating to the Clergy in England, Wales, Scotland, Ireland<br />
and the Colonies; with a fuller Index relating to Parishes and<br />
Benefices than any ever yet given to the public.<br />
Crockfohd's Clerical Directory is more than a Directory; it coo-<br />
tains concise Biographical details of all the ministereanddignitaries of<br />
tho Church of England, Wales, Scotland, Ireland, and the Colonies;<br />
also a List of the Parishes of each Diocese in England and Wales<br />
arranged in Rural Deaneries.<br />
T W ENTY-NINTM ISSUES.<br />
HORACE Cox, Windsor House, Bream's-buildings, E.C.<br />
Pocket Size, price 6d.; by post, fi£d.<br />
THE LAWS OF GOLF,<br />
As Adopted by the Royal and Ancient Oolf Chtb of<br />
St. Andrews.<br />
Special Rules for Medal Play.<br />
Etiquette of Golf.<br />
Winners of the Golfing Championship.<br />
Winners and Runners-up for the Amateur Championship.<br />
London : Horace Cox, Windsor House, Bream's-buildings, E.C.<br />
Printed and Published by Horace Cox, Windsor HonBe, Hream'e-bnildings, London, E.C. | https://historysoa.com/files/original/5/305/1897-07-01-The-Author-8-2.pdf | publications, The Author |