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309	https://historysoa.com/items/show/309	The Author, Vol. 08 Issue 06 (November 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+06+%28November+1897%29"><em>The Author</em>, Vol. 08 Issue 06 (November 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>	1897-11-01-The-Author-8-6					137–172																		<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=1897-11-01">1897-11-01</a>							6			18971101	XL he Hutbot\<br /> {The Organ of the Incorporated Society of Authors. Monthly.)<br /> CONDUCTED BY WALTER BESANT.<br /> Vol. VIII.—No. 6.]<br /> NOVEMBER i, 1897.<br /> [Peice Sixpence.<br /> (General Memoranda<br /> Literary Property—<br /> 1. Educational Report<br /> 2. Motcalf r. Conway<br /> 3. The Berne Convention<br /> On BringiDg out a Book—<br /> I. Do we want a Publisher?<br /> i. Another View<br /> New York Letter. By Norman Hapgood<br /> Notes and Newa. By the Editor.<br /> The Dignity of Authorship<br /> The Autumn Lists<br /> CONTENTS.<br /> PAOE<br /> ... 187<br /> ... 139<br /> ... 141<br /> ... 142<br /> ... 143<br /> ... 144<br /> ... 148<br /> ... 150<br /> ... 154<br /> ... 156<br /> The Tennyson Biography<br /> The Library Association. Presidential Address<br /> The Wisdom of 1772<br /> The Historical English Dictionary<br /> Correspondence—1. &quot;Literature.&quot; 2. Effect of Eeviews. 3.<br /> Novelist v. Reviewer. 4. Editor and Contributor. 5. Stamps<br /> for MSS. going Abroad 6. The Bight of Reply 162<br /> PAOK<br /> .. 157<br /> . 159<br /> .. 161<br /> .. 162<br /> Book Talk<br /> Literature in the Periodicals<br /> Two Memorials<br /> The Books of the Month ...<br /> 1(4<br /> , 1«7<br /> 169<br /> , 170<br /> PUBLICATIONS OP THE SOCIETY.<br /> 1. The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c, with estimates showing what it costs to produce the more common kinds of<br /> hooks. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> 2. The Various Methods of Publication. By S. Squire Sprigge. In this work, compiled from the<br /> papers in the Society&#039;s offices, the various forms of agreements proposed hy 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. 3s.<br /> 3. Copyright Law Reform. An Exposition of Lord Monkswell&#039;s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> containing the Berne Convention and the American Copyright Bill. By J. M. Lilt. Eyre<br /> and Spottiswoode. i*. 6d.<br /> 4. The Society of Authors. A Record of its Action from its Foundation. By Walter Besant<br /> (Chairman of Committee, 1888—1892). is.<br /> ! THE TEMPLE TYPEWRITING OFFICE. I<br /> ^ rpYPE<br /> PEWRITING EXCEPTIONALLY<br /> ACCURATE. Moderate prieeB. Duplicates of Circulars by the latest §<br /> process. ^<br /> J OPINIONS OF CLIENTS— Distinguished Author:—&quot;The most beautiful typing I have ever seen.&quot; Lady op Title:—&quot;The J<br /> ^ work was very well and clearly done.&quot; Provincial Editor :—&quot; Many thanks for the spotless neatness and beautiful accuracy.&quot; ^<br /> 5 MISS GENTRY, ELDON CHAMBERS, 30, FLEET STREET, E.C. ^<br /> TYPEWRITING.<br /> Authors&#039; MSS. accurately Copied from IOd. per IOOO words.<br /> EIGHTY unsolicited testimonials.<br /> MRS. BRAY, 53, BEDFORD ROAD, CLAPHAM, S.W.<br /> <br /> <br /> ## p. 136 (#562) ############################################<br /> <br /> 11<br /> AD VER TISEMENTS.<br /> ^f)e g&gt;octefg of Jluiljors (gncoxpoxateb).<br /> 8ib Edwin Arnold, K.C.I.E., C.<br /> J. M. Babbie.<br /> A. W. 1 Beckett.<br /> Robert Bateman.<br /> F. E. Beddard, F.B.S.<br /> Sib Henrt Berone, K.C.M.G.<br /> Sib Walter Besant.<br /> augustine blbbell, m.p.<br /> Rev. Pbof. Bonnet, F.E.S.<br /> Bioht Hon. James Bbtce, M.P.<br /> Bight Hon. Lord Bdbghclere<br /> Hall Caini.<br /> Egerton Castle, F.S.A.<br /> P. W. Clatden.<br /> Edward Clodd.<br /> W. Morris Colles.<br /> Hon. John Collieb.<br /> Sib W. Mabtin Conwat.<br /> F. Marion Crawford.<br /> The Earl of Desart.<br /> PRESIDENT.<br /> GEORGE MEBEDITH<br /> COUNCIL.<br /> S.I. I Austin Dobson.<br /> A. CONAN DOTLE, M.D.<br /> A. W. Dubourg.<br /> Pbof. Michael Foster, F.B.S.<br /> D. W. Fbeshfibld.<br /> Richard Garnett, C.B., LL.D.<br /> Edmund Gosse.<br /> H. Ridxb Haggard.<br /> Thomas Hardy.<br /> Anthont Hope Hawkins.<br /> P.C. | Jerome K. Jerome.<br /> Budtard Kipling.<br /> Prof. E. Eat Lankesteb, FJB.S.<br /> W. E. H. Leckt, P.C.<br /> J. M. Lklt.<br /> Mrs. E. Lynn Linton.<br /> Eev. W. J. Loftie, F.S.A.<br /> Sir A. C. Mackenzie, Mus.Doc.<br /> Prof. J. M. D. Meiklejohn.<br /> Herman C. Mbrivale.<br /> Hon. Counsel — E. M. Underdown,<br /> Bet. C. H. Middleton-Wake.<br /> Sir Lewis Morris.<br /> Henrt Norman.<br /> Miss E. A. Ormerod.<br /> J. C. Parkinson.<br /> Bight Hon. Lord Pirbright, P.C,<br /> F.R.S.<br /> Sir Frederick Pollock, Bart., LL.D.<br /> Walter Herries Pollock.<br /> W. Baptiste Scoones.<br /> Miss Flora L. Shaw.<br /> G. R. Sims.<br /> S. Squire Sprigge.<br /> J. J. Stevenson.<br /> Francis Storr.<br /> William Mot Thomas.<br /> H. D. Traill, D.C.L.<br /> Mrs. Humphrt Ward.<br /> Miss Charlotte M. Yonge.<br /> Q.C.<br /> A. W. X Beckett.<br /> Sir Walter Besant.<br /> Egerton Castle, F.S.A.<br /> W. Morris Colles.<br /> ART.<br /> Hon. John Collier (Chairman).<br /> Sir W. Martin Conwat.<br /> M. H. Spielmann.<br /> COMMITTEE OF MANAGEMENT.<br /> Chairman—H. Rider Haggard.<br /> Sir W. Martin Conwat.<br /> D. W. Freshfield.<br /> Anthont Hope Hawkins.<br /> J. M. Lelt.<br /> SUB-COMMITTEES.<br /> MUSIC.<br /> C. Villiers Stanford, Mns.D. (Chairman).<br /> Jacques Blumenthal.<br /> J. L. Mollot.<br /> Solicitors | Field, Boscoe, and Co., Lincoln&#039;s Inn Fields.<br /> Sib A. C. Mackenzie, Mus.Doc.<br /> Henrt Norman.<br /> Francis Storr.<br /> DRAMA.<br /> Henrt Arthur Jones (Chairma<br /> A. W. X Beckett.<br /> Edward Eose.<br /> Herbert Thring, B.A., 4, Portugal-street. Secretary—G. Herbert Thbing, B.A.<br /> OFFICES: 4, Portugal Street, Lincoln&#039;s Inn Fields, W.C.<br /> IP. WATT &amp; SO 1ST,<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 /> Stick in your Scraps with<br /> STICKPHAST PASTE.<br /> Heaps better than gum,<br /> 6d. and Is., with strong, useful brush.<br /> Sold by Stationers, Chemists, Stores, Ac.<br /> Factory, SUGAR I^O-A-TP COURT, E.G.<br /> WANTED.<br /> Advanced Lessons in Novel-Writing.<br /> State Successful Works.<br /> Replies will be considered Confidential.<br /> Address— &quot;FICTION,&quot;<br /> Advertising Offices, 10, High Holhorn, W.C.<br /> <br /> <br /> ## p. 137 (#563) ############################################<br /> <br /> XT b e Hutbor,<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> CONDUCTED BY WALTER BESANT.<br /> Vol. Vin.—No. 6.] NOVEMBER i, 1897. [Price Sixpence.<br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the Committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> THE Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, bnt 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 practice to insert, in<br /> every number of The Author, certain &quot; General Con-<br /> siderations,&quot; Warnings, Notices, &amp;c, for the guidance<br /> of the reader. It has been objected as regards these<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 carry on<br /> his business in his own way.<br /> Let us, however, draw up a few of the rules to be<br /> observed in an agreement. There are three methods of<br /> dealing with literary property:—<br /> I. That of selling it outright.<br /> This is in some respects the most satisfactory, if a proper<br /> price can be obtained. But the transaction should be<br /> managed by a competent agent.<br /> II. A profit-sharing agreement.<br /> In this case the following rules should be attended to:<br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part.<br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> VOL. VIII.<br /> in his own organs: or by charging exchange advertise-<br /> ments.<br /> (3.) Not to allow a special charge for &quot; office expenses,&quot;<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 amonnt of overreaching and trading on the<br /> author&#039;s ignorance, it is above all things necessary to know<br /> what the proposed royalty means to both &#039;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 /> Headers can also work out the figures themselves from the<br /> &quot;Cost of Production.&quot; Let no one, not even the youngest<br /> writer, Bign a royalty agreement without finding out what<br /> it gives the publisher as well as himself.<br /> It has been objeoted 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 iB 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 chance of a<br /> success which will not, probably, come at all; but which<br /> may come.<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 tho3e 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 which has not been<br /> actually paid—for instance, that there shall be no charge for<br /> advertisements in the publisher&#039;s own organs and none tor<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 /> N 2<br /> <br /> <br /> ## p. 138 (#564) ############################################<br /> <br /> 138 THE AUTHOR.<br /> HOW TO USE THE SOCIETY.<br /> I. liT VERY member has a right to ask for and to receive<br /> ITi advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. If the advice<br /> Bought is such as can be given best by a solicitor, the member<br /> has a right to an opinion from the Society&#039;s solicitors. If the<br /> case is such that Counsel&#039;s opinion is desirable, the Com-<br /> mittee will obtain for him Counsel&#039;s opinion. All this<br /> without any cost to the member.<br /> 2. Remember that questions connected with copyright<br /> and publisher&#039;s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such qnestions 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, yon should<br /> take advice as to a ohange 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 nouses—the tricks 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&#039; agreements and their preservation in a fireproof<br /> safe. The agreements will, of coarse, 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 AUTHOES&#039; SYNDICATE.<br /> MEMBERS are informed:<br /> 1. That the Authors&#039; 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, relieves members of the trouble of managing business<br /> details.<br /> 2. That the terms upon whioh its services can be secured<br /> will be forwarded upon detailed application.<br /> 3. That the Authors&#039; 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 al$<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&quot;<br /> notice should be given.<br /> 6. That every attempt is made to deal with all communi-<br /> cations promptly. That stamps should, in alt cases, be sent<br /> to defray postage.<br /> 7. That the Authors&#039; 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;<br /> that it has a &quot;Transfer Department&quot; for the sale and<br /> purchase of journals and periodicals; and that a &quot; Register<br /> of Wants and Wanted&quot; is open. Members arc invited to-<br /> communicate their requirements to the Manager.<br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> NOTICES.<br /> THE Editor of Tlie Author begs to remind members of the*<br /> Society that, although the paper is sent to them free<br /> of charge, the oost of producing it would be a very<br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6tZ. subscription for tho year.<br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make The Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write?<br /> Communications for The Author Bhould reach the Editor<br /> not later than the 21st of each month.<br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It mnst also be distinctly under-<br /> stood that the Sooiety does not, under any circumstances,<br /> undertake the publication of MSS.<br /> The Authors&#039; Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year P If they will do<br /> this, and remit the amonnt, if still unpaid, or a banker&#039;s<br /> order, it will greatly assist the Secretary, and Bave him the<br /> trouble of sending out a reminder.<br /> Members are most earnestly entreated to attend to tho<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. 139 (#565) ############################################<br /> <br /> THE AUTHOR.<br /> l39<br /> or 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 &quot;Cost of Production&quot; 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 &quot;doing sums,&quot; the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands<br /> at £g 4s. The figures in our book are as near the exact<br /> truth as can be procured; but a printer&#039;s, or a binder&#039;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 &quot; Cost of Production&quot; for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher&#039;s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> LITERARY PROPERTY.<br /> I.—Educational Report.<br /> Report of the Sub-Committee of the Society<br /> of Authors appointed to deal with the Publi-<br /> cation of Educational Works. Approved by<br /> the Committee.<br /> THERE is no literary property more valuable<br /> than a successful class book. The yearly<br /> consumption of such books in elementary<br /> schools may be reckoned by the hundred thousand,<br /> and even in secondary schools a class book of<br /> repute, such as the Public School Latin Primer<br /> or Bradley&#039;s Arnold, has a sale of from five to ten<br /> thousand copies a year.<br /> Such hits in educational books, no less than in<br /> other branches of literature, are, of course, rare,<br /> yet we could name ten eminently successful school<br /> books for one scholastic author who has made a<br /> considerable income by his writings. The reason<br /> is not far to seek. Hitherto the educational writer<br /> has, as a rule, been either a schoolmaster who<br /> regards what he makes by his pen as an<br /> unexpected bonus in addition to his regular<br /> salary, or else a distinguished specialist, who, at<br /> the request of a publisher, writes a primer of<br /> history or geography in his leisure hours, and is<br /> content, for a mere nominal sum, to dispose of a<br /> valuable property because it has cost him little<br /> time and trouble to create it.<br /> It may be argued that by so doing the scholar<br /> only wrongs himself, and that not only the pub-<br /> lisher, but the general public, benefits by his care-<br /> less generosity; as a matter of fact, it is only the<br /> publisher who gains. The published price of a<br /> book is not appreciably, if at all, affected by the<br /> consideration whether the author has been paid<br /> lio or jfiiooo for the copyright; but the terms<br /> that a publisher is willing to give are determined<br /> by what the leading authorities are willing to take.<br /> In this way the market price is lowered, and the<br /> out-put of educational literature is stopped. It<br /> ceases to be a paying profession. In all branches<br /> of literature the professional author must expect<br /> to be under-bid by the amateur, but the condi-<br /> tions under which educational works appear are in<br /> some respects peculiar.<br /> Very often the inducement to write is the need<br /> the author has felt for a certain manual or class<br /> book in his own teaching, and if he can find a<br /> publisher who will produce the book he needs, and<br /> relieve him of all risk, he is indifferent to any<br /> profit.<br /> Let us urge upon all persons connected with<br /> educational literature to take over into their own<br /> hands the management, in part, at least, of their<br /> own books.<br /> A study of the notes appended to this Report<br /> will perhaps open their eyes. These notes point<br /> out at least some of the dangers to be avoided.<br /> The leading principles to be insisted on are<br /> these:—<br /> 1. Never to sell the copyright of an educational<br /> book under any circumstances.<br /> 2. To arrive at an understanding what the agree-<br /> ment gives the publisher as well as what it<br /> gives the author. If the publisher refuses to<br /> give these figures, the author should either<br /> refuse to sign the agreement, or should take<br /> advice as to the cost of producing the book,<br /> and therefore the proportion the publisher<br /> proposes to reserve for himself. A sliding<br /> scale offers a certain kind of remedy.<br /> 3. The insertion of clauses in the agreement<br /> which would prevent the publisher from<br /> altering the book, transferring the book, or<br /> killing the book.<br /> 4. Provision for improved terms if the book<br /> becomes a success.<br /> And as a further security we should urge upon<br /> all authors of educational books to join the<br /> Society of Authors, and to sign no agreement<br /> without sending it to the secretary for revision.<br /> Notes on the Cases.<br /> The sub-committee appointed for considering<br /> the present condition of educational publishing<br /> have received and analysed a certain number of<br /> cases. Notes of the chief objections to the<br /> contracts and terms for publication investigated<br /> by them are epitomised below as follows :—<br /> <br /> <br /> ## p. 140 (#566) ############################################<br /> <br /> 140<br /> THE AUTHOR.<br /> Deferred Royalty.<br /> 1. The worst feature that one observes after<br /> tabulating the agreements is the deferred royalty.<br /> The author is induced by the bribe of a small<br /> sum, generally =£25, to accept an agreement by<br /> which he actually gives the publisher many<br /> thousand—say, seven to ten—copies for himself,<br /> should the book succeed! After this, the author<br /> is to have 10 or perhaps 15 per cent. Let us,<br /> remembering that even with books actually carry-<br /> ing great risk the publishers never used to<br /> venture on asking for more than half profits,<br /> consider what this means.<br /> Most of these works are small books, pub-<br /> lished at 2s. or 2s. 6d. It must be a very expen-<br /> sive little book that, offered at 2,v. 6r/., would cost<br /> more than 6d. to produce in a large edition of 6000,<br /> including advertising. This means an apparent<br /> risk of .£75. As for the cost of advertising, the<br /> sum of JE10 spent in advertising means no more<br /> than ?d. a volume for an edition of 6000. As<br /> educational books are published, the publisher<br /> gets about is. yl. a copy or gd. a copy<br /> profit, taking, oi course, an average book of<br /> the size and price under consideration. So<br /> that in, say, 6coo copies lie gains .£250,<br /> less what he advanced the author, say .£25.<br /> In fact, this agreement says, practically to the<br /> author: &quot;Yours is the book: it is your pro-<br /> perty, your estate: if I administer it I must have<br /> for the first 6000 copies nine times your share.<br /> Afterwards, at a 10 per cent, royalty, I am to<br /> have three times your share.&quot;<br /> What is the way to put an end to the accept-<br /> ance of these one-sided terms? The first thing<br /> is to pour a flood of light upon the situation, so<br /> that everyone shall clearly understand it. After-<br /> wards to refuse the agreement on such terms, and<br /> to take the book elsewhere.<br /> Amount oj Royalties.<br /> 2. Ten per cent, used to be considered a very<br /> fair royalty. This means, however, that, with a<br /> large sale, the publisher generally gets about<br /> three times what he gives the author!<br /> Deferred Payments.<br /> 3. It is a commou practice to makeup accounts<br /> to Dec. 31, and not to pay till three, four, or six<br /> months later.<br /> This should not be consented to. It means at<br /> least three months&#039; enjoyment of the author&#039;s<br /> money, which is more than enough. It has<br /> been contended that a large part, if not<br /> the whole, of a publisher&#039;s working expenses<br /> are frequently defrayed by this mode of with-<br /> holding money due to authors for six months<br /> or a whole year. For instance, if a publisher has<br /> to pay £25,000 a year to authors, and keeps it<br /> back for a year, there accrues to the house the<br /> sum of ,£2500 (reckoning a commercial interest of<br /> 10 per cent.) out of which to pay their clerks,<br /> accountants, and travellers.<br /> A clause in one agreement, for instance, states<br /> that accounts are to be made up once a year—<br /> say, June 30, and rendered to the author soon<br /> after that date; and the money due is to be paid<br /> on or bt-fore Dec. 31 of the same year.<br /> Therefore the account of June 30, 1896,<br /> includes all sales from June 30, 1895. The<br /> author, therefore, has none of the money due for<br /> the sales of July, 1895, until Dec. 1896. He is<br /> kept out of his money for eighteen mouths! The<br /> fact has ODly to be stated in order to show the<br /> monstrous nature of the thing.<br /> Small Sums Paid to Great Scholars.<br /> 4. There is a certain series of books, all of<br /> which have run into many thousands of copies.<br /> It will hardly be believed that the publishers have<br /> actually offered one of our greatest living scholars<br /> ,£35 and ,£40 respectively for the preparation aod<br /> editing of two books in this series!<br /> Arbitration Clause.<br /> 5. In one or two cases the appointment of an<br /> arbitrator in case of dispute is provided for, and<br /> this may frequently prove useful. But it is of the<br /> utmost importance to point out that an arbitrator<br /> after the agreement is signed is frequently quite<br /> unnecessary, because the dispute is generally as<br /> to the keeping of the agreement, which is a simple<br /> matter for a lawyer&#039;s letter. What is wanted is<br /> an arbitrator before the agreement is signed. We<br /> would suggest that the secretary of the Society of<br /> Authors should be called in to approve every<br /> agreement on behalf of the author, to meet the<br /> publisher&#039;s representatives if need be, and to<br /> procure a settlement by some conveyancing<br /> counsel, perfectly indifferent to both parties, in<br /> case of difference.<br /> Remainder Stoci.<br /> 6. In one of the cases before us the publisher<br /> binds himself not to sell off the remainder stock<br /> for a certain time. After that time he can, if he<br /> pleases, kill the book in favour of some other on<br /> the same subject by selling the remainder stock.<br /> The clause should contain a proviso that the<br /> remainder stock should not be sold unless with<br /> the author&#039;s consent. This consent would, of<br /> course, be given if the book were clearly dead.<br /> Binding Clauses.<br /> 7. The author frequently contracts not to write<br /> another book on the subject. We never find,<br /> however, the publisher entering into a similar<br /> <br /> <br /> ## p. 141 (#567) ############################################<br /> <br /> THE AUTHOR.<br /> contract not to publish another book on the<br /> subject. It is essential that either both or neither<br /> of the parties to the contract should be bound by<br /> such a stipulation.<br /> Royalty Lowered.<br /> 8. There is often a clause about lowering the<br /> royalty in case of bringing out the book in<br /> America. Care must be taken that the lowering<br /> should be in proportion to the actual price paid<br /> by the public.<br /> Thus, in a 6s. book, a shilling on each copy is a<br /> shilling on 4s. 6d„ i.e., 22* per cent, on the pub-<br /> lished price. If the American edition is published<br /> at 75 cents, the corresponding American royalty<br /> should be 8d.<br /> Odd Copies.<br /> 9. In one case a publisher so far presumed<br /> upon the ignorance of his author as to insert a<br /> clause stating that for &quot; odd copies &quot; no royalty<br /> should be granted! In other words, if a book-<br /> seller ordered single copies of the work, the<br /> author was to have nothing. Rex ipsa loquitur.<br /> &quot;13 as 12.&quot;<br /> 10. In some agreements the royalties have to<br /> be paid on the sale of &quot;13 as 12.&quot; This means<br /> knocking off 8 per cent, from the author&#039;s profits,<br /> and, as the publisher does not sell 13 copies as 12,<br /> except in special cases where a batch is ordered,<br /> he must not account at this rate as if the practice<br /> were universal.<br /> A Good Agreement.<br /> 11. If a half profit system is ever a good<br /> system, then we have one good agreement in the<br /> following case actually before us:<br /> i. The author is provided with vouchers for<br /> every item of cost.<br /> ii. He is not charged with office expenses—both<br /> himself and the publisher paying his own.<br /> iii. The advertisements are detailed, with date<br /> and cost.<br /> iv. All the discounts are allowed in the<br /> account.<br /> v. It is a real bond fide, half profit system,<br /> with no secret profits, and everything<br /> fair and above board.<br /> vi. &quot;Overs &quot; are included in the account.<br /> This will be news to most of our readers. At<br /> any printing off of an edition the press runs on<br /> to make uptime. Extra numbers—called &quot;overs&quot;<br /> —are thus printed, and used to supply the place<br /> of spoiled copies. In the book before us there were<br /> in three editions seventy-eight &quot; overs,&quot; the sale<br /> of which, supposing there were no spoiled copies,<br /> meant about ,£14. Never once in any publisher&#039;s<br /> account have we seen these &quot; overs&quot; entered and<br /> accounted for except in this.<br /> Sale of Copyright.<br /> 12. Perhaps the most unfair clause of these<br /> agreements is that which assigns the copyrights of<br /> the book to the publisher. The dangers behind<br /> this clause are unbounded.<br /> Above all things, an educational writer must<br /> keep the control of new editions. This he cannot<br /> do if the copyright is in the hands of his pub-<br /> lisher, nor can he prevent additions, alterations,<br /> and omissions to the book except by expensive<br /> lawsuits, which may, after all, go against him.<br /> Or the book might be transferred to some other<br /> house, where it would conflict with another book<br /> on the same subject. Such transfers are not<br /> unknown.<br /> Or the publishers might resolve not to re-<br /> edit the book in favour of a new one which might<br /> sell better.<br /> Right of Author to Re cdit.<br /> 13. One additional proviso should be added to<br /> the present notes. In a case where the author<br /> sells his copyright, a system of which the society<br /> gravely doubts the expediency, but which perhaps<br /> for some reason the author might desire to adopt,<br /> it is absolutely essential that the author should<br /> bind the publisher, in case a fresh edition is<br /> wanted, to give him the option to re-edit upon a<br /> fixed notice. The following clause appears in a<br /> publisher&#039;s agreement where he has purchased<br /> the copyright:<br /> The said author, in consideration of the payments and<br /> royalties reserved to him under this agreement, undertakes,<br /> as occasion may require, to edit new editions of the said<br /> work, and supply any new matter that may be necessary<br /> to bring- the information contained in the work up to date.<br /> This is very clumsily expressed. The author,<br /> so far as the words go, binds himself to re-edit,<br /> but the publisher, on the other hand, does not<br /> bind himself to ask the author to do so. If this<br /> be the proper construction of the clause, the<br /> author might find himself in the position of<br /> having his book re-edited by an incompetent hand<br /> with no redress. _..<br /> II.—Alleged Infringement op Copyright.<br /> Metcalf v. Conway.<br /> A suit dealing with an alleged infringement of<br /> copyright was taken before the Chief Judge in<br /> Equity. The parties were Sydney Metcalf, plaintiff,<br /> and James Conway, defendant.<br /> Mr. F. J. M&#039;Manamey (instructed by Messrs.<br /> Lane and Roberts) appeared for plaintiff, Mr.<br /> J. T. Lingen (instructed by Mr. W. H. Piggott)<br /> for defendant.<br /> In the statement made by plaintiff it was said<br /> that about the end of 18y6 the Public Service<br /> Board issued and published certain regulations<br /> in connection with certain competitive examiua-<br /> <br /> <br /> ## p. 142 (#568) ############################################<br /> <br /> 142<br /> THE AUTHOR.<br /> tions to be held by the Board, and also certain<br /> directions to be observed by candidates, together<br /> with instructions for the guidance of persons<br /> appointed to superintend at such examinations.<br /> In Feb., 1897, the plaintiff printed and pub-<br /> lished an original work of thirty-two pages,<br /> entitled &quot;A Guide to the Public Service Com-<br /> petitive Examinations,&quot; which was duly registered<br /> in accordance with the Copyright Act of 1879.<br /> Plaintiff was sole proprietor of the copyright of<br /> this work. Defendant was editor and part pro-<br /> prietor of a certain periodical published monthly<br /> in Sydney, called the New South Wales Educa-<br /> tional Gazette. About April and May last<br /> defendant printed and published, in the issues of<br /> the Gazette for those months, certain paragraphs<br /> about the said examinations, which, in the<br /> arrangement of the matter, abridgement of the<br /> statements, and otherwise, consisted almost ex-<br /> clusively of extracts from the plaintiff&#039;s said<br /> work, with slight variations. No authority or<br /> permission had been given by plaintiff for the use<br /> of his work, or of extracts therefrom, to defen-<br /> dant, or any other person, on behalf of or con-<br /> nected with the said Gazette, and the use made<br /> of plaintiff&#039;s work in the said monthly numbers<br /> was an illegal and unauthorised infringement of<br /> plaintiff&#039;s rights, and plaintiff had sustained<br /> great damage thereby. It was asked by plaintiff<br /> that an amount be token of the profits made by<br /> defendant by the sale of the said monthly<br /> nuuibers, that the damages sustained by plaintiff<br /> by the sale of the said numbers be ascertained<br /> by the Court, that defendant be ordered to pay<br /> to the plaintiff the amount of such profits and<br /> damages, and that defendant be restrained from<br /> disposing of any copies of the Gazette containing<br /> any portion or extract from &quot;The Guide to the<br /> Public Service Competitive Examinations.&quot;<br /> For the defence it was not admitted that the<br /> work printed and published by plaintiff was an<br /> original work, and it was denied that what had<br /> been publislnd by defendant was an illegal or<br /> unauthorised infringement of the plaintiff&#039;s<br /> alleged rights. Defendant also denied that plain-<br /> tiff had sustained any damage by the publication<br /> of the same, and said that the sale of the book<br /> ceased prior to such publication, and that his<br /> book had become obsolete owing to alterations of<br /> the regulations in the examinations. It was also<br /> said that the alleged paragraphs consisted only of<br /> a verbatim copy of the examination 2^apers, of<br /> which many hundred copies had been published<br /> and distributed by the Government, and were<br /> public property, before plaintiff printed them in<br /> his book, and that defendant was himself the<br /> possessor of a printed copy sent by the Govern-<br /> ment of every question published in his Gazette,<br /> and were the result of no independent work 011<br /> the part of the plaintiff, and were the mere<br /> re-publication of information which was open to<br /> all the world to publish and obtain from the same<br /> source.<br /> After hearing lengthy argument, his Honour<br /> said there appeared to have been no infringement<br /> of any kind, and he was satisfied that the suit haxl<br /> failed. The suit would be dismissed with costs.<br /> —Sydney Daily Telegraph, Sept. 10.<br /> III.—The Berne Convention.<br /> The following is from Le Droit a&quot;&#039;Auteur •<br /> Ratification of the Additional Act and of the<br /> Interpretive Declaration of Mav 4, 1896. Sept. 9,<br /> 1897.<br /> Certain circumstances having rendered it im-<br /> possible to execute, within the period originally<br /> fixed, the exchange of the ratifications of the<br /> Additional Act of May 4, 1896, modifying<br /> articles 2, 3, 5, 7, 12, and 20 of the Convention<br /> of Sept. 9, 1886, and the Xos. 1 and 4 of the<br /> Final Prvtovol attached to it, as well as the<br /> Declaration interpretive of certain provisions of<br /> the Convention of Berne of Sept. 9, 1886, and of<br /> the Additional Act signed at Paris on May 4,<br /> 1896, it has been unanimously agreed that the<br /> period originally fixed should be extended to the<br /> present day.<br /> In consequence of which the imdersigned have<br /> met to sign and to deposit the present deed.<br /> Germany, Belgium, Spain, France, Italy,<br /> Luxemburg, Monaco, Montenegro, Switzerland,<br /> and Tunis have ratified the two Acts.<br /> Great Britain has ratified only the Additional<br /> Act, both for the United Kingdom and for all<br /> the British Colonies and possessions.<br /> Norway has ratified ODly the Interpretive<br /> Declaration.<br /> The copies of these ratifications having been<br /> produced, and found to be in right and due form,<br /> have been placed in the hands of the Minister of<br /> Foreign Affairs of the French Republic, for<br /> deposition in the archives of the Ministry, this<br /> deposition being in place of the exchange of the<br /> said Acts.<br /> (The date, Paris, Sept. 9, 1S97, and the signa-<br /> tures of the representatives of the various<br /> countries, follow.)<br /> The Droit a&quot; Auteur adds the following<br /> interesting note:<br /> According to the fourth article of the<br /> Additional Act of May 4, 1896, this Act will<br /> come into force three months after the exchange<br /> of the ratifications by the ratifying countries—<br /> that is to say, in all countries of the Union, with<br /> the exception of Norway and Hayti. It accord-<br /> <br /> <br /> ## p. 143 (#569) ############################################<br /> <br /> THE AUTHOR.<br /> i43<br /> ingly becomes law on Dec. 9, 1897. From that<br /> date it will form one whole with the Convention to<br /> which it is attached, so that it cannot be separ-<br /> ately denounced.<br /> The Interpretive Declaration becomes law as<br /> soon as it is ratified. It therefore applies to all<br /> countries of the Union, with the exception of<br /> Great Britain and Hayti, from Sept. 9, 1897.<br /> —<br /> ON BRINGING OUT A BOOE.<br /> I.—Do We Want a Publisher?<br /> 1.<br /> <br /> BEG to submit the following observations<br /> for the very serious consideration of<br /> readers:<br /> What does a publisher do for a book which<br /> could not be done by a clerk of intelligence suffi-<br /> cient to carry out a work of the most common<br /> routine?<br /> First; he arranges with the printer about the<br /> printing, with the papermaker about the paper,<br /> with the binder about the binding. These matters<br /> can be so adjusted that nothing is to be paid<br /> until the first returns of the book. It will be<br /> observed that experience makes the three arrange-<br /> ments perfectly easy and a mere matter of a few<br /> minutes. He then, before he decides on the<br /> number to be printed, subscribes the book in<br /> London as a kind of feeler or guide. He knows<br /> pretty well from the number thus taken how<br /> many will be taken by the country. The diffe-<br /> rence between the cost of production and the first<br /> subscription is the &quot;risk&quot; of a book. In the<br /> case of books attractive by their subject or by<br /> the reputation of their writers, it is needless to<br /> say that the risk is nil; that is to say, without<br /> counting money that may have been paid to the<br /> writer. The advertising follows. It needs very<br /> little intelligence to understand that very little<br /> advertising is wanted for a book which can have<br /> but a limited demand; and, still less to under-<br /> stand that it is quite useless to advertise in papers<br /> which either have a small circulation, or deal with<br /> subjects not concerned with that of the book in<br /> question.<br /> What else does a publisher do for a book? He<br /> has travellers who &quot;push&quot; it: that is to say,<br /> offer it to the trade, which is already ruined by<br /> taking books at prices which do not allow them<br /> to make a living profit on them.<br /> These things being so, why cannot authors<br /> recognise the fact that the publisher is no longer<br /> necessary, and that the present method of pub-<br /> lishing should be buried and regarded as a relic<br /> VOL. VIII.<br /> of bygone days when authors were few and the<br /> circulation of publications very limited?<br /> What is to-day required, if the pecuniary<br /> results of a book are to be apportioned justly to<br /> the source of production, is for all, great or com-<br /> paratively unknown, to create a publishing<br /> agency of their own, become their own pub-<br /> lishers, and dispense absolutely with the pub-<br /> lisher.<br /> To accomplish this would necessitate no colossal<br /> task, or present any insurmountable barrier. The<br /> only one principle of difficulty involved to some<br /> would be that every author must be liable for<br /> deferred payment on account of the first outlay in<br /> the production of his work.<br /> To do this it will be necessary for the agent to<br /> arrange for the printing and production in the<br /> author&#039;s name; he himself will not be personally<br /> liable for any expenditure. Otherwise his method<br /> of procedure would be exactly the same as that of<br /> the publisher.<br /> Of course, when a work has no marketable<br /> value, or is not appreciated by the public, no<br /> advantage would result, which is only natural,<br /> and would result in a loss under any circum-<br /> stances; but if there is any profit possible to be<br /> derived, it could be obtained under this system,<br /> when a heavy loss would be the only reward<br /> under present conditions; and an author would be<br /> recompensed up to the very hilt for his works,<br /> whereas now, even in the most favourable case,<br /> he is compelled to accept but a small proportion<br /> of the published price of his volumes. When the<br /> successful circulation of books on this system was<br /> achieved, it is obvious that the old methods would<br /> fall into complete disrepute and would be aban-<br /> doned. F. B.<br /> 11.<br /> On the above proposition—<br /> It may be objected that the agent would want<br /> a warehouse. But some publishers do not keep<br /> their books in a warehouse: they let them lie<br /> at the binder&#039;s till they are wanted: they are<br /> sent out by the binder. A few copies of each<br /> book would be sufficient.<br /> The details of management would be exactly<br /> the same in all respects as at present, save and<br /> except the very important—though essential—<br /> point that the selling price of the book would<br /> be divided between bookseller and author, the<br /> agent taking only his percentage.<br /> Let us see how this method would work with a<br /> book fairly successful.<br /> We take the 6». book—our most convenient<br /> unit.<br /> If 3000 copies were sold, the figures would<br /> come out approximately as follows:<br /> 1. The cost of production may be assumed tc-<br /> o<br /> <br /> <br /> ## p. 144 (#570) ############################################<br /> <br /> 144<br /> THE AUTHOR.<br /> be i«. with advertising. There is before me a<br /> publisher&#039;s account showing cost of production of<br /> 1750 copies—without advertising, q\d. a copy.<br /> 2. The trade price, covering carriage, might<br /> be 3*. id.<br /> 3. The agent&#039;s charge on all moneys received<br /> would be \2\ per cent.<br /> 4. The price paid by the public would be<br /> 4*. 6d.<br /> £ s. d.<br /> Cost of production at i*., wilh<br /> advertising 150 o o<br /> Agent&#039;s charge 60 18 9<br /> For the author 276 11 3<br /> 487 10 o<br /> By 3000 copies at 3*. 3d 487 10 o<br /> So that the three persons concerned, the<br /> author, the bookseller, and the agent, would<br /> profit in the following proportion:<br /> Author, .£276 iii. 3&lt;?., i.e., a royalty of is. io\d.,<br /> or 31 per cent., a copy.<br /> Bookseller, £187 10s., i.e., a royalty of is. 3d., or<br /> 20 per cent., a copy.<br /> Agent, £60 18*. gd., i.e.,a royalty of 4}d., or 7 per<br /> cent., a copy.<br /> Of course, the bookseller could be &quot; squeezed,&quot;<br /> so as to afford a still larger profit to the author;<br /> but he has been squeezed too much already. It<br /> is .greatly to the interests of the author that the<br /> trade should be treated with far greater liberality<br /> than has hitherto been the case.<br /> Take the more common case, however, where<br /> the book produced only sells about a thousand<br /> copies. How will the figures come out?<br /> There lies before me a publisher&#039;s bill in which<br /> the cost of producing 1750 copies is =£70, without<br /> advertising:<br /> £ t. d.<br /> Cost of production of 1750 copies... 70 o o<br /> Advertising 20 o o<br /> Agent 20 7 o<br /> Author 52 3 o<br /> 162 10 o<br /> By sale of 1000 at 3*. 3^ 162 10 o<br /> i.e.—Royalty to the author, is. a, copy.<br /> Royalty to the bookseller, i*. 3&lt;/. a copy.<br /> Royalty to the agent, 5J. a copy.<br /> But, it may be objected, by such a method the<br /> newcomer would have no chance. Has he much<br /> chance now? Under this method the newcomer<br /> would take the advice of the Society&#039;s reader<br /> before becoming liable: it must be remembered<br /> that the liability which interested persons always<br /> represent as the whole cost of production, is<br /> nothing but the difference between the cost of<br /> production and the Jirst subscription. This<br /> difference, when booksellers recognise the agency<br /> and understand what it means, would speedily<br /> vanish.<br /> In addition to the machinery advised by &quot; F. B.,&quot;<br /> it is suggested that a small board, unpaid, of men<br /> and women of letters should decide what books<br /> should be taken by the agency. A business or<br /> publishing agency which admitted all books, good<br /> or bad, would very soon become a mere machinery<br /> for the production of any stuff for which the<br /> writer chose to pay. From the outset the agency<br /> must possess authority and command respect.<br /> Apart from the question of author and pub-<br /> lisher, the present methods of publishing are<br /> in many respects antiquated and mischievous.<br /> The method advocated is simple and easy. It<br /> could be started in a single day and perfected in<br /> a month, provided that a certain number—not a<br /> great many—of popular and successful writers<br /> would adopt the method. The figures given<br /> above are only tentative and approximate: in the<br /> case of writers having a very large circulation the<br /> authors&#039; royalty would be, of course, much<br /> greater.<br /> This is only one answer to the question of &quot; Do<br /> we want a Publisher?&quot;<br /> The method proposed will sweep away the whole<br /> tribe of small publishers.<br /> There will remain, however, the solid houses.<br /> For instance, it is not conceivable that any body<br /> of scholars should of their own will unite in the<br /> production of an encyclopaedia; a dictionary of<br /> biography; a dictionary of antiquities; the estab-<br /> lishment of an illustrated magazine, or any series<br /> requiring thought, management, and care for<br /> arrangement and detail. These things require,<br /> first, the mind, which watches the requirements,<br /> demands, and fashions of the day; the organiser;<br /> the administrator. The method of publishing<br /> recommended by &quot;F. B. &quot; seems to me very good,<br /> and extremely simple. But it is not the only<br /> answer to the question.<br /> We do want a publisher, and must have a<br /> publisher, for vast fields of intellectual work<br /> which a publishing agency could only attack if<br /> it had a large reserve fund at its disposal. But<br /> for the contributor to the various departments of<br /> general literature a publishing agency, managed<br /> intelligently, would remove the whole of the fric-<br /> tion, suspicion, and jealousy which, it cannot be<br /> denied, now exists in the relations of author and<br /> publisher. W. B.<br /> II.—Another View.<br /> In the following paper is attempted a sober<br /> discussion of the relationship between authors<br /> and their public, eliminating on the one hand the<br /> <br /> <br /> ## p. 145 (#571) ############################################<br /> <br /> THE AUTHOR.<br /> 145<br /> purely business speculations of large or small<br /> publishing houses, such as reprints, standard<br /> collections, encyclopaedias, dictionaries, and so<br /> forth, and on the other hand all contentious<br /> questions as to what relation the Society of<br /> Authors, or other official body, shall bear or shall<br /> not bear toward facilitating the path of literary<br /> beginners. And to clear the ground, a few intro-<br /> ductory remarks on the function of the publisher<br /> are necessary.<br /> The function is twofold. It is that of entre-<br /> preneur—undertaker, as the economists say; it is<br /> also that of agent pure and simple.<br /> As entrepreneur the position of the publisher<br /> is not only unassailable, it is essential. In other<br /> words, this is the legitimate branch of the<br /> publishing business. In the production of a<br /> &quot;series &quot; or set of &quot;lives,&quot; it is a mere matter of<br /> supply and demand, a speculation in which the<br /> publisher contracts for his literary wares according<br /> to the quality he desires, and purveys them to<br /> the pubbc. No one is compelled to do this class<br /> of work except at his own price, and if A.&#039;s<br /> repute makes it essential that he and he only<br /> should be intrusted with any particular division<br /> of it, A.&#039;s price has to be paid. If, on the other<br /> hand, anyone can do the thing, it falls into the<br /> class of literary unskilled labour, and is paid for<br /> accordingly. No amount of grumbling will ever<br /> alter this. In work of this kind the initiative<br /> belongs to the publisher, and he is accordingly<br /> and rightly master of the situation.<br /> In the second division of the publisher&#039;s func-<br /> tion, that of agent, the initiative belongs to the<br /> author, and therefore he, and he only, should have<br /> control. Now, the real mischief is that the pub-<br /> lisher always, the public generally, and the author<br /> often, allow the vast difference between these<br /> two very diverse functions of the publisher to<br /> drop out of sight. Add that few, we fear very<br /> few, literary people have the least idea of the<br /> most ordinary business transactions, and the<br /> spectacle of the publisher as autocrat need arouse<br /> no surprise. It is the working of this function<br /> that we propose to examine.<br /> Having defined the subject of our paper as<br /> dealing with books initiated by the author and<br /> written by him at his own proper charge, we<br /> arrive at the necessity for a fresh division of what<br /> is after all a very large subject.<br /> We have to consider (1) books written by<br /> authors of sufficient means to pay the real<br /> expense of printing and advertising them, and (2)<br /> books written by less fortunate authors who<br /> cannot bear any expenses whatever. There will<br /> be of course a few who are able to pay a certain<br /> sum towards cost of production, but for the<br /> purposes of the argument we will classify these<br /> VOL. VIII.<br /> under the second heading and treat them as (pro-<br /> ductively) insolvent.<br /> Let us consider the second category first. It is<br /> to be feared that for persons thus situated no<br /> drastic remedies can possibly be devised. Con-<br /> sider that almost everyone above a certain level<br /> is, in these days, capable of writing a book of<br /> some sort, just as everyone is able to daub a<br /> canvas, and set piano wires vibrating on some<br /> kind of preconcerted plan. It is the average<br /> talent that is thus seeking to perpetuate its<br /> existence. But it is unfortunately the average<br /> achievement that is of no earthly interest to any-<br /> body, and only those things can possibly attract<br /> attention which contain the element of progress,<br /> lifting us out of the old ruts on to the ridges, and<br /> permitting a new survey from that vantage<br /> ground.<br /> It is quite clear that the impecunious author must<br /> offer himself to the publisher—the publisher, be it<br /> remembered, operating in his first and legitimate<br /> function, the publisher as entrepreneur. And it is<br /> unfortunately equally clear that here the stern<br /> and inflexible maxims of commercial business<br /> will operate. In risky transactions the success-<br /> ful ones have to pay for the unsuccessful. That<br /> is no fault of the publisher. Were he a thing of<br /> iron and steel, a merepenny-in-the-slot mechanism,<br /> he could not be expected to give out more than he<br /> got in. And besides, the publisher works neither<br /> for hope nor glory—he wants dividends. There<br /> is little advantage to him if a book has high<br /> literary merit but lacks sale. Such things we<br /> believe have been known. He gains no renown.<br /> On the other hand, the author stands to profit<br /> largely by such a contretemps. Directly by kudos,<br /> indirectly possibly by work, which he would<br /> otherwise have lacked.<br /> We have desired to do justice to the publisher.<br /> It is to be feared many persons not only mix the<br /> two distinct functions we have referred to, but<br /> import into the question a very debateable and<br /> wholly foreign thing, viz., the desirability of pro-<br /> viding some kind of &quot;foundation&quot; whereby<br /> talented and deserving authors may have their<br /> first works subsidised.<br /> In the July Author, the letter of &quot;E. W. H.&quot;<br /> furnishes us with an example of this. He wishes<br /> to see a most portentous phenomenon—an<br /> academy, a literary publishing company, limited,<br /> and a censorship pledged to &quot;raise the tone of<br /> English literature —all in one. This is a large<br /> order.<br /> It is most desirable that all such schemes for<br /> stimulating the production of literature be left<br /> out of account in the discussion of the vexed<br /> question of the relations between Author and<br /> Publisher. It may be desirable to adopt the<br /> o 2<br /> <br /> <br /> ## p. 146 (#572) ############################################<br /> <br /> 146<br /> THE AUTHOR.<br /> principle of the Prize Essay; it would be very<br /> feasible if only some philanthropic person would<br /> provide the funds; but it is utterly beside any<br /> question arising out of publishing considered as a<br /> serious business.<br /> We are, therefore, regretfully compelled to<br /> leave the unfledged author (with his pile of<br /> manuscript which he lacks means to put into<br /> print) diffidently seated in the awful presence of<br /> the Publisher operating as entrepreneur, and the<br /> best we can do for him—is to wish him success.<br /> • * » • #<br /> If we have hitherto been genially inclined<br /> towards the publisher, and have even mentioned<br /> the word &quot;justice &quot; in connection with his deeds,<br /> it is only because we have not yet considered the<br /> case of those authors able and willing to finance<br /> their own works, and requiring the publisher&#039;s<br /> assistance only in his second function—-that of<br /> agent.<br /> We may say at once that there appears to be in<br /> this direction room for sharp and drastic altera-<br /> tion of existing relationships.<br /> It is a very fundamental principle, not of pub-<br /> lishing only, but of most other things also, that<br /> &quot;he who pays the piper has a right to call the<br /> tune.&quot; But when it conies to publishing books,<br /> it appears that the author is expected to pay and<br /> be thankful that the &quot;house condescends to<br /> accept his money. This is no personal experience<br /> of our own; it is based upon facts accessible to<br /> everybody—the publications of the Society and<br /> the very interesting little histories they contain.<br /> Enough, however, of recrimination, which, though<br /> pleasant and helpful to the intellect, can easily be<br /> overdone, perhaps has already been overdone. The<br /> point is, what is the remedy?<br /> We will first collect the facts pertaining to the<br /> average production of a book, initiated by its<br /> author, and waiting in MS. form to be offered to<br /> the public.<br /> It will readily be allowed that the details of<br /> printing and binding are purely mechanical, and<br /> that the real crux of the problem is reached<br /> when the green and gold volumes stand in the<br /> printer&#039;s (or the binder&#039;s) warehouse at the<br /> disposal of the person who has paid for them.<br /> Those volumes have to gain the attention of the<br /> reviewers, and not only of the reviewers, but of<br /> the public; they have to be distributed through-<br /> out the kingdom, perhaps throughout the world,<br /> to the public; they have to be paid for by the<br /> public, and by more or less indirect channels the<br /> amount so paid has to be collected by the author.<br /> Not so simple a matter after all.<br /> It is manitlnit that the author, even were he<br /> willing, cannot hawk his own wares. He must,<br /> at every stage mentioned above, avail himself of<br /> the services of other persons, which services will<br /> have to be paid for. But the question at once<br /> suggests itself—shall he pay exorbitantly for<br /> those services; shall he, for the sake of those<br /> services, part with all right and control over his<br /> own property, or shall he establish a state of<br /> things by which those services shall bear a recog-<br /> nised and constant and modest market value, and<br /> himself be the sole person to benefit by any<br /> exceptional favour shown by the public to his<br /> work.<br /> In our opinion the author who is in a position<br /> to finance his own output has entire mastery of<br /> the situation, and is himself to blame if he<br /> allows others to make speculative profits to his<br /> detriment.<br /> He can effect this desirable change in one of<br /> two ways—by forming a healthy public opinion,<br /> by helping to establish a compact body of prece-<br /> dents, and thus entrench his position relatively<br /> to the existing publishing fraternity: in other<br /> words by consulting with and supporting the<br /> Society of Authors before and during every<br /> negotiation he undertakes, until the various ideals<br /> striven for have become matters of course, and<br /> this is perhaps, though the least heroic, the most<br /> obviously practical way; or he can originate or<br /> assist in originating a new organisation for reach-<br /> ing the public.<br /> By this we mean the establishment of a pub-<br /> lishing centre, whose business shall be entirely<br /> confined to publishing the works of its members<br /> at a fixed percentage on cost, or, more accurately,<br /> on receipts.<br /> Nothing whatever stands in the way of such<br /> an establishment. There is no mystery, no<br /> masonic secret in the art and craft of publishing<br /> that a competent man familiar with its ins and<br /> outs cannot be secured at a fair remuneration to<br /> undertake those details of business which, as we<br /> have said, no author can with any possibility, or<br /> at least with any regard to dignity, do for him-<br /> self? We speak, it is true, without knowledge<br /> of the inner life of publishing, but having had<br /> a somewhat varied experience of commercial<br /> affairs, it appears to us inconceivable that it<br /> should be unlike all other businesses, without<br /> energy and talent of management ready to be<br /> engaged by any holder of a sufficiently long<br /> purse.<br /> To deal a death-blow to the whole system of<br /> demands for transfer of copyrights, of exorbi-<br /> tant charges for printing, of inordinate and<br /> useless expenditure in advertising, is a very<br /> simple matter. It requires only a little courage.<br /> It requires only that a few, perhaps a very few,<br /> authors of repute shall countenance the forma-<br /> tion of a Trust on business lines, and shall con-<br /> <br /> <br /> ## p. 147 (#573) ############################################<br /> <br /> THE AUTHOR.<br /> sent to serve on its committee or directorate, in<br /> the face of the world. There must be many<br /> persons, probably very many, who desire to<br /> publish their works at their own expense, could<br /> they be assured that the working of such a<br /> Publishing Centre would be above suspicion, and<br /> would, on the other hand, not be regarded as an<br /> eccentric and doubtfully &quot;respectable &quot; avenue of<br /> publicity.<br /> As a business speculation it would undoubtedly<br /> pay well. The records of the Society show that.<br /> There would be fewer victims. If no good were<br /> done, at least no harm would be done, to the<br /> interests of those who would have otherwise<br /> fallen into the clutches of the greedier type of<br /> publisher.<br /> But such an undertaking must be a business<br /> oue, ran on business lines. There must be no<br /> Utopian ideas about publishing works of genius<br /> by unknown writers. In fact, no risks whatever<br /> must be undertaken, either from the experienced<br /> or the unexperienced author.<br /> Such a Trust would not in any sense supersede<br /> or render superfluous the work of the Society.<br /> On the contrary, however eminent the sponsors,<br /> however experienced the management, the lynx-<br /> eye of the Society should watch over its proceed-<br /> ings with as zealous care as if it were a publisher<br /> strongly suspected of impending bankruptcy.<br /> The Society is and should remain a regulating<br /> agency, no suspicion of other motives (pace<br /> &quot;E. W. H.&quot; and others) should be allowed for a<br /> moment to sully its &#039;scutcheon. As well the<br /> Royal Society start a manufactory of microscopes!<br /> We are advocating no impracticable system of<br /> &quot;co-operation.&quot; Co-operation as applied to the<br /> selling of cheese and the wholesale handling of<br /> tea is a great success, but it is a co-operation of<br /> consumers and not of producers. Indeed, for our<br /> purpose it is not essential that the capital required<br /> be held by literary persons at all. It is only<br /> necessary that it be countenanced by them, and,<br /> broadly speaking, supervised by some of them. As<br /> a matter of business the organising of a publish-<br /> ing Trust on the lines indicated would not be a<br /> difficult undertaking if set about in something like<br /> the following way.<br /> Seven or more persons, being authors of repute,<br /> meet and mutually agree to form a public com-<br /> pany for the publication of their own and others&#039;<br /> works.<br /> They draw up or adopt a prospectus setting<br /> forth the objects of the Trust, which they declare<br /> to be as follows:—<br /> (i) The engagement of a competent and expe-<br /> rienced manager, familiar with the publishing<br /> trade, to undertake the business management of<br /> the Trust&#039;s affairs.<br /> (2) The production, i.e., printing, binding, Ac.,<br /> of the works of authors who are willing to pay in<br /> cash for the work done, such printing, &amp;c.f to be<br /> given out by the Trust to competent tradesmen by<br /> tender in the usual way, and the cost price—the<br /> actual net cost price, free of all rebates, dis-<br /> counts, and allowances—charged against the<br /> author.<br /> (3) The advertising of the author&#039;s work on an<br /> estimated scale to be previously agreed on with<br /> him (with the same provision as to net cost and<br /> cash payments by the author).<br /> (4) The introduction to the retail trade and<br /> Press (by the usual recognised methods) of the<br /> author&#039;s work, the coat of such introduction being<br /> charged against the author as a fixed percentage<br /> on the transaction.<br /> (5) The collection of moneys and the crediting<br /> of same to the author.<br /> (6) The author to pay to the Trust a fixed per-<br /> centage on receipts for its services.<br /> (7) The stringent limitation of the Trust&#039;s<br /> business to the publishing of works whose authors<br /> are able to pay in advance for the work to be<br /> done, or furnish approved guarantees for the said<br /> payment. It should not be competent for the<br /> Trust to undertake any business whatever of a<br /> speculative character.<br /> Thus far for the Trust. It is clear that pro-<br /> vided a sufficient number of works be published<br /> through its agency, it would be a financial success.<br /> But in consideration of the special purpose of the<br /> organisation, and to exclude the speculative com-<br /> mercial spirit as far as may be from its councils,<br /> two useful principles might be worked into its<br /> constitution. It should not be competent for it<br /> to pay bonus or dividend exceeding, say, 7 per cent.,<br /> nor to increase its management expenses beyond a<br /> certain percentage of turnover.<br /> And the author. How would he benefit? 1st, by<br /> retaining absolute control over his own productions;<br /> 2nd, by an increased revenue from his work. And<br /> the effect of this control and increased value<br /> would reach favourably over the whole field of<br /> literary work. Did he desire to sell outright, and<br /> realise at once the prospective profits, the market<br /> price of such a &quot;deal&quot; would be affected in his<br /> favour by the increase in average profits that would<br /> thus have come to him.<br /> Yet we believe that the financial is the least<br /> important side of the question. Literature would<br /> gain a new freedom and a new dignity by shaking<br /> off the shackles of commercialism that at present<br /> have it strongly in grip. Not only the strong<br /> and prosperous would benefit, but many would<br /> be lifted out of the ranks of dependents into that<br /> of masters of their own work.<br /> When this reform shall have been carried out<br /> <br /> <br /> ## p. 148 (#574) ############################################<br /> <br /> 148<br /> THE AUTHOR.<br /> it will bo time to consider the bitter cry of<br /> impecunious genius, and how best it can be assisted<br /> on to the ladder of fame.<br /> In this paper, already too long, the test of all<br /> theories, i.e., figures, cannot be gone into. In<br /> a future article, if the Editor is willing, the<br /> practical details of such a Trust can be threshed<br /> out.<br /> But it would be an interesting thing if those of<br /> the readers of The Author who would be prepared<br /> to support such an institution by publishing<br /> through it on the terms suggested would write to<br /> the Editor and say so. By this means the<br /> amount of support the scheme would receive may<br /> be tentatively gauged.<br /> We suggest that each reader of The Author<br /> ask himself this question:<br /> &quot;Were a Trust instituted, the workings of which<br /> (freely open to the Society&#039;s inspection) tcere<br /> recognised to be abore suspicion, and whose entry<br /> into the icorld tcere to be countenanced by men of<br /> rejmtation, should I, in that case, be in a position<br /> to place my work in its hands, pay for the cost of<br /> production and advertising, and receive all the<br /> proceeds, less a percentage for the Trust&#039;s trouble.&quot;<br /> And when each reader has answered this<br /> question to his own satisfaction, let him embody<br /> that answer in a succinct phrase, and send it on a<br /> post-card to the Editor. N. C.<br /> NEW YORE LETTER.<br /> New York, Oct. 16.<br /> THE second volume of the &quot; Literary History<br /> of the American Revolution&quot; has just<br /> been published by the Putnams. Like the<br /> first volume, it gives a mass of information of<br /> the most interesting kind about the intellectual<br /> and artistic activities of our country at a time<br /> when it was most alive to real subjects. One<br /> who has any interest in the Revolution or in the<br /> origin of American literature should read the<br /> whole book; but if one were picking out the<br /> most salient poiuts he might call attention to<br /> Sam Adams, the character who counted for so<br /> much during his life, and was so much in the<br /> shade a little while after. Adams, although he<br /> wrote with correctness and distinction, had his<br /> greatest influence through the action of his mind<br /> on his contemporaries, but the historical tendency<br /> of the day is restoring him to his former im-<br /> portance. Tom Paine, the most remarkable pure<br /> journalist of the time, who seemed to voice the<br /> very feelings of the people from day to day, is<br /> another exceptionally interesting figure; and the<br /> poet Freneau, the first genuine poet of American<br /> democracy, stands out vividly. The production!<br /> of a certain number of dramatic works, both<br /> by the loyalists and by the Tories, is an enter-<br /> taining episode of the times. By the way, the<br /> most interesting dramatic success of the present<br /> season in this country, is that of Richard<br /> Mansfield in George Bernard Shaw&#039;s play<br /> of the American Revolution. Everybody goes to<br /> see it. and everybody comes away somewhat<br /> baffled. The general feeling is one of satisfac-<br /> tion, which promises that the drama will hold<br /> American interest for a long time. Of course^<br /> the principal ideas in the play deal with human<br /> nature in its general aspects, but the two quali-<br /> ties of the American character, a love of praise<br /> for this country and a love of fair play, are so<br /> cleverly mixed up by Mr. Shaw with his alternate<br /> raps at the British and the Americans, that the-<br /> national element does count for something in the<br /> attractions of the play. As for Mr. Mansfield,<br /> it has always been something of a puzzle to many<br /> of his admirers that there seems to be no more<br /> interest in him in England than there is. Nobody<br /> in America can compete with him along his line<br /> of subtle critical characterisation, and the general<br /> feeling of dramatic experts that he is the first<br /> American actor in rank—at least if an exception<br /> be made of Joe Jefferson, who is so near the end<br /> of his career—is founded on a good deal of<br /> undoubted truth.<br /> In connection with this subject of patriotism,<br /> an interesting occurrence of the last few weeks<br /> may be mentioned. Three English poets were to<br /> be put among a list of names in the new Con-<br /> gressional Library at Washington, and the large<br /> Irish societies of this country fought hard to have<br /> Tom Moore among them. He was finally excluded<br /> upon the the ground that he once made a bitter<br /> attack on Thomas Jefferson.<br /> Houghton, Mifflin, and Co. have on their list of<br /> fall books some essays by Charles William Eliot,<br /> the President of Harvard University, who writes<br /> about American affairs, especially in their educa-<br /> tional, sociological, and political aspects, with the-<br /> authority of long and careful observation, in a.<br /> strong and simple style. Another Harvard pro-<br /> duction of interest, to the specialist at least, is a<br /> new edition, in five volumes, of Professor Child&#039;s<br /> great ten-volume work on English ballads. A<br /> limited edition of the last volume is to be pub-<br /> lished by itself in gorgeous form.<br /> The new firm of Doubleday and McChire has.<br /> started a device which seems to bring the pub-<br /> lishing business still nearer daily journalism.<br /> Upon the temporary paper cover of some of their<br /> books is printed a synopsis of the contents,<br /> intended to let the casual wanderer in the book-<br /> store decide whether he cares to purchase the<br /> <br /> <br /> ## p. 149 (#575) ############################################<br /> <br /> THE AUTHOR.<br /> 149<br /> work. Most of our newspapers now publish<br /> serial stories, in which each chapter is preceded<br /> by an abstract of everything that has gone<br /> before.<br /> McClure and Munsey in their new book-pub-<br /> lishing ventures, as well as in their magazines,<br /> illustrate the truth of Mr. Steffen&#039;s article,<br /> referred to in my last letter; they have jumped<br /> for a vacant field. Munsey goes frankly for the<br /> greatest number, without any pretence of refine-<br /> ment—in fact, with a rather aggressive declara-<br /> tion that he does not want to be coloured by any<br /> literary tastes. The McClure Company, on the<br /> other hand, are trying to give the people as much<br /> literary quality as they can without reducing<br /> their sales. At the other end of the gamut in<br /> periodical literature stands the Atlantic Monthly,<br /> which, in its last number, celebrated its fortieth<br /> anniversary, and declared that it should stand<br /> hereafter, as it has stood in the past, for literature<br /> pure and simple, and no considerations would<br /> turn it from that path.<br /> The new venture in England, Literature, is<br /> looked upon with much interest here, but the<br /> business man&#039;s point of view—that is the point<br /> of view of the practical publisher or business<br /> manager—is that the magazine is entering a field<br /> in which in this country the Nation is impregnable.<br /> The Nation, which stands as high here as<br /> anything of the kind could, not only treats<br /> literature in much the indiscriminating and<br /> severe way which Mr. Traill promises, but has<br /> the additional appeal of political interest: yet its<br /> circulation is less than ten thousand, mainly in<br /> the colleges, libraries, and clubs. There could<br /> not be a more distinct issue than that which is<br /> presented to-day between the temptation to this<br /> kind of success and those larger possibilities<br /> which lie in an appeal to the common people. It<br /> is by no means true that the most cultivated<br /> persons are all on the side of the exclusive and<br /> severe kind of criticism. One reviewer in New<br /> York, of very high standing as a professor of<br /> English, has recently sarcastically dismissed the<br /> Atlantic Monthly from very serious considera-<br /> tion, on the ground that literature was so much<br /> smaller than life. He much prefers Harper&#039;s and<br /> the Century and Scribncr&#039;s, which aim at the<br /> heart of the Philistine. It seems to me, however,<br /> that the representative quality of these publica-<br /> tions is lacking in vital interest. If you are<br /> going to mirror the interests of the people in-<br /> discriminately, a daily newspaper is a more<br /> faithful engine, and I for one do not see what<br /> the magazine of 300,000 circulation is worth as a<br /> half-way step between the newspaper and real<br /> literature.<br /> Mr. Bret Harte in an article this month makes<br /> a point which might seem in conflict with this<br /> position, but of course is not; for to put into real<br /> literary form what should have a strong and<br /> lasting interest for the simple man is an entirely<br /> different matter, and one of the highest objects<br /> that a writer can aim at. Mr. Harte says: &quot;We<br /> may wish him to know of what our hero is<br /> thinking—he only cares for what he is doing; we<br /> may—more fatal error !—wish him to know of<br /> what we are thinking—and he calmly skips! We<br /> may scatter the flowers of our fancy in his way;<br /> like the old fox hunter in the story, he only hates<br /> &#039;them stinkin&#039; vi&#039;lets&#039; that lead him off the<br /> scent we have started. Action! Movement! He<br /> only seeks these, until the climax is &#039;run down,&#039;&quot;<br /> The Saturday Berieic,s attack on Bret Harte, in<br /> which he was charged with carelessness and<br /> insincerity, opens an interesting question which<br /> is far from decided; but whether Mr. Harte has<br /> reached the end of his gamut or not, he has left<br /> American literature something that few writers of<br /> his generation can equal.<br /> The most popular books during the last<br /> summer have in them some rather interest-<br /> ing facts. It will be seen that the Am&gt;-rican<br /> literary jingo has some reason for satisfac-<br /> tion, as American books occupy so much larger<br /> place than those of any other country. The<br /> old wail about the English novelist having two<br /> fields and the American novelist only one has been<br /> raised again, the writer saying that Mark Twain,<br /> Mary Wilkins, and Bret Harte, with perhaps two<br /> or three others, are the only Americans known in<br /> England; but the demand for fiction about local<br /> subjects is so strong here now, that if any writer<br /> does not get a good circulation for a story, it<br /> simply means that he has not been equal to the<br /> thousand untaken opportunities offered by the<br /> present American conditions. This writer, by<br /> the way, says that the royalties in this country<br /> average from ten to twenty per cent.<br /> The assets of the firm of Stone and Kimball are<br /> in the hands of the sheriff. It should be noticed<br /> that this firm is really Mr. Kimball&#039;s, Mr. Stone<br /> having set up his own firm of H. S. Stone and<br /> Co. in Chicago some time ago, and being<br /> extremely solvent.<br /> The question about the importation of books<br /> which has been raised here is set at rest by the<br /> following official answer from Washington to a<br /> private letter: &quot;In reply to your letter of the<br /> 27th inst., I have to state that a book printed in<br /> a foreign language, with the exception of the<br /> title-page and the preface, is not exempt from<br /> duty, such book not being printed exclusively in<br /> a language other than English, as prescribed in<br /> paragraph 502 of the Act of July 24, 1897.&quot;<br /> Norman Hapqood.<br /> <br /> <br /> ## p. 150 (#576) ############################################<br /> <br /> THE AUTHOR.<br /> NOTES AND NEWS.<br /> ATTENTION is very earnestly invited to the<br /> report of the sub-committee appointed to<br /> consider the question of educational<br /> publications. Headers are especially entreated<br /> to place their report in the nands of educa-<br /> tional writers, and the latter are urged to<br /> place themselves in the hands of the secre-<br /> tary, and to submit to him a statement of<br /> their own agreements and their results. The<br /> report has been prepared after a long and careful<br /> investigation into all the facts that could be<br /> obtained. The committee will be very grateful<br /> for any additional information. This branch of<br /> literature is, from a business point of view, the<br /> most important of any. It rests with educational<br /> writers themselves whether they will follow up<br /> the lines of action indicated in the report. They<br /> may reckon upon every assistance possible from<br /> the committee. .<br /> The first number—by this time, the second<br /> number—of Literature is in everybody&#039;s hands,<br /> and is under discussion everywhere among those<br /> who write and those who read. The importance,<br /> to the former class, of a paper wholly devoted<br /> to literature and t-qual to its responsibility<br /> cannot be overrated, while to the greater class<br /> of those who read, such a paper ought to prove of<br /> inestimable value as a guide and counsellor.<br /> There is a third class: those who write reviews.<br /> For this class, which contains a great number of<br /> persons absolutely incompetent to write, criticism<br /> simply means not even a question of liking a book<br /> or not, but a chance of saying something smart.<br /> They know no canons: they have no standards:<br /> they are ignorant of the subject on which they<br /> write: a few of them are absolutely untruthful. If,<br /> for instance, one of the latter tribe reads these<br /> lines, he will be impelled to sit down and say that I<br /> call all reviewers ignorant and incompetent. That<br /> is the kind of falsehood which he always delights to<br /> write down. I am in hopes that this new paper,<br /> which has time to prepare its judgments, and<br /> can confide the work to competent hands, will act<br /> as a model and a standard, and will put a stop to<br /> some at least of the slipshod, spiteful and inaccu-<br /> rate stuff which we have to read in some papers.<br /> A leading article—the first by Mr. Augustine<br /> Birrell—on some literary subject: reviews and<br /> criticisms: a poem—this time by Mr. Rudyard<br /> Kipling: and the bibliography of some subject:<br /> this is the table of contents of Literature. For<br /> my own part, I am sorry to see no space devoted<br /> to correspondence. I am always of opinion that<br /> correspondence is a most important part of<br /> English journalism. In America there is little or<br /> none. By means of correspondence the world hears<br /> the opinion of specialists: the writers on the staff<br /> have the subject presented to them from every<br /> point of view: the judgment of the paper is<br /> deferred until it has been so presented: the paper<br /> is kept in touch with its readers. Where there is<br /> no correspondence, there must be authority: if<br /> there is no authority, the paper is naught. The<br /> old Saturday Review, for instance, had no corre-<br /> spondence. Its influence, therefore, was measured<br /> by the authority it commanded: the belief in the<br /> wisdom of an anonymous staff. Great as that<br /> authority at one time undoubtedly was, the paper<br /> never got the same hold of its readers as the<br /> Spectator with its columns of correspondence.<br /> It is from the letters in the Times—letters on all<br /> possible subjects, letters written by the greatest<br /> authorities and specialists—that its readers are<br /> mostly instructed; and, of course, the same thing<br /> must be said of other papers.<br /> Literature may do well as an anonymous, in-<br /> dependent organ, with an amount of authority,<br /> like that of the Saturday, measured by the<br /> general belief in the capacity and the integrity of<br /> the staff. On the other hand, the interests of<br /> literature are many: opinions vary on all kinds of<br /> points: will the paper be silent on these points?<br /> Consider the variety of topics always coming<br /> before our own paper, which takes charge of one<br /> side of literature only—what certain interested<br /> persons call the sordid side. There are the group<br /> of questions connected with copyright: trans-<br /> lation: magazines: play writing: novel writing:<br /> education: lectures: the various methods of pub-<br /> lishing: what is meant by royalties: the tricks<br /> and traps of the crafty: how to meet the tricks,<br /> and avoid the traps—one could go on for columns.<br /> If so much has to be said on the business side of<br /> literature, there will be as much on the purely<br /> literary side. For instance, there are the relations<br /> of editor and author: these want a great deal<br /> more examination and discussion than they have<br /> received. That is only one point. The rela-<br /> tions of literature to the public libraries: the<br /> distribution and dissemination of books: the<br /> introduction of standards: the share that poetry<br /> ought to take in education and reading—there<br /> are a thousand subjects of the deepest interest.<br /> Let us hope that in time the new paper may take<br /> the lead, with authority, in considering these and<br /> all other questions which affect the welfare of<br /> Literature and her followers.<br /> No anecdote in the Memoir of Tennyson has been more<br /> quoted than Mr. Aubrey de Vere&#039;s story of the three<br /> <br /> <br /> ## p. 151 (#577) ############################################<br /> <br /> THE AUTHOR.<br /> judgments on Bums delivered to himself in the course of<br /> a single day by judges no leBS eminent than Wordsworth,<br /> Tennyson, and Sir Henry Taylor, and their amusing mutual<br /> oontradiotoriness. Tennyson forgave &quot; those stupid things,<br /> Burns&#039;s serious pieces,&quot; for the sake of the exquisite songs,<br /> perfect as a berry, radiant as a dewdrop. Wordsworth<br /> forgave &quot; those foolish little amatory songs &quot; for the sake of<br /> his &quot; Berious efforts, suoh as &#039; The Cotter&#039;s Saturday Night.&#039;&quot;<br /> To Sir Henry Taylor both songs and serious efforts wero<br /> alike tedious and disagreeable reading. We venture to<br /> suggest that gentlemen like Sir Walter Besant, who are<br /> scandalised because all the reviewers do not agree about a<br /> new book, should ponder the moral of this story. These<br /> three oritios, at all events, were not men who had failed. Why,<br /> indeed, more uniformity should be demanded in literary<br /> oritioism than in philosophy, politios, and religion, one<br /> cannot quite see, especially as questions of taste are<br /> proverbially disputable.<br /> The above paragraph is taken from the St.<br /> James&#039;s Gazette of Oct. 23. Surely the conclu-<br /> sion to be drawn is not that drawn by the writer.<br /> He presents us with three critics contradicting<br /> each other. Now, a man may be a very fine poet<br /> and a very bad critic. Of these three, two were<br /> poets of the first rank: one a poet of a much<br /> lower rank. What are the poems of which they<br /> spoke? They are written in one branch of the<br /> many Scottish dialects—I believe I am right in<br /> thinking that the country people of the east of<br /> Scotland speak a tongue that is in many respects<br /> different from that of the west. However, they<br /> are in a dialect of which about 20 per cent, of<br /> the words have to be explained in a footnote<br /> for English readers. Is there any other reason<br /> wanted to account for the fact that three<br /> English readers have arrived at three different<br /> conclusions? If the three readers had taken<br /> the pains to master the language, they would<br /> not have arrived at conclusions so contradic-<br /> tory. I am quite sure that one to whom<br /> the Burns language has been familiar from<br /> childhood reads his verse with a joy and<br /> an appreciation which cannot be felt by one<br /> who has to &quot;look out&quot; the words. That is<br /> the true moral of the story. The writer says that<br /> &quot;these three critics, at all events, were not men<br /> who had failed.&quot; The true critic, the man who<br /> brings to his work learning, reading, and canons<br /> of criticism; who is quick to appreciate; slow to<br /> depreciate; and abhors the criticaster&#039;s tricks, is<br /> never a man who has failed. Quite the contrary:<br /> he is a man who has succeeded. Again, true<br /> criticism is not a question of taste. And it is<br /> impossible—perfectly impossible—for a book to<br /> be charged by two critics with possessing qualities<br /> absolutely opposite. And the chief reason why<br /> criticism is so bad, and judgments so irreconcil-<br /> able, is that criticism is regarded as a &quot; question<br /> of taste.&quot; It is very much to be desired that one<br /> of the very few living masters of criticism would<br /> VOL VIII.<br /> give the world such a treatise on the subject as<br /> would convince some of the young gentlemen who<br /> tackle literature with so light a heart that there is<br /> very much more in the &quot;Gay Science&quot; than the<br /> question of how they like a book—or the author.<br /> One reason why I welcome the new venture is the<br /> hope that Literature will become an example and<br /> a model of what modern criticism should be. And<br /> I beg the above-named young gentlemen to<br /> resist the temptation—I own it is strong—to<br /> abuse me for saying that there is no criticism in<br /> our papers. Because that would not be true.<br /> The real critic, one must add, is careful not to<br /> misrepresent, not to overstate, never to set<br /> down, in a word, a thing which is not true.<br /> I should like to call attention to what seems to<br /> me a new dodge, and one that ought to be put<br /> down at the outset. An unknown person sends<br /> to a man or woman of letters a request for an<br /> answer to some question—it matters not of<br /> what nature, frivolous or ostensibly serious.<br /> He requests that the answer mav be written on<br /> an inclosed card and forwarded to him The<br /> question is always something in general terms,<br /> on the face of it made up for the purpose, and<br /> evidently invented to cover the dodge of getting<br /> a large number of signed opinions out of<br /> persons more or less popular for some private<br /> purpose of the writer. I believe in some cases<br /> it means only autographs which may be after-<br /> wards sold; in other cases it means an album of<br /> opinions which may afterwards be sold. In some<br /> cases it may mean only a collection of opinions<br /> or autographs for private use. I venture to<br /> recommend that recipients of these documents<br /> put them at once, and without replying, into the<br /> wastepaper basket.<br /> The bookstalls along the quays of France—<br /> the quays of the &quot;other&quot; side, are going to be<br /> swept away, This is very sad. How many<br /> delightful mornings and afternoons have we all<br /> spent among those boxes where the books were<br /> laid out to catch the eye of the purchaser! How<br /> many retired professors, dilapidated scholars, and<br /> eager book-hunters will lose the principal occu-<br /> pation of their lives! Where will they go, the<br /> secondhand—the third and fourth hand—book-<br /> sellers? I fear we cannot invite them over here,<br /> otherwise the Thames Embankment cries aloud<br /> for the booksellers&#039; boxes, but so far cries in<br /> vain. oio<br /> There seems to be a feeling in the minds of<br /> many that they ought to put on a show of indig-<br /> nation at what is called selling literature by the<br /> thousand words. The imagination is called upon<br /> p<br /> <br /> <br /> ## p. 152 (#578) ############################################<br /> <br /> THE AUTHOR.<br /> to create the effigies of an author counting his<br /> words and running up the value by the introduc-<br /> tion of a thousand words here and a thousand<br /> there. It is all part, they mournfully declare, of<br /> the spirit of sordid greed which has seized upon<br /> writers of all kinds, and especially writers of<br /> fiction. The indignation iB entirely wasted, for<br /> the simple reason that it is the publisher or the<br /> editor who speaks of MSS. as of so many thousand<br /> words, not the author at all, unless it is put to<br /> him in that way. The question of length is<br /> always, and must always be, of very great impor-<br /> tance to publisher or editor. In the case of a<br /> book the main thing to find out before a pub-<br /> lisher finally decides to bring it out, is the length<br /> it will make. He used to measure the length by<br /> sheets, and now, in some cases at least, he<br /> measures it by the thousand words. In the case<br /> of an article for a magazine, it is still more neces-<br /> sary to ascertain the length, because a magazine<br /> can only afford so many pages for the paper.<br /> Now, many writers, unpractised writers, have no<br /> knowledge at all of the connection between<br /> printed sheets and written sheets. It is, however<br /> perfectly easy for anyone to understand that his<br /> page of writing makes so many words, and that<br /> there are so many words in a page of the maga-<br /> zine. So that there is nothing sordid at all<br /> about an author counting his words, but, on the<br /> contrary, the action is necessary and a part of the<br /> business of literary work. Do the indignant<br /> moralists mean that a writer is to set down his<br /> thoughts, or to spin his story, without the least<br /> reference to the form in which it is to appear?<br /> But there is another side to the question. The<br /> writer is paid, they say, by the thousand words.<br /> Formerly he was paid by the sheet, and in the<br /> last century a guinea a sheet was the common<br /> rate of pay. Twenty years ago he was paid by<br /> the page—generally a pound a page; he is still<br /> paid by the page by some of the magazines, by<br /> others he is paid by the thousand words. I can-<br /> not, for the life of me, understand what it<br /> matters. For instance, I was invited some time<br /> ago to contribute to the pages of the Illustrated<br /> London News a story which should run three<br /> months. The editor meant, and he knew that I<br /> meant, written instalments, each varying in<br /> length from 6000 to 7000 words. He was not<br /> going to count the words, nor was I, because I<br /> knew very well how many pages of my writing,<br /> more or less, without actual counting, would be<br /> wanted. I mean that I was allowed just so<br /> much space, more or less, as would not reduce me<br /> to the necessity of counting. Another personal<br /> experience. I was invited to write a story by<br /> another editor, who said, simply, &quot;I want it about<br /> so many thousand words.&quot; Again, he is not<br /> going to count the words, nor am I. Now, I ask<br /> what difference it makes whether, as in the one<br /> case, the editor wants so many instalments, and<br /> says so: or whether, as in the other case, the<br /> editor wants so many thousand words, and says<br /> so. Oh! but it is sordid to sell by the space.<br /> Is it? Then it is sordid for a barrister to take<br /> a larger fee for a long case than a short case.<br /> It is sordid for a doctor to charge by the visit.<br /> It is sordid i to be paid by the column: by the<br /> page: by the sheet. It is sordid, in fact, to be<br /> paid at all. And this old assumption is at the<br /> bottom of the whole talk. It is sordid to be paid<br /> at all. _____<br /> This silly prejudice is a survival of the old<br /> feeling that it does not become a gentleman to<br /> take money for anything except rents first, and<br /> official salary next. Lord Lyttelton inarches into<br /> Dodsley&#039;s shop and presents him with his &quot;Life<br /> of Henry II.&quot; Horace Walpole despises the<br /> author who is paid. Lord Byron, at first, is<br /> ashamed of taking money. Therefore we are<br /> to be ashamed of taking money, though we live<br /> by our pens: we are to talk about sordidness of<br /> authors&#039; gains, while we grab at every farthing<br /> we can get. There was a pretence, formerly, that<br /> every lady drove out to a dinner party in her<br /> own carriage: nobody owned to a cab. There was<br /> formerly a pretence that no gentleman could carry<br /> anything in his hand: nobody would own to<br /> not having a man servant. There was formerly a<br /> pretence that it was degrading to write for the<br /> press: nobody would own to such a practice.<br /> These pretences are gone off to the distaut past:<br /> they are almost invisible. Is it not time to leave<br /> off talking about the sordidness of looking after<br /> our own affairs? To be sure the prejudice<br /> has so far retreated that it lingers now almost<br /> altogether among those whose affairs are not<br /> worth looking after. There is no one so keen<br /> to the necessity of preserving literature from<br /> any taint of commercialism as those who by no<br /> possible efforts of their own can bring their<br /> writings within the domain of commerciahsm.<br /> Some months ago I called attention in these<br /> columns to a very dastardly outrage committed<br /> upon Mr. Robert Sherard. Some person unknown,<br /> he complained, had been amusing himself with<br /> writing letters in his name, that is to say, pre-<br /> tending to be signed by him, to editors and pro-<br /> prietors of papers, abusing and threatening<br /> violence. This annoyance ceased for a time, and<br /> has again commenced. The manager of a certain<br /> <br /> <br /> ## p. 153 (#579) ############################################<br /> <br /> THE AUTHOR.<br /> newspaper syndicate has written to Mr. Sherard<br /> expostulating with him on a letter &quot; from him&quot;<br /> addressed to editors of papers in the North of<br /> England, and the editor of the Referee has<br /> received a letter signed &quot;Robert Sherard&quot;<br /> threatening to horsewhip him. The only way to<br /> meet a practice such as the above is a warning<br /> advertised extensively, with the offer of a reward.<br /> The poet who flatters himself that he has erected<br /> a monument more lasting than brass, may be<br /> reminded that his monument is made of paper,<br /> and that the paper now used is warranted to<br /> crumble to dust within a certain very limited<br /> period. The authority for this terrible warning<br /> is Mr. MacAlister, the hon. secretary of the<br /> Library Association, who curdled the blood<br /> of his hearers at the meeting of Oct. 20 by this<br /> fearful announcement. The paper used by the<br /> publishers and proprietors of the journals of<br /> to-day is made chiefly of sawdust: dust it is,<br /> and unto dust it will return. Imagine the whole<br /> of the Victorian literature vanishing, say, in<br /> five or ten years&#039; time! Picture the despair of<br /> the immortal bard who sees, in his own lifetime,<br /> the destruction of his immortality! Think of the<br /> Keeper of Printed Books, when he discovers that<br /> the miles upon miles of Victorian books have all<br /> become, like the dolls, stuffed with nothing but<br /> sawdust: the life and spirit and breath of them<br /> gone! Nothing left but the bindings, and these<br /> in a condition so dilapidated as to have even<br /> their titles illegible. Where, then, will be the<br /> name and fame of our poets, essayists, and<br /> novelists? Who will be able to give reasons for<br /> his admiration of Tennyson or his worship of<br /> Browning? Mr. MacAlister says that he has<br /> written to the leading publishers, and that &quot; most<br /> of them had frankly acknowledged that the paper<br /> used would not last, but complained that the modern<br /> craze for cheap, but at the same time highly-<br /> finished, papers was to blame.&quot; This is a grave<br /> charge, but it does not appear who the persons<br /> are who are affected by the craze. Certainly not<br /> the public, because they do not get their books any<br /> cheaper: the tendency is in the opposite direction.<br /> Certainly not the authors, who cannot desire to<br /> witness the reduction of their works to sawdust.<br /> There remain the publishers, who are thus<br /> accused of so great a craze for producing cheaply,<br /> that they put forth shoddy wares for sale which<br /> will only last a few years. Had anybody in this<br /> Society brought such a charge against publishers<br /> there would have been an outcry. Publishers, we<br /> should have been told, are beyond all suspicion<br /> of desiring to produce cheaply. Since the charge<br /> is brought by &quot;leading publishers&quot; we can only<br /> recommend it to the consideration of the Pub-<br /> lishers&#039; Association. It will, no doubt, be re-<br /> ferred to a sub-committee for inquiry, and mag-<br /> nanimity in the matter of paper will be insisted<br /> upon. Meantime Mr. MacAlister proposed the<br /> following resolution:—<br /> &quot;(1) That the Copyright Act should be<br /> amended by the addition of a clause stipulating<br /> that books sent to the copyright libraries should<br /> be printed upon a paper of approved specifica-<br /> tion. (2) That the libraries of the country<br /> should notify publishers that they would not in<br /> future purchase books unless the paper used<br /> came up to a certain normal standard. (3) That<br /> a committee should be appointed to consider the<br /> whole question, and to take such action as<br /> seemed to them most desirable.&quot;<br /> On this subject a good many suggestions occur.<br /> Thus, a first edition, or the whole demand for a<br /> twelvemonth or for five years, might be printed<br /> on paper certain to return to its original sawdust<br /> within a certain period—say, ten years. If any<br /> demand exists for the book after five years, then<br /> a new edition would be issued on durable paper.<br /> In this way the &quot;crazed&quot; publisher would be<br /> able to gratify his yearning after cheap produc-<br /> tion; the people who buy the book and never<br /> wish to read it again would be happy in feeling<br /> that it was sure to become extinct of its<br /> own accord, when its place on their shelves<br /> could be swept up; and the poet who saw him-<br /> self doomed to popular oblivion, just as much as<br /> if he had been a cheesemonger, would console<br /> himself by remembering that his rivals, the bad<br /> poets, would, like him, be plunged in Lethe.<br /> Charming verses will be written on tho Common<br /> Lot. How many books, do you think, survive<br /> the first five years? Look at the lists in the<br /> Athenmum of twenty years ago. Five years is a<br /> very long life, far beyond the average; a book<br /> which could put in a claim for durable paper<br /> would bo a veteran, tried and proved, a popular<br /> favourite—good for another ten years, perhaps<br /> for twenty, even for fifty.<br /> The death of Mrs. Katharine Hodges, at the<br /> age of sixty-nine, took place a few days ago at.<br /> Chicago. The name probably conveys very little<br /> meaning to most of our readers. Some, however,<br /> may remember how in one of the &quot; rooms &quot;—or<br /> inclosures—in the Women&#039;s Huilding at the<br /> Chicago Exhibition, Mrs. Hodges, an elderly lady,<br /> sat at a table covered with papers, ami welcomed,<br /> all day long, a stream of visitors to whom she<br /> distributed her papers ami told her tide and the<br /> tale of others. Her ease was tho tule of her<br /> treatment by a certain firm, of American pub-<br /> <br /> <br /> ## p. 154 (#580) ############################################<br /> <br /> »54<br /> THE AUTHOR.<br /> lishers. I do not know what effect was produced<br /> upon the business of that firm by the disclosures<br /> of Mrs. Hodges, or whether that firm ever<br /> answered her charges: in this country an answer<br /> would have to be forthcoming, or the result would<br /> certainly be damaging to the business of the firm<br /> concerned. However, there is no doubt that<br /> many thousands of visitors left the Exhibition<br /> with the belief that Mrs. Hodges was a greatly<br /> injured person. After this courageous act, which<br /> took up her whole time while the Exhibition<br /> remained open, Mrs. Hodges founded an asso-<br /> ciation, called the American Authors&#039; Protective<br /> Publishing Company. This company has pub-<br /> lished several works, but I am not able to ascertain<br /> how far it has proved successful in enabling<br /> American writers to do without a publisher.<br /> Mrs. Hodges was the author of several books:<br /> among them, a &quot; History of Colorado,&quot; a &quot; History<br /> of New York,&quot; &quot;Fifty Years a Queen,&quot; and the<br /> &quot;Life of Mrs. Henry Ward Beecher.&quot; She was<br /> also a journalist of considerable repute. I first<br /> met her at the Chicago Exhibition, when her<br /> personality greatly impressed me for its earnest-<br /> ness and directness. She was not punishing or<br /> persecuting a publisher; she was maintaining a<br /> principle, the same principle, in fact, that we<br /> ourselves advocate continually: that the commer-<br /> cial side of literature must be governed by the<br /> same rules as obtain in all other kinds of business,<br /> so that to charge as expenditure what has not<br /> been expended is neither more nor less than<br /> common theft, and to trade upon the ignorance<br /> of an author is the part of a horse-coper or a<br /> thimblerigger, and should be considered as such<br /> by all honest people. Nor was she afraid, even<br /> in the States—where to fight a case in court is<br /> even worse, if possible, than it is here—to bring<br /> or defend an action, and to give evidence herself.<br /> She was, in a word, a brave and true and loyal<br /> woman. One who knew her well writes to me:<br /> &quot;She worked to the last, with all her noble<br /> heart, for all that could tend towards helping<br /> writers, especially struggling journalists<br /> While she loved America, she never forgot her<br /> birthplace &quot;—she was born in Kent—&quot; nor her<br /> Queen, as her lost labour bears eloquent witness.&quot;<br /> Her &quot;lost labour&quot; was the book called &quot;Fifty<br /> Years a Queen,&quot; which, if I remember aright,<br /> provided the subject for one of her circulars.<br /> I have spoken above of the educational sub-<br /> committee. Another sub-committee is now<br /> sitting to consider the question of book-selling<br /> general, and the discount system especially. As<br /> this is a subject which deeply interests all readers<br /> of this journal, I venture to suggest that if any<br /> of them have suggestions to make, or opinions to<br /> offer, or facta to contribute, they should without<br /> any delay communicate with the Secretary. The<br /> most important points are: (i) the probable effect<br /> of raising the price of a 6*. book from 4s. 6d.<br /> to 5*.; (2) the effect of &quot;net &quot; prices instead of<br /> a discount allowance for cash; (3) the expediency<br /> of allowing publishers the complete control of the<br /> whole book trade; (4) the effect of making book-<br /> sellers the mere servants of publishers; and (5)<br /> the interference with free trade.<br /> The following cutting has been sent to me. It<br /> is taken from the Middlesex and Hertfordshire<br /> Notes and Queries :—<br /> Lamb&#039;s Neglected Grave.—For long past it has been<br /> my custom to visit, onoe a year, Edmonton Churchyard,<br /> and to view the resting-place of Charles Lamb. The<br /> quotation &quot;lies apart from the great city&quot; is no longer<br /> applicable to Lamb&#039;s resting-place, for London has now<br /> orept up to Edmonton and surrounded it; and as for his<br /> grave, only those who know it well can succeed in finding<br /> it, surrounded and overtowered as it is by other graves. Its<br /> condition, when found, is not satisfactory, and something<br /> should be done to put it into, at least, decent order.<br /> A drawing of the grave and the monument<br /> was presented some years ago to the Authors&#039;<br /> Society by Mr. Robert Bateraan, from a sketch<br /> made by himself. It hangs in the Secretary&#039;s<br /> office. I do not know how much it would take<br /> to keep the grave in order, but it would surely<br /> be a fitting thing for the Society to undertake<br /> this little tribute of gratitude and affection for<br /> the best loved of all English men of letters. I<br /> would suggest that someone should visit the<br /> place, ascertain what is wanted, and form a little<br /> committee for the purpose of getting a small<br /> fund and carrying out the work. I shall be<br /> very glad to receive any offers of assistance. It<br /> is not, of course, posssible for the Committee to<br /> expend their funds on this object, but, if we can<br /> get up a little committee among the members, we<br /> might submit the scheme to the Committee of the<br /> Society for their approval.<br /> Walter Besant.<br /> THE DIGNITY OP AUTHORSHIP.<br /> THE Spectator (Oct. 16, 1897) has been in-<br /> dulging itself, and pleasing its readers,<br /> with a really good old-fashioned grumble<br /> over the decay of the times, especially with regard<br /> to the &quot;dignity of authorship.&quot; Formerly no<br /> author was allowed to put his name to what he<br /> wrote: he was expected to take humbly what-<br /> ever was given him. That gave him dignity,<br /> you see. &quot;Mr. Blackwood,&quot; says the writer,<br /> <br /> <br /> ## p. 155 (#581) ############################################<br /> <br /> THE AUTHOR.<br /> •55<br /> &quot;expressly stated&quot; — expressly is good — that<br /> although he made a principle &quot; of giving prompt<br /> and liberal payment for whatever he published,<br /> he never would hold out money as the induce-<br /> ment to any man of ability to write.&quot; The<br /> author had only to accept what was tossed him<br /> with the gratitude which became his professional<br /> dignity. We understand that it is the dignity<br /> of a servant to accept whatever wages the<br /> master may offer. This, however, is now changed:<br /> &quot;the author now employs the publisher.&quot; So<br /> low has his dignity sunk that he has now become<br /> an employer. Nay, more, &quot;any of the dozen<br /> well-established novelists can sell his work years<br /> before a line is written. He contracts to furnish<br /> at such a date so many thousand words at so<br /> much per thousand. Nothing is specified as to<br /> the quality.&quot; Quite so. Pray, at what period in<br /> history was anything ever said about &quot; quality&quot;<br /> to a &quot; well-established &quot; novelist ?&quot; There must<br /> be so many thousand words, which can be sold to<br /> the world as authentic John Smith.&quot; Well—but<br /> if they are authentic, why not? Should they be<br /> sold as &quot; authentic &quot; Dickens when they are John<br /> Smith? People want to read the John Smith<br /> whom they know and love, not auother anony-<br /> mous John Smith whom they do not know or<br /> love.<br /> The writer next laments that a magazine no<br /> longer commands the respect of the public on its<br /> own merits: this surely is not the fault of good<br /> writers, because a magazine entirely written by<br /> good writers would command enormous respect.<br /> The English magazine of the present day is<br /> falling into decay because it is not written<br /> entirely, or for the greater part, by good writers.<br /> Again, &quot; the modern author writes for posterity,<br /> and bitter is his complaint if the editor should<br /> attempt to alter a line of his inspired effusion.&quot;<br /> Does the modern author really write for<br /> posterity? Surely, with examples as thick as<br /> autumnal leaves falling all round him, of writers<br /> once popular dropping into rapid oblivion, the<br /> modern author cannot expect immortality.<br /> Anthony Trollope, Lytton, George Eliot, are but<br /> seldom called for at the libraries; even Dickens<br /> and Thackeray are reported to be falling into<br /> neglect: Reade and Wilkie Collins are remem-<br /> bered by two or three books each: and that<br /> •m mortal work — what was it ? — of which so<br /> many hundreds of thousands were circulated<br /> three or four years ago—where is it now?<br /> No. One cannot l)elieve that the modern<br /> author writes for posterity. That he resents an<br /> editor&#039;s emendations, is quite another matter. It<br /> is part of the miserable decay of his dignity that<br /> he should not allow anyone to improve him.<br /> &quot;The editor&#039;s rule is being rapidly reduced to<br /> one of acceptance or rejection.&quot; Not quite. There<br /> are magazines of which this cannot be said—<br /> may we mention the Nineteenth Century, the<br /> Contemporary, the Pall Mall, with some of the<br /> lighter ones whose editors are always planning<br /> and contriving in advance? There are, it is true,<br /> some of which the charge is true, but these are<br /> not the successful magazines. &quot;The only things<br /> which influence popular opinion seriously are the<br /> anonymous journals.&quot; Is that really so? Then<br /> what of papers contributed by men who write on<br /> their own subjects? Could the writer seriously<br /> contend that a paper by a great man of science<br /> on his own subject—signed, say, by Professor<br /> Ray Lankester — would command less respect<br /> than an anonymous column in the Spectator?<br /> The writer sums up—the paper should be called<br /> &quot;In Defence of the Anonymous,&quot; not &quot;The<br /> Dignity of Authorship &quot; :—&quot; In the real reward of<br /> thought or dialectic vigour in magazine work,<br /> which is the power to influence other minds,<br /> they &quot;—the modern writers—&quot; are far worse off<br /> than were the gentlemen who, with not inferior<br /> talents, consented to sink their own personality<br /> in the collective unity of some organised and<br /> disciplined body of opinion. Free-lances may be<br /> very fine fellows, but it is drilled soldiers who<br /> win battles.&quot;<br /> The writer starts on one line and goes off on<br /> another. It is quite true that anonymous<br /> writing in an organ of repute may command<br /> very great authority and influence. The influence<br /> of the Spectator itself is a case in point. But the<br /> drilled soldiers may be good officers. If they<br /> are not only good officers, but known to the out-<br /> side world as such, they will command more<br /> influence by writing signed articles than by<br /> writing anonymously. That seems elementary.<br /> To return to the question of dignity. The<br /> decay of dignity is shown by the use of the new<br /> standard of measurement—words by the thousand<br /> instead of words by the page or words by the<br /> sheet. In the imagination of the writer, the man<br /> of letters is now laboriously counting his words,<br /> putting on a few or taking off a few. This is<br /> pure ignorance. The new standard is in fact a<br /> much more elastic way than the old one, as is<br /> stated elsewhere (p. 152).<br /> The alleged decay of dignity is therefore proved<br /> by the servile meanness of the author, who<br /> refuses any longer to take just what the great<br /> and magnanimous publisher chooses to toss him;<br /> and it is illustrated by the fact that he now<br /> employs the publisher instead of being employed<br /> by him! No wonder we live in a time of general<br /> decadence. Literature will never become great<br /> and grand and noble again till we return to the<br /> arched back and the bending knees.<br /> <br /> <br /> ## p. 156 (#582) ############################################<br /> <br /> THE AUTHOR.<br /> THE AUTUMN LISTS.<br /> THE following table of new books of the<br /> season has been compiled from the<br /> Publishers&#039; Circular of Oct. 2. The table<br /> includes new editions as well as new books. The<br /> total number is 1941. In the classification fiction<br /> heads the list. It is needless, however, to point<br /> out that a great many under this heading are<br /> merely trifling little tales for children, or for school<br /> presents. Perhaps 120 may be subtracted on this<br /> ground as not being of general interest. When<br /> the new editions have also been subtracted there<br /> will remain about 250 books calling themselves<br /> new novels, and inviting the public to read them.<br /> Of other kinds the large number of classical,<br /> mathematical, scientific, and historical books<br /> mean niainlv educational books.<br /> Of children&#039;s books there are 178, but to this<br /> number must be added the stories already<br /> indicated published by the religious societies.<br /> Poetry seems to be slowly advancing—year<br /> after year. We may look forward to a time<br /> when the people will demand poetry as they<br /> now demand fiction.<br /> Essays are in small demand. There are two<br /> or three writers who are favourites in this branch<br /> but reputation for essay writing is extremely<br /> difficult to achieve.<br /> We note, of course, year after year, the in-<br /> creasing number of publishers. There are now<br /> sixty-five on the list. It is beginning, in<br /> fact, to be found out that publishing is about<br /> the best business going. We may expect to<br /> see this list more than doubled in a very short<br /> time.<br /> <br /> George Allen<br /> William Andrews<br /> Edward Arnold<br /> B. T. Batsford<br /> George Bell and Sons<br /> Bemrose and Sons<br /> Black, A. and C<br /> Blaokie and Son<br /> Blackwood and Sons<br /> Bliss, Sands, and Co<br /> James Bowden<br /> Burns and Oates<br /> Cambridge University Press<br /> Cassell and Co<br /> W. and B. Chambers<br /> Chapman and Hall<br /> Chatto and Windus<br /> Church Monthly<br /> J. and A. Churchill<br /> Clarendon Press<br /> T. and T. Clark<br /> James Clarke and Co<br /> Cotton Press<br /> J. M. Dent<br /> Gardner, Darton and Co. ..<br /> H. Grevel and Co<br /> Griffith, Farran, Browne<br /> W. Heinemann<br /> Hodder and Stoughton<br /> Home Words<br /> A. D. Innes<br /> Lawrence and Bnllen<br /> Crosby Lockwood and Son<br /> Longmans, Green<br /> Sampson Low, Marston<br /> Mocmillon and Co<br /> John Macqneen<br /> Methaon and Co<br /> National Society<br /> i<br /> heological.<br /> Mathematics.<br /> History and<br /> Biography.<br /> rcbitectnre.<br /> a g<br /> hildron s<br /> Books.<br /> 1<br /> 1<br /> :ientific.<br /> S.s<br /> ED<br /> oetry.<br /> iction.<br /> oi<br /> I<br /> el<br /> !<br /> S3<br /> 3<br /> «<br /> 1<br /> 1 B<br /> !<br /> i<br /> S<br /> 00<br /> +j<br /> H<br /> 0<br /> 03<br /> w<br /> PM<br /> P<br /> ■3<br /> a<br /> J<br /> y<br /> 03<br /> I<br /> 3<br /> 1<br /> 1<br /> 1<br /> 1<br /> 2<br /> 2<br /> 2<br /> 4<br /> 18<br /> I<br /> 1<br /> 6<br /> 2<br /> 2<br /> 12<br /> I<br /> 3<br /> 4<br /> 1<br /> 4<br /> 1<br /> 4<br /> 2<br /> 20<br /> 11<br /> 1<br /> 2<br /> 8<br /> 1<br /> i<br /> 16<br /> 3<br /> 3<br /> 1<br /> 2<br /> 4<br /> 3<br /> 1<br /> 1<br /> 2<br /> 38<br /> 2<br /> 2<br /> 1<br /> 2<br /> 1<br /> 1<br /> 9<br /> I<br /> 2<br /> 1<br /> 3<br /> 5<br /> 2<br /> 5<br /> &quot;9<br /> 2<br /> 4<br /> 12<br /> 1<br /> 8<br /> 27<br /> 3<br /> 18<br /> 5<br /> 11<br /> 4<br /> I<br /> 6<br /> 2<br /> 4<br /> 54<br /> 5<br /> 1<br /> 6<br /> 2<br /> 6<br /> 1<br /> 1<br /> 2<br /> 1<br /> 25<br /> 3<br /> 1<br /> 2<br /> 5<br /> 1<br /> 1<br /> 13<br /> 7<br /> 1<br /> 3<br /> 11<br /> 23<br /> &#039;7<br /> 9<br /> 12<br /> 13<br /> 2<br /> 8<br /> 2<br /> 1<br /> 5<br /> 92<br /> 8<br /> 4<br /> 2<br /> 11<br /> 9<br /> I<br /> 1<br /> 23<br /> 2<br /> 3<br /> 7<br /> 2<br /> 1<br /> 74<br /> 1<br /> 1<br /> 2<br /> 6<br /> S<br /> 15<br /> 3<br /> 2<br /> 2<br /> I<br /> 4<br /> 6<br /> 2<br /> 3<br /> 3<br /> 2<br /> 28<br /> 3<br /> 1<br /> 1<br /> 7<br /> I<br /> 3<br /> 49<br /> 1<br /> 3<br /> 1<br /> 70<br /> 1<br /> 1<br /> 11<br /> •<br /> 2<br /> 11<br /> ■7<br /> 21<br /> 1<br /> 2<br /> 5<br /> 6<br /> 1<br /> 9<br /> 1<br /> 1<br /> 64<br /> 11<br /> 1<br /> 12<br /> 4<br /> 1<br /> 1<br /> 1<br /> 6<br /> 1<br /> 5<br /> 17<br /> 4<br /> 1<br /> 7<br /> IS<br /> 1<br /> 1<br /> 7<br /> 3<br /> 2<br /> 2<br /> 2<br /> 33<br /> 8<br /> 2<br /> 4<br /> 1<br /> 1<br /> 6<br /> 2<br /> 6<br /> 3<br /> 1<br /> 10<br /> 1<br /> 30<br /> 8<br /> 1<br /> »5<br /> 23<br /> 4<br /> 2<br /> 10<br /> I<br /> 4<br /> 29<br /> 3<br /> 2<br /> 56<br /> 21<br /> 3<br /> 1<br /> 16<br /> 3<br /> 1<br /> 45<br /> 6<br /> 5<br /> 11<br /> 2<br /> 3<br /> 2<br /> 3<br /> 4<br /> 28<br /> 1<br /> 1<br /> 1<br /> 1<br /> 5<br /> 1<br /> 3<br /> 6<br /> 1<br /> 1<br /> 7<br /> 27<br /> 11<br /> 10<br /> 9<br /> 4<br /> 1<br /> 10<br /> 5<br /> 6<br /> 7<br /> 1<br /> 7<br /> 2<br /> 9<br /> 61<br /> 3<br /> 7<br /> 1<br /> 12<br /> 10<br /> I<br /> 18<br /> 2<br /> 3<br /> 57<br /> 7<br /> 12<br /> •9<br /> 13<br /> 3<br /> «7<br /> 1<br /> 4<br /> &#039;7<br /> 93<br /> 1&quot;<br /> 7<br /> 7<br /> 4<br /> 11<br /> 2<br /> 1<br /> 20<br /> 12<br /> 1<br /> 3<br /> 1<br /> s<br /> <br /> <br /> ## p. 157 (#583) ############################################<br /> <br /> THE AUTHOR. 157<br /> <br /> T. Nelson and Sons<br /> J. C. Nimmo<br /> Ernest Nister<br /> David Nutt<br /> Oliphant, Anderson<br /> S. W. Partridge<br /> C.A. Pearson<br /> G. Philip and Son<br /> G. P. Putnam&#039;s Sons ...<br /> George Redway<br /> L. Reeve and Co<br /> Religious Tract Society<br /> Grant Richards<br /> Messrs. Rivington<br /> G. Rontledge and Sons<br /> Walter Scott<br /> Seeley and Co<br /> Service and Paton<br /> Skeffington and Son ...<br /> Smith, Elder, and Co.<br /> S.P.C.K<br /> Swan Sonnenschein ...<br /> W. Thacker and Co. ...<br /> Univ. C. C. Press<br /> T. Fisher Unwin<br /> Ward, Look, and Co. ...<br /> P. Warno and Co<br /> Theological.<br /> Classical.<br /> Mathematics.<br /> Scientific.<br /> History and<br /> Biography.<br /> Architecture.<br /> Letters and<br /> Reminiscences.<br /> Children&#039;s<br /> Books.<br /> Literature.<br /> |<br /> Poetry.<br /> Fiction.<br /> oi<br /> §<br /> 4ci<br /> *5<br /> 0<br /> Sports.<br /> Total.<br /> GO<br /> a<br /> Art.<br /> a<br /> 2<br /> K<br /> 17<br /> 9<br /> 28<br /> 1<br /> 2<br /> 1<br /> 3<br /> 1<br /> 8<br /> 14<br /> 14<br /> 4<br /> 13<br /> 2<br /> 4<br /> 7<br /> S<br /> 3<br /> 3<br /> 40<br /> 5<br /> 3<br /> 2<br /> 2<br /> 2<br /> 1<br /> &#039;5<br /> 4<br /> 1<br /> 6<br /> 1<br /> 29<br /> 12<br /> 53<br /> 1<br /> &#039;5<br /> 16<br /> 1<br /> II<br /> 1<br /> I<br /> 1<br /> &quot;5<br /> 1<br /> 6<br /> S<br /> 2<br /> 17<br /> I<br /> 4<br /> 2<br /> 5<br /> 1<br /> 1<br /> 45<br /> 1<br /> 4<br /> 1<br /> 8<br /> 3<br /> 4<br /> 1<br /> 3<br /> 1<br /> 2<br /> 1<br /> 30<br /> 6<br /> 6<br /> 6<br /> 1<br /> S<br /> 26<br /> 5<br /> 43<br /> 1<br /> 2<br /> 1<br /> 2<br /> 1<br /> 4<br /> 2<br /> 1<br /> 2<br /> 16<br /> 9<br /> 2<br /> 2<br /> 6<br /> I<br /> 1<br /> 7<br /> 28<br /> 1<br /> 2<br /> 2<br /> 1<br /> 2<br /> 7<br /> I<br /> 16<br /> 1<br /> 1<br /> 1<br /> 1<br /> 6<br /> 1<br /> 11<br /> 1<br /> 1<br /> 3<br /> 1<br /> 1<br /> 7<br /> 4<br /> 1<br /> «3<br /> 1<br /> &gt;9<br /> 7<br /> 8<br /> &#039;5<br /> 5<br /> 6<br /> 6<br /> 2<br /> 6<br /> 2<br /> 1<br /> 1<br /> 29<br /> 9<br /> 3<br /> 3<br /> 18<br /> 3<br /> 36<br /> 2<br /> 2<br /> 3<br /> 32<br /> 14<br /> 2<br /> 4<br /> 1<br /> 6<br /> 66<br /> 3<br /> 1<br /> 2<br /> 4<br /> 1<br /> 11<br /> «3<br /> S<br /> 2<br /> 7<br /> 2<br /> 8<br /> 37<br /> 2<br /> 4<br /> 13<br /> 4<br /> &quot;4<br /> 7<br /> 5<br /> 49<br /> 1<br /> 3<br /> I<br /> 1<br /> IS<br /> &#039;4<br /> 35<br /> 3<br /> 2<br /> 4<br /> 2<br /> 9<br /> ~i<br /> 20<br /> 3<br /> 43<br /> 221<br /> 181<br /> 54<br /> 214<br /> 243<br /> 20<br /> 86<br /> 506<br /> 23<br /> 31<br /> 3<br /> 7&#039;<br /> 178<br /> 45<br /> 48<br /> 1941<br /> THE TENNYSON BIOGRAPHY.*<br /> THE biography of Lord Tennyson was pub-<br /> lished on Oct. 6, the fifth anniversary of<br /> his death. As Tennyson&#039;s letters to Arthur<br /> Hallain—&quot; A. H. H.&quot; of these volumes—were<br /> destroyed by Hallam&#039;s father, the world now gets<br /> practically everything that can be looked for in<br /> respect of the life and letters of the late Poet-<br /> Laureate. Many fragmentary poems are pub-<br /> lished for the first time in the biography. The<br /> work lias had a distinguished reception every-<br /> where, and the Queen—to whom the Memoir is<br /> dedicated with a hitherto unpublished version of<br /> the lines to Her Majesty written in 1851<br /> For, tho&#039; the faults be thick as dust<br /> In vaoant chambers, I can trust.<br /> —has congratulated Lord Tennyson upon the<br /> success of his accomplishment. Personal recol-<br /> lections by Mr. F. T. Palgrave, Jowett, Tyndall,<br /> the Duke of Argyll, Mr. Aubrey de Vere, and<br /> others, are included in the woi&#039;k.<br /> * &quot; Alfred, Lord Tennyson. A Memoir.&quot; By his Son<br /> (Hallam, Lord Tennyson). (London: Macmillan and Co.)<br /> The main facts of the late Poet-Laureate&#039;s life<br /> are well known; a notice in The Author may<br /> therefore be concerned lather with the rich<br /> anecdotal character of the Memoir.<br /> Tennyson and the Critics.<br /> The reception of his first volume of poems was<br /> so unsympathetic that he was inclined to take up<br /> residence in Jersey or the South of Prance, or<br /> Italy. He was &quot;very sensitive,&quot; writes Jowett<br /> of Tennyson, &quot;and had an honest hatred of<br /> being gossiped about. He called the malignant<br /> critics and chatterers &#039;mosquitoes.&#039; He never<br /> felt any pleasure at praise (except from his<br /> friends), but he felt a great pain at the injustice<br /> of censure.&quot; He wrote to James Spedding in<br /> 1835 as follows:—&quot; John Heath writes me word<br /> that Mill is going to review me in a new<br /> magazine, to be called the London Review, and<br /> favourably; but it is the last thing I wish for,<br /> and I would that you or some other who may be<br /> friends of Mill would hint as much to him. I do<br /> not wish to be dragged forward again in any<br /> shape before the reading public at present, par-<br /> ticularly on the score of my old poems, most of<br /> <br /> <br /> ## p. 158 (#584) ############################################<br /> <br /> THE AUTHOR.<br /> which I have so corrected (particularly &#039;CEnone &#039;)<br /> as to make them much less imperfect, which<br /> you who are a wise man would own if you had<br /> the corrections. I may very possibly send you<br /> these some time.&quot; Aid after being persuaded<br /> by Mr. Gladstone to accept the peerage, he was<br /> eager &quot;as soon as possible to get over the dis-<br /> agreeable results of the newspaper comments and<br /> abuse.&quot; This side of Tennyson is well illus-<br /> trated by the following anecdote he related about<br /> 1883 to Mr. Gladstone :—&quot; I heard of an old lady<br /> the other day to whom all the great men of her<br /> time had written. When Froude&#039;s &#039;Carlyle&#039;<br /> came out, she rushed up to her room, and to an<br /> old chest there wherein she kept their letters, and<br /> flung them into the fire. &#039;They were written to<br /> me,&#039; she said,&#039; not to the public!&#039; and she set her<br /> chimney on fire, and her children and grand-<br /> children ran in—&#039;The chimney&#039;s on fire!&#039;<br /> &#039;Never mind !&#039; she said, and went on burning.<br /> I should hke to raise an altar to that old lady,<br /> and burn incense upon it.&quot;<br /> The Author&#039;s Notes.<br /> A valuable part of the Memoir is the series of<br /> Tennyson&#039;s notes on his poems. &quot;The coming of<br /> Arthur,&quot; we are told, &quot; is on the night of the New<br /> Year; when he is wedded &#039;the world is white<br /> with May&#039;; on a summer night the vision of the<br /> Holy Grail appears; and the &#039;Last Tournament&#039;<br /> is in &#039;yellowing autumn-tide.&#039; Guinevere flees<br /> through the mists of autumn, and Arthur&#039;s death<br /> takes place at midnight in midwinter.&quot; Some of<br /> the other notes are the following :—<br /> &quot;In Memoriam.&quot;—It must be remembered that this is<br /> a poem, not an actual biography. It is founded on our<br /> friendship, on the engagement of Arthur &#039;Hallam to my<br /> sister, on his sudden death at Vienna just before the time<br /> fixed for their marriage, and on his burial at Clevedon<br /> Church. The poem concludes with the marriage of my<br /> youngest sister, Cecilia. It was meant to be a kind of<br /> &quot;Divina Commedia,&quot; ending with happiness. The sections<br /> were written at many different plaoes, and as the phases of<br /> our intercourse came to memory and suggested them. I<br /> did not write them with any view of weaving them into a<br /> whole, or for publication, until I found that I had written bo<br /> many. The different moods of sorrow as in a drama are<br /> dramatically given, and my conviction that fear, doubts,<br /> and suffering will find answer and relief only through Faith<br /> in a God of Love. &quot;I &quot; is not always the author speaking<br /> of himself, but the voice of the human race speaking<br /> through him. After the death of A. H. H. the divisions of<br /> the poem are made by First Xmas Eve (section xxviii.),<br /> Second Xmas (lxxviii.), Third Xmas Eve (civ. and cv., eto.).<br /> &quot;The Northern Farmer.&quot;—Kodon Noel oalls these<br /> two poems &quot;photographs,&quot; but they are imaginative. The<br /> first is founded on the dying words of a farm bailiff, as<br /> reported to me by a great-unole of mine when verging upon<br /> eighty — &quot; God A&#039;mighty little knows what He&#039;s about,<br /> a&#039;taking me. An&#039; Squire will be so mad an&#039; all.&quot; I conjec-<br /> tured the man from that one saying.<br /> The &quot;Farmer, new style&quot; (in &quot; The Holy Grail &quot; volume),<br /> is likewise founded on a bingle sentence, &quot;When I canters<br /> my &#039;erse along the ramper (highway) I &#039;ears proputty, pro-<br /> putty, proputty.&quot; I had been told that a rich farmer in our<br /> neighbourhood was in the habit of saying this. I never<br /> saw the man, and know no more of him. It was also<br /> reported of the wife of this worthy that, when she entered<br /> the mile A manger of a sea bathing plaee, she slapt her<br /> pockets and said, &quot;When I married I brought him .£5000 on<br /> each shoulder.&quot;<br /> Here is a specimen of his studies for his finished<br /> work :—<br /> (Babbicombe.) Like serpent coils upon the deep.<br /> (Torquay.) As the little thrift<br /> Trembles in perilous plaoes o&#039;er the deep.<br /> (From the Old Bed Sandstone.)<br /> As a stony spring<br /> Blocks its own issue (tho&#039; it makes a<br /> fresh one of oourse).<br /> (Fowey.) A cow drinking from a trough on the hillside.<br /> The netted beams of light played on the<br /> wrinkles of her throat.<br /> No Biography in &quot;Locksley Hall.&quot;<br /> Replying to the writer of a book who had<br /> assumed that &quot;Locksley Hall&quot; was autobio-<br /> graphical, Tennyson said :—&quot; I must object, and<br /> strongly, to the statement in your preface that /<br /> am the hero in either poem. I never had a cousin<br /> Henry; &#039;Locksley Hall&#039; is an entirely imagina-<br /> tive edifice. My grandsons are little boys. T am<br /> not even white-headed; I never had a grey hair<br /> in my head. The whole thing is a dramatic im-<br /> personation, but I find in almost all modern<br /> criticism this absurd tendency to personalities.<br /> Some of my thought may come out in the poem,<br /> but am I therefore the hero. There is not one<br /> touch of biography in it from beginning to<br /> end.&quot;<br /> Jowett on Tennyson.<br /> Carlyle described Tennyson as &quot;one of the<br /> finest looking men in the world.&quot; &quot;I do not.<br /> meet in these late decades such company over a<br /> pipe!&quot; Here is his picture by the late Master<br /> of Balliol:—&quot; He was a magnificent man, who<br /> stood before you in his native refinement and<br /> strength. The unconventionality of his manners<br /> was in keeping with the originality of his figure.<br /> He would sometimes say nothing, or a word or<br /> two only, to the stranger who approached him<br /> out of shyness. He would sometimes come into<br /> the drawing-room reading a book. At other<br /> times, especially to ladies, he was singularly<br /> gracious and benevolent. . . . His repertory<br /> of stories was perfectly inexhaustible. . . .<br /> In the commonest conversation he showed himself<br /> a man of genius.&quot;<br /> Froude&#039;s Tribute.<br /> Of his happy married life (&quot;The peace of<br /> God came into my life before the alter when<br /> I married her,&quot; he said); of his correspondence<br /> with the Queen; of his&#039;intimacy with Browning,<br /> <br /> <br /> ## p. 159 (#585) ############################################<br /> <br /> THE AUTHOR.<br /> i59<br /> Thackeray, Dickens, Douglas Jerrold, Coventry<br /> Patinore, Edward Fitzgerald, William Allingham,<br /> George Eliot, with Bossetti and William Morris,<br /> and of many other relationships; of his admira-<br /> tion of Scott as having the finest imagination<br /> since Shakespeare; of his belief in the genius of<br /> Burns—his visit to Alloway Kirk, he owned, was<br /> the most treasured incident of an early journey<br /> through Scotland; and of his intense love for<br /> Shakespeare—of all these the volumes contain<br /> record. We may take leave of the biography<br /> here with quoting a letter written by the late Mr.<br /> J. A. Froude to the present Lord Tennyson:<br /> I owe to your father the first serious reflections upon life<br /> and the nature of it which have followed me for more than<br /> fifty years. The same voice speaks to me now as I come<br /> near ray own end, from beyond the bar. Of the early<br /> poem°, &quot; Love and Death &quot; had the deepest effect upon me.<br /> The same thought is in the last lines of the last poems which<br /> we shall ever have from him.<br /> Your father, in my estimate, stands, and will stand, far<br /> away by the side of Shakespeare above all other English<br /> poetB, with this relative superiority even to Shakespeare,<br /> that he speaks the thoughts and speaks to the perplexities<br /> and misgivings of his own age.<br /> lie was born at the fit time, before the world had grown<br /> inflated with the vanity of Progress, and there was still an<br /> atmosphere in which such a soul oould grow. There will be<br /> 110 such others for many a long age.<br /> THE LIBRARY ASSOCIATION - PRESIDEN-<br /> TIAL ADDRESS.<br /> (Pro-a the Timet of Oct. 21.)<br /> THE Library Association, which was founded<br /> in 1877, began on the 20th Oct. its<br /> twentieth annual meeting in the rooms of<br /> the Society of Arts. The retiring president is<br /> Mr. Alderman Harry Rawson, and his successor<br /> in the chair is Mr. Henry Richard Tedder, of the<br /> Athenaeum Club. There were present Dr.<br /> Garnett, Keeper of Printed Books, British<br /> Museum, who introduced the new president to<br /> the meeting; Mr. J. Y. W. MacAlister, the hon.<br /> sec.; Mr. Douthwaite, of Gray&#039;s-inn; Mr. Charles<br /> Welch, of the Guildhall Library; Mr. Sidney<br /> Webb, Mr. Cyril Davenport, of the British<br /> Museum, and many others.<br /> Twenty Years&#039; Progress.<br /> In the course of his address the President,<br /> after a brief reference to the great conference<br /> which took place in July last, said that he<br /> rejoiced to see present of the twenty-two<br /> members of the committee which organised the<br /> conference of 1877, Dr. Garnett, Mr. Douthwaite,<br /> and Mr. Wheatley. Of the others he was sorry<br /> to say only five remained. At the commence-<br /> ment the association professed that &quot;its main<br /> object shall be to unite all persons engaged or<br /> interested in library work for the purpose of pro-<br /> moting the best possible administration of exist-<br /> ing libraries and the formation of new libraries<br /> where desirable. It shall also aim at the<br /> encouragement of bibliographical research.&quot;<br /> Before 1877 the British and American librarian<br /> had no means of exchanging experience with his<br /> fellows—no journal, no organisation. Among<br /> their publications were the handsome volumes of<br /> reports of their earlier meetings. Many<br /> regretted their disappearance. Their first<br /> attempt in the way of a journal was Monthly<br /> Notes, a modest and in many respects an<br /> adequate organ. Then came the more spacious<br /> pages of the Library Chronicle, edited by E. C.<br /> Thomas, a name ever to be remembered with<br /> affectionate regret. This was followed by the<br /> Library, for which they were indebted to Mr.<br /> MacAlister. The &quot;Year Book&quot; was a useful<br /> work, which at least ought to keep to its name.<br /> The &quot;Library Association Series&quot; contained<br /> some extremely helpful little treitises, which<br /> were not yet superseded by more ambitious<br /> attempts. As to growth in numbers, they began<br /> with a roll of 140; it was now about 550.<br /> Librarians were upon the eve of a great<br /> alteration in their position. They hoped shortly<br /> to be recognised by the State as belonging to one<br /> of the organised and professional classes. The<br /> council&#039;s report told them that a charter of<br /> incorporation would probably soon be granted by<br /> the Privy Council. In 1877 their roll included<br /> 217 names. In July last they numbered about<br /> 600 members, about seventy or eighty of whom<br /> came from America. Others were present from<br /> France, Germany, Italy, Denmark, and Japan.<br /> He congratulated the association on the twenty-<br /> first number of the Library Journal, and among<br /> other publications of interest and importance to<br /> them were the catalogue of the &quot;Bibliotheque<br /> Nationale,&quot; two volumes of Dr. Garnett&#039;s series;<br /> Mr. Ogle&#039;s and Mr. Burgoyne&#039;s interesting<br /> volumes, Mr. Pollard&#039;s &quot;Bibliographia,&quot; and<br /> the British Museum catalogue of Shakespeare<br /> literature.<br /> Private Book-Collecting.<br /> As to modern private book-collecting, as he<br /> was addressing lovers of old and curious books<br /> and fine manuscripts, as well as librarians, the<br /> private collector as a factor in the formation<br /> of the public library should not be forgotten.<br /> It was not till the middle of the eighteenth<br /> century that book-collectors thought of prizing<br /> the dramatic and poetic literature of old England.<br /> One of the men who valued Caxtons as litonture<br /> <br /> <br /> ## p. 160 (#586) ############################################<br /> <br /> i6o<br /> Ulh AblHOll.<br /> was Stanesby Alchorne (died 1800), whose hooks<br /> were incorporated in Lord Spencer&#039;s library in<br /> 1813. &#039;Another was Sir John Fenn, who may be<br /> bracketed with the bibliographers Ames and<br /> Herbert, as a discoverer of old English dramatic<br /> and poetic literature. Next after him came the<br /> Duke of Roxburghe (died 1804), really the first<br /> who attached their due importance to the<br /> innumerable volumes and pamphlets in which<br /> English writers from 1400 to 1630 were lying<br /> neglected. This was the main feature of his col-<br /> lection, which was a very large one (30,000<br /> volumes), and comprised several valuable manu-<br /> scripts of the old Anglo-French romances of the<br /> Round Table, which belonged as much to the<br /> literature of England as to that of France, and<br /> some books more decidedly foreign, including the<br /> famous Boccaccio of 1471. About the same<br /> period Michael Wodhull was collecting the books<br /> of the early presses, while the Rev. Mr. Crofts,<br /> Colonel Stanley, and &quot;Don &quot; Bowie were paying<br /> attention to old Spanish literature. Italian<br /> books had been for more than two centuries a<br /> favourite secondary pursuit with all English<br /> collectors, and it still maintained its vogue.<br /> William Roscoe kept up the tradition in a more<br /> special form, and it was not until the middle of<br /> the present century, or a little later, that Italian<br /> books began to decline in interest. The great Lord<br /> Spencer came into the field in the last decade of the<br /> eighteenth century, and spent over forty years in<br /> the accumulation of his marvellous library.<br /> The late Lord Ashburnham was of similar type,<br /> but his interest in books comprised a wider circle.<br /> The earliest traces of intellectual exercise were<br /> sought in MSS., the more ancient the more<br /> esteemed, while Morris cared little for MSS.,<br /> except as examples of ornamental art during the<br /> twelfth to the fourteenth century. Lord Ash-<br /> burnham prized them for their contents, and,<br /> being also keenly alive to beauty, did not limit<br /> his appreciation of decorative MSS. to any par-<br /> ticular period. It was a remarkable test of his<br /> shrewdness and knowledge that he bought for<br /> £8000, over the heads of the British Museum<br /> authorities, the Stowe MSS., which the present<br /> earl a few years ago sold to the English Govern-<br /> ment for ,£45,000. The first of the great modern<br /> book sales was that of the library of Henry<br /> Perkins, dispersed in 1873, which was formed<br /> between 1820 and 1840. It consisted of only 865<br /> numbers, but realised =£26,000. It included two<br /> copies of the Mazarine Bible—one (,£2680) on<br /> paper, now in the Huth Library, one (.£3400) on<br /> vellum, at one time in Lord Ashburnham&#039;s<br /> possession. Sir William Tite&#039;s library was large<br /> (about 15,000 volumes), and brought ,£20,000,<br /> and the sale was the second of the great modern<br /> book auctions, that is, of those in which a marked<br /> change in the prices of books began. It was<br /> formed bet ween 1835 and 1865, and was sold in<br /> 1874. It contained rare books which had passed<br /> through the Roxburghe, George Daniel, and other<br /> sales, Shakespeare quartos, English Bibles, in-<br /> cluding a Tyndall&#039;s &quot;Pentateuch&quot; of 1530-31, a<br /> blockbook &quot; Apocalypse,&quot; and some Caxtons. The<br /> Beckford collection, of which the final sale took<br /> place thirteen years ago, was even then a marvel-<br /> lous gathering of books in all departments, except<br /> the purely English. The Duke of Hamilton&#039;s<br /> library, so far as printed books were concerned,<br /> was somewhat in the style of Beckford&#039;s-—general<br /> in character, but dashed with a by no means too<br /> prominent Scottish tinge. It was in the main<br /> gathered between 1780 and i860. The most<br /> striking books were the 1481 &quot;Dante,&quot; with all<br /> the engravings, and the copy of Boyce&#039;s &quot;Scottish<br /> History,&quot; printed on vellum for James V. The<br /> MSS. were, however, of matchless excellence, and<br /> unfortunately for the greater part secured by the<br /> Berlin Royal Museum. Amongst them were<br /> the celebrated &quot;Dante&quot; drawings by Botti-<br /> celli, and some glorious Italian illuminated<br /> works of the period of 1490-1510, besides<br /> a number of rare volumes from Burgundian<br /> and Rhenish monasteries in the eighth and<br /> ninth centuries, There was also the superbest<br /> volume of &quot;Latin Gospels,&quot; written on purple<br /> vellum in letters of gold, in the eighth century,<br /> which had belonged to Henry VIII., but this<br /> came back to England in 1887 with several other<br /> MSS., which the Berlin authorities unwillingly<br /> sold to make up the purchase money of the whole<br /> collection. It is now in America. He next<br /> referred to the Thorold and the Osterly collec-<br /> tions. The late Earl of Crawford achieved the rare<br /> distinction of creating a library perfect in balance<br /> and completeness, representative of all branches<br /> of literature, art, and science, including the most<br /> modern books, as well as the finest examples of<br /> early typography and priceless MSS. in all<br /> languages and of all periods.<br /> The Librarian op To-Day.<br /> The first president, Mr. Winter Jones, gave in<br /> his conference address a remarkable general view<br /> of the whole field of librarianship. In twenty<br /> years the subject had become too extensive to be<br /> treated in the same manner, but he would venture<br /> to place before them a certain standard of excel-<br /> lence to which the librarian should aspire. It<br /> was rarely the lot of man to attain even a limited<br /> mastership in any calling, but it was within the<br /> compass of all to follow, even at a distance, in<br /> the footsteps of such a noble example of pro-<br /> fessional ardour and technical excellence as Brad-<br /> <br /> <br /> ## p. 161 (#587) ############################################<br /> <br /> THE AUTHOR.<br /> shaw bequeathed. No two libraries were exactly<br /> alike. No two University libraries, no two<br /> scientific libraries, no two rate-supported libraries<br /> had precisely the same income, appealed to pre-<br /> cisely the same public, were organised in precisely<br /> the same manner; and the qualifications of their<br /> respective librarians must also vary in as many<br /> ways. But the main qualifications were:—i. A<br /> good general education and a knowledge of<br /> several languages and literatures. 2. Next, pro-<br /> fessional training, kept up by converse with fellow-<br /> workers. 3. The study of bibliography was of<br /> paramount importance, and nothing was more<br /> absurd than to think that it could only concern<br /> rare, old, and curious books. Every printed<br /> volume in a library demanded full and exact<br /> description, and the contents of each book must<br /> be noted for the purpose of classification. 4.<br /> Love of books and reading. To the librarian<br /> reading was a duty, perhaps his first duty. He<br /> was not only the guardian of books, but had a<br /> higher office as a humble apostle of light and<br /> learning. In Milton&#039;s stately phrase, they should<br /> be &quot; Enflamed with the study of learning&#039; and the<br /> admiration of virtue; stirred up with high hopes<br /> of living to be brave men and worthy patriots,<br /> dear to God, and famous to all ages.&quot;<br /> THE WISDOM OF 1772.<br /> (From &quot;Joineriana,&quot; 1772).<br /> To The Author.<br /> WRITE not to the million, but to the under-<br /> standing few—so shall praise, in pro-<br /> portion to what you have merited, crown<br /> your endeavour.<br /> Invent not idle tales—more to seduce the heart<br /> than mend the morals. Be well assured your tale<br /> can do no harm, and promises much good.<br /> Write not for hire—that&#039;s pitiful, for the most<br /> part swelling vast volumes seldom to any profit<br /> save the bookseller&#039;s.<br /> Write not for the sake of applause, but for the<br /> sake of truth.<br /> On Books.<br /> Books, like friends, should bo few and well<br /> chosen.<br /> Books change their fashion, almost as much as<br /> apparel.<br /> There is nothing from which humanity derives<br /> so much honour.<br /> The greatest monuments of men are letters—<br /> they are not only the foundation of all, but they<br /> outlive all other.<br /> Books, to judicious ^compilers, are useful—to<br /> particular arts and professions absolutely neces-<br /> sary, to men of real science, they are tools—but<br /> more are tools to them.<br /> The Bookseller.<br /> He is generally a bad judge of everything—but<br /> his slupidity shines most conspicuously in that<br /> particular branch of knowledge by which he is to<br /> get his bread.<br /> Yet he takes upon him to cater both for the<br /> learned and unlearned, and, by the help of his<br /> bookmaker, provides plentiful messes of literature<br /> of all sorts—olios, fricassee and hashes without<br /> number and without taste.<br /> In other words, he is a cook without a pxlate.<br /> Yet the fate of the living author, in these<br /> abused and hard times, depends much upon the-<br /> caprice of this tasteless confectioner.<br /> On Literary Property.<br /> The property being once conveyed, whole and<br /> entire, from the author, for what is called a<br /> valuable consideration to the bookseller, he, the<br /> said bookseller, has an unquestionable right<br /> thereafter to multiply copies of the same after<br /> any form and manner as to his good liking shall<br /> seem best, for his own particular benefit and<br /> emolument, neither shall any have licence to<br /> utter, vend, print, pirate, abridge, hash, fritter<br /> part or parcel thereof, without the concurrence of<br /> him, the said purchaser. It is become a part of<br /> his freehold—and so I understand it to be<br /> accounted in every country in Europe—the<br /> Imperial, Royal, Ducal, or State privileges<br /> amounting to no less.<br /> He may sell, let; lease, mortgage the whole or<br /> any part thereof; he may convey in trust, give<br /> outright, devise by will. In case of any mis-<br /> fortune to himself, it becomes the property of<br /> his creditors. In the purchase thereof he<br /> hazarded a considerable part of their substance<br /> as well as his own, and it now devolves to them to<br /> make good deficiencies. But it seems it bears no<br /> title, at best an imaginary one.<br /> To the right owner, by purchase, whom it cost<br /> a thousand pounds, it is not worth a thousand<br /> pence; but to the thief, who stole it, knowing it<br /> to be another&#039;s property (there being no Law to<br /> hang such thieves) it has been worth far more<br /> than the first purchase.<br /> This appears to be a matter of some moment,<br /> upon several accounts, and, sooner or later, we<br /> hope will be thought an object worthy the atten-<br /> tion of the Legislature.<br /> I need say no more upon this head—much has<br /> been said upon it, within these few years, in the<br /> Courts of Chancery and King&#039;s Bench—but<br /> nothing has been effectually done, save that not<br /> <br /> <br /> ## p. 162 (#588) ############################################<br /> <br /> THE AUTHOR.<br /> only the usual but even enormous fees (too much<br /> in use of late, and advancing every Term) have<br /> been expended.<br /> At present the matter of literary property<br /> scarce amounts to any property at all, and leaves<br /> the case of authors a lamentable case indeed.<br /> For disappoint them of their booksellers and they<br /> are undone. Cry down the only market for<br /> literature, where shall they sell their ware&#039;:&#039;<br /> Spoil them of the only patrons which modish<br /> folly and a dissipated age have left, what must<br /> become of them?<br /> They will no longer be able to wait upon<br /> ministers and managers in clean shirts and hose!<br /> Ragged and darned ones they have been contented<br /> to put up with a long while. But you would not,<br /> surely, reduce them once more to the painful<br /> necessity of hawking their histories and singing<br /> their ballads through the streets.<br /> THE HISTORICAL ENGLISH DICTIONARY.<br /> THE Vice-Chancellor of the University of<br /> Oxford, the Rev. Dr. Magrath, Provost of<br /> Queen&#039;s, entertained at dinner on Oct. 12,<br /> in the hall of Queen&#039;s College, Dr. Murray, Mr.<br /> Henry Bradley, and others who have helped in<br /> the production of the Historical English Dic-<br /> tionary.<br /> Dr. Murray, in reply to the toast of the even-<br /> ing, gave a resumd of the work in which he was<br /> ■engaged, quoting the efforts of lexicographers of<br /> centuries ago. It was not until 1857, when Dr.<br /> &#039;Trench read his papers on the deficiencies of the<br /> English dictionaries and recommended the Philo-<br /> logical Society to make an effort to redress them,<br /> that the Dean and Dr. Furnivall and others took<br /> the work in hand; but Hartley Coleridge died<br /> before the letter A was completed. From that<br /> time, through various societies, dictionary work<br /> had gone on, but the interest in it fell off; and<br /> when he joined the Philological Society the move-<br /> ment had almost come to an end. In 1875 he<br /> received an offer for an effort to make a dictionary.<br /> Negotiations followed, and ultimately the Claren-<br /> don Press undertook the present work. New<br /> quotations by the million were sent in from all<br /> parts, and in 1882 began the serious work of<br /> making the dictionary. Three years later he<br /> .gave up his school work and came to Oxford;<br /> and since then, with the help of his assistants<br /> •and contributors, the work had been hastened in<br /> the Scriptorium. One of their most serious<br /> ■difficulties was to know what words should be put<br /> in and what should not. With regard to the<br /> ■time at which the dictionary would be finished,<br /> he saw it was stated that it would be finished<br /> about the year 1918. By a simple rule of pro-<br /> portion which he had worked out his estimate<br /> was that it would be finished about 1910; and<br /> with the additional strength that the delegates<br /> might perhaps give he saw no reason why it<br /> should not be finished by the year 1908.—Times.<br /> CORRESPONDENCE.<br /> I.—&quot; Literature.&quot;<br /> IOBSERVE with great satisfaction that two<br /> important new departures in the conduct of<br /> periodicals will be taken in the newest of<br /> them, &quot;Literature,&quot; of which I have just read the<br /> prospectus. They are:<br /> (1) Books sent, but not reviewed, will be at<br /> the disposal of the publishers for two months.<br /> (2) Books if reviewed at all will be reviewed<br /> within not much more than three weeks from<br /> being received.<br /> The first-named is one which I have before now<br /> advocated in The Author, and the example<br /> of &quot; Literature&quot; will, I hope, be followed by other<br /> periodicals. The Athenaeum, to my knowledge,<br /> has at least once returned an expensive unre-<br /> viewed book on the ground that it was &quot;not in<br /> their way,&quot; but I believe the almost universal<br /> practice is for the proprietors of periodicals to<br /> sell for their own benefit all books received for<br /> review, whether reviewed or not and whether<br /> expensive or not. Surely this practice should be<br /> checked, if not discontinued. I have heard of<br /> cases in which the books are destroyed, but have<br /> not been able to verify them.<br /> It is also stated in the prospectus of &quot; Litera-<br /> ture &quot; that the price of all books sent for review<br /> will be stated, but I do not gather that it will be<br /> stated in the review itself, as should, I submit, be<br /> universally the case, but is, I believe, done in the<br /> Literary World and Bookman alone. The<br /> mention of the price in the review itself is not only a<br /> great convenience to readers generally—who fre-<br /> quently fail to find the book of their choice for the<br /> moment amongst a crowd of advertisements—<br /> but must also greatly assist the sale of a book.<br /> Oct. 12. ^ e J. M. Lelt.<br /> II.—The Effect of Reviews.<br /> Is it a logical conclusion that, because a very<br /> large number of a new work has been taken<br /> immediately on publication, hostile reviews have<br /> not injured the sale, as maintained in The Author<br /> (page 121)? How is it known that twice as<br /> many copies would not have been disposed of if<br /> <br /> <br /> ## p. 163 (#589) ############################################<br /> <br /> THE AUTHOR.<br /> favourable notices had appeared in the place of<br /> those that were adverse?<br /> And, since people buy the books before they<br /> have made themselves acquainted with their<br /> contents, how can the large sale show the<br /> approval of the public taste? I suppose that a<br /> desire to be able to join in discussions upon the<br /> latest production induces many to buy it, but<br /> who knows how many private purchasers in the<br /> end regret having spent their money and time<br /> over the work so far as their own entertainment<br /> in its perusal is concerned.<br /> Many, perhaps, would prefer that reviewers<br /> should not go further than giving information<br /> about a work, pointing out the author&#039;s errors as<br /> to fact, &amp;c. Too often a reviewer uses a book as<br /> a peg on which to hang his own views for public<br /> inspection, whilst he adopts an ex cathedra style<br /> which is not pleasant, nor justified by his own<br /> superior abilities. F. R.<br /> [The above note contains three points. To the<br /> first the answer seems plain. In the case of a<br /> book by an unknown writer it is impossible to say<br /> how the circulation is affected by a hostile review.<br /> In the case of a known writer, when it is found<br /> that in spite of hostility the demand is as great as,<br /> or greater than, that of previous books by the<br /> same writer, the conclusion is, surely, that the<br /> reviewers&#039; opinions have had no weight.<br /> The second point is that people do not buy<br /> books by unknown writers unless they are recom-<br /> mended to do so by their own friends after read-<br /> ing. All the persons who have been consulted on<br /> this point agree that such recommendation is the<br /> chief cause that makes a book to &quot;go.&quot;<br /> The third point shows that the writer himself<br /> pays no regard to a critical opinion on any book.<br /> He says that many would prefer a mere &quot;account&quot;<br /> of a book. Well, so far as the public is con-<br /> cerned, that would, perhaps, be quite enough, but<br /> that would not be criticism, and there are still<br /> many who desire not to suppress criticism, but to<br /> lift criticism out of the fields of log-rolling,<br /> personal animosity, and office boy&#039;s work into<br /> which it has fallen in some of our organs.—Ed.]<br /> III.—Novelist r. Reviewer.<br /> I have read with considerable interest your<br /> allusion, in the October number of The Autlwr,<br /> to my article on &quot; Novelist v. Reviewer,&quot; which<br /> appeared in the August number of the New<br /> Century Review. Will you forgive me for sug-<br /> gesting that your remarks miss entirely the main<br /> point of my argument? You quote a passage in<br /> which I say that &quot; no critic would wilfully defame<br /> a good book,&quot; but in your comments on this<br /> you lose sight altogether of that most important<br /> word wilfully. I have, in my article, given<br /> reasons for the proposition advanced, and I still<br /> fail to see how these reasons admit of logical<br /> refutation. In speaking of critics, my article was,<br /> of course, meant to refer to those only who are com-<br /> petent to form an opinion of value upon the works<br /> they criticise. Many criticisms, and more especially<br /> those appearing in local newspapers, are written<br /> not by critics but by reporters, who are obviously<br /> in eVery way unfitted to act in a critical capacity.<br /> I entirely agree with you when you say that<br /> a critic should be a scholar; but I think his<br /> education should be conducted more or less with<br /> a view to that special branch of critical work<br /> which he proposes to undertake. Heaven forbid<br /> that reviews of novels should be written by a<br /> mere scholiast, a man almost invariably pedantic<br /> and ignorant of the world. The cntic should<br /> be essentially broad-minded. One should have<br /> read at least a thousand novels and five hundred<br /> miscellaneous books before beginning to review a<br /> single work of fiction. And the thousand novels<br /> should not be merely skimmed; each should be<br /> read with an eye to its technical construction, its<br /> style, and its psychology.<br /> You attribute to me the assumption that<br /> novelists are the sole traducers of the critics.<br /> This was certainly not my intention. I merely<br /> considered the case of the novelists as being the<br /> most common, and of greatest general interest.<br /> Again, you deny that the attacking force com-<br /> prises those only whose work has failed to win<br /> favourable reviews. But I never asserted that it<br /> was so. I simply remarked that it was from this<br /> class that the attacks &quot;almost invariably &#039;r<br /> emanated. As a general rule it certainly is the<br /> adversely criticised authors who start the battle,<br /> but others may join in afterwards.<br /> Before closing this letter, I should like to<br /> emphasise one point which, it seems to me, has<br /> attracted less attention than it deserves. It is<br /> that critical notices are in so few instances<br /> written at the best moment for writing them.<br /> I believe it is a very common practice to write a<br /> review immediately after reading the book to be<br /> reviewed This I venture to think is too soon:<br /> one&#039;s opinions of a book should have time duly<br /> to allocate themselves, to find their proper level.<br /> Personally, I never—if I can possibly avoid so<br /> doing—review a book on the same day that I<br /> read it, and I never defer the writing of a review<br /> more than three days after reading the book. If<br /> this system be methodically pursued, there need<br /> be no diminution in the amonnt of work accom-<br /> plished, and the result is infinitely more satis-<br /> factory. Finally, may I suggest that the three<br /> great duties of a critic to himself are: to culti-<br /> vate the analytic faculty, to pay great attention<br /> <br /> <br /> ## p. 164 (#590) ############################################<br /> <br /> THE AUTHOR.<br /> to literary style, and to observe with care all that<br /> goes on in the world around him? It is by<br /> ■doing his duty to himself that a critic will best<br /> be able to do his duty to the public.<br /> Cecil J. Mead Allen.<br /> The Cedars, Exeter, Oct. 12.<br /> IV.—Editob and Contributor.<br /> I notice, periodically, in The Author, com-<br /> plaints as to editors retaining for many months<br /> MSS. offered for consideration, and then return-<br /> ing them as unsuitable without a word of apology.<br /> In the October issue &quot;Hard Worker&quot; complains<br /> of this practice. I have not yet seen any letters<br /> referring to the other side of the question, and<br /> as I think we ought to be perfectly fair in our<br /> dealings with the long-suffering editor, perhaps<br /> you will allow me to say that my short experi-<br /> ence has been the direct opposite.<br /> For the past three years I have been bom-<br /> barding editors with MSS., and am not able to<br /> charge any one of them with discourtesy or with<br /> unduly retaining a MS.<br /> Perhaps I may specially refer to To-Day,<br /> Chapman&#039;s, and Answers, as being most con-<br /> siderate to a totally unknown writer, returning<br /> MSS. within a few weeks if unsuitable, and<br /> promptly paying for those accepted; so that in<br /> this last important particular my experience does<br /> not coincide with that of &quot; M.,&quot; who writes to you<br /> in the same issue, In one case where Answers<br /> had kept a MS. a long while a letter of apology<br /> came with it, and on my mentioning (in my reply)<br /> the length of time it had been kept, a further<br /> letter came with a request that I would send it<br /> back so that it might be made use of.<br /> Of course, I have had numbers of MSS.<br /> refused, that goes without saying; but I do<br /> not expect unreasonable things from such<br /> heavily-burdened fellow creatures as popular<br /> editors must be.<br /> I think, if writers would send in nothing but<br /> type-written matter, and be careful that their<br /> full name and address appeared upon each, and<br /> if stamps were affixed to each article or story<br /> for return if unsuitable, it would make our<br /> unfortunate editors&#039; lives less a burden to them,<br /> and ensure for us more prompt attention. Fancy<br /> having to wade through and decide upon all the<br /> short stories which a popular magazine receives!<br /> _____ Alan Oscar.<br /> V.—Stamps for MSS. going Abroad.<br /> I observe that a correspondent of The Author<br /> wants to know where unused foreign stamps can<br /> be procured for the purpose of prepaying the<br /> postage of MSS. despatched to, and liable to be<br /> returned from, the United States or other distant<br /> lands.<br /> All the big stamp merchants have such stamps<br /> in stock, and they may also be bought at most of<br /> the offices at which foreign money is exchanged.<br /> The window of one such office, close to Charing<br /> Cross Station, is plastered with such stamps.<br /> Francis Gubble.<br /> VI.—The Right op Reply.<br /> A question interesting to authors, critics, and<br /> editors, but especially interesting to editors,<br /> comes on early next month for decision by a<br /> French tribunal. It involves a no less important<br /> matter than the right of reply. M. Dubout, a<br /> dramatic author, recently produced a play which<br /> was not a success. M. Jules Lemaitre, who does<br /> the theatrical criticism for the Revue des Deux<br /> Maudes, explained in that periodical why M.<br /> Dubout&#039;s &quot;Fredcgonde&quot; was a failure. The<br /> explanation was unsatisfactory to M. Dubout, and<br /> he claimed the right to reply to it. Now, French<br /> law is somewhat peculiar in the matter of this<br /> right. It gives it to any person whatsoever who,<br /> not having manifestly put himself out of court,<br /> may consider himself disparagingly referred to in<br /> a public print. And, further, it gives such per-<br /> son the right to have his reply inserted in the<br /> print inculpated to the extent of double the num-<br /> ber of lines employed upon the disparagement.<br /> By virtue of this law, M. Dubout claimed the<br /> right of replying to M. Lemaitre, to the fullest<br /> extent, in the Revue. M. Brunetiere, the editor,<br /> refused to insert his reply. Hence, an action at<br /> law. If M. Dubout wins, as he confidently<br /> expects, some very curious complications must<br /> necessarily follow.—Pall Mall Gazette.<br /> BOOE TALE-<br /> MISS BETHAM-EDWARDS has edited<br /> &quot;The Autobiography of Arthur Young,<br /> with Selections from His Correspond-<br /> ence.&quot; In this volume, of which Messrs. Smith,<br /> Elder, and Co. are the publishers, many letters of<br /> eminent persons will be given for the first time,<br /> and will, it is expected, be an interesting and<br /> valuable addition to the history of the last forty<br /> years or so of the eighteenth century and the first<br /> twenty of the nineteenth. Two portraits of the<br /> famous traveller and two views will illustrate the<br /> work.<br /> A book on the &quot;British Post Office,&quot; written<br /> by a member of the administrative staff, is about<br /> to be published by Messrs. Partridge.<br /> <br /> <br /> ## p. 165 (#591) ############################################<br /> <br /> THE AUTHOR.<br /> Mr. Edwin Pugh has written &quot; Tony Drum: a<br /> Cockney Boy,&quot; for publication by Mr. Heinemann<br /> shortly.<br /> Mr. Wickham Flower, F.S.A., is the author of<br /> a large volume—&quot; Aquitaine: A Traveller&#039;s<br /> Tales &quot;—which Messrs. Chapman and Hall will<br /> publish.<br /> Professor Robert K. Douglas has co-operated<br /> with Mrs. L. T. Meade in writing a series of<br /> stories dealing with social life in China. &quot;Under<br /> the Dragon Throne,&quot; as the volume is entitled,<br /> will be published by Messrs. Gardner, Darton,<br /> and Co.<br /> Madame Sarah Grand&#039;s new novel, &quot;The Beth<br /> Book,&quot; is due on Nov. 5.<br /> A volume of tales of the West Highlands, by<br /> the Marquis of Lorne, is announced by Messrs.<br /> Constable, under the title of &quot;Adventures in<br /> Legend.&quot; The same firm will publish &quot;The<br /> Pupils of Peter the Great,&quot; by Mr. Nisbet Bain.<br /> Mr. Anthony Hope has written a new romance,<br /> &quot;Born in the Purple.&quot; It will appear serially,<br /> and a year hence in book form.<br /> Mr. William Le Queux is engaged on a new<br /> story, called &quot; In the Day of Temptation.&quot; The<br /> work is to be in Messrs. Tillotson&#039;s hands for<br /> serial publication about March.<br /> Mr. A. Cotgreave, librarian of West Ham, is<br /> preparing a contents subject-index of a popular<br /> character to general and periodical literature.<br /> A work on &quot;The Artists and Engravers of<br /> British and American Bookplates,&quot; by Mr. H. W.<br /> Fincham, member of council of the Ex-Libris<br /> Society, will be published shortly by Messrs.<br /> Kegan Paul, Trench, and Co. Signed examples<br /> of all periods will illustrate the subject, and some<br /> will be printed from the original copper plates.<br /> The Rev. J. Baly, late Archdeacon of Cal-<br /> cutta, is the author of a philological work which<br /> Messrs. Regan Paul have in preparation, and<br /> which will contain a pedigree of the greater<br /> portion of English words now in use.<br /> &quot;Essays and Reviews in English Literature,&quot;<br /> by the Rev. Duncan C. Tovey, Clark Lecturer<br /> at Trinity College, Cambridge, is to be pub-<br /> lished by Messrs. Bell.<br /> A work entitled &quot;Picturesque Dublin, Old<br /> and New,&quot; by Frances Gerard, will be published<br /> shortly by Messrs. Hutchinson.<br /> The fund organised by the Neie Age for a<br /> tribute to the memory of the late Mr. James<br /> Ashcroft Noble has been very successful. A<br /> portion of the sum has been used to raise a<br /> memorial stone over the grave in Wandsworth<br /> Cemetery, and the balance is to be devoted to the<br /> education of his children.<br /> Professor J. K. Laughton is editing a volume<br /> entitled &quot;Twelve British Sailors, from Sir<br /> Francis Drake to Lord St. Vincent,&quot; which<br /> Messrs. Lawrence and Bullen are to publish.<br /> The contributors will include Sir Frederick<br /> Bedford, Captain Montagu Burrows, Admiral<br /> Markham, Sir Edmund Fremantle, and Admiral<br /> Colomb. For a companion volume dealing with<br /> &quot;Twelve British Soldiers, from Cromwell to<br /> Wellington,&quot; Mr. Spencer Wilkinson, who edits<br /> it, has secured as writers Sir Archibald Alison,<br /> General Maurice, Count Gleichen, and other<br /> authorities on military subjects.<br /> The autobiography of Admiral of the Fleet Sir<br /> Henry Keppel, G.C.B., from 1809 to 1897, will<br /> be published shortly&quot;, in two volumes, by Messrs.<br /> Bentley, with illustrations by the late Sir Oswald<br /> Brierly, marine painter to Her Majesty.<br /> The long-expected biography of Cardinal Wise-<br /> man, by Mr. Wilfrid Ward, will be ready shortly.<br /> Mr. Oswald John Simon is preparing a memoir<br /> of his father, the late Sir John Simon, serjeant-<br /> at-law, formerly M.P. for Dewsbury, who had<br /> interesting correspondence with eminent law-<br /> yers and statesmen, and took an active share in<br /> Jewish affairs.<br /> The Earl of Camperdown is writing a Life of<br /> Admiral Viscount Duncan, which Messrs. Long-<br /> mans, Green, and Co. will publish early in 1898.<br /> Mrs. Arthur Bell has prepared a memoir of<br /> Gainsborough, for which an effort has been made<br /> to trace many specimens of his work hitherto<br /> unknown. Gainsborough seldom signed his work.<br /> The book will be published by Messrs. Bell.<br /> A companion volume to &quot;London City<br /> Churches &quot; will be &quot; London Riverside Churches,&quot;<br /> written by Mr. A. E. Daniell and illustrated by<br /> Mr. Alexander Ansted, which Messrs. Constable<br /> are to publish.<br /> Mr. Gerald Duckworth is about to terminate<br /> his connection with Messrs. J. M. Dent and Co.,<br /> in order to set up, in company with a friend, as a<br /> publisher on his own account, under the style of<br /> Duckworth and Co.<br /> Messrs. Macmillan and Co. (Limited) have<br /> removed from Bedford-street to new premises in<br /> St. Martin&#039;s-street, W.C. (leading out of Leicester-<br /> square) .<br /> Miss Beatrice Harraden&#039;s &quot;Echoes of Olden<br /> Days &quot; is in the press for issue by Messrs. Black-<br /> wood in time for the children&#039;s Christmas season.<br /> The illustrations are by H. R. Millar.<br /> <br /> <br /> ## p. 166 (#592) ############################################<br /> <br /> THE AUTHOR.<br /> Mr. H. B. Irving has written a study of Ju&lt;lge<br /> Jeffreys. The book will appear after Christmas.<br /> Dr. Emil Reich has written a study of Hungary,<br /> its characteristic literature, and people, which<br /> Messrs. Jarrold and Sons will publish.<br /> In Mr. Cuthbert Hadden&#039;s work, &quot;George<br /> Thomson, the Friend of Burns,&quot; to be published<br /> by Mr. Nimmo, the author will reveal that at the<br /> time when Thomson sent ,£5 to the poet he had<br /> only &lt;£ioo a year, and was a married man with<br /> a young family. He will also show that Thomson<br /> did see Burns. Letters will be included from<br /> Scott, Hogg, Byron, Moore, Campbell, Beethoven,<br /> and others.<br /> Mr. Christie Murray has written a book<br /> describing his travels in the Colonies and America,<br /> which Messrs. Downey will publish, the title being<br /> &quot;A Cockney Columbus.&quot;<br /> Two more volumes of the &quot;Diaries of Sir<br /> Mountstuart Grant-Duff&#039;&#039; are to be published by<br /> Mr. Murray. The period covered is from 1873 to<br /> 1881, and they are to contain anecdotes of Tour-<br /> guenieff, Hans Andersen, Renan, Taine, Lord<br /> Melbourne, Disraeli, Mr. Gladstone, Jowett,<br /> Thackeray, Kinglake, Cobden, Bright, Kingsley,<br /> Newman, Gambetta, and other notabilities.<br /> Mr. Harry Furniss has drawn the illustrations<br /> for Miss Davenport Adams&#039;s story for the young,<br /> entitled &quot;Miss Secretary Ethel,&quot; which will<br /> be published by Messrs. Hurst andBlackett.<br /> The book on etching, by Mr. William Strang<br /> and Dr. Singer, which was announced a long<br /> time ago, is now about to appear, published by<br /> Messrs. Kegan Paul.<br /> Professor Flinders Petrie has seen the final<br /> proofs of his work, &quot; Six Temples at Thebes,&quot;<br /> which Mr. Quaritch is to publish. This includes<br /> the one inscription hitherto found in Egypt<br /> wherein the name of the people of Israel is men-<br /> tioned. Professor Petrie&#039;s account of his excava-<br /> tions last spring, under the auspices of the Egypt<br /> Exploration Fund, is now being printed, and will<br /> be called &quot; Deshasheh.&quot;<br /> Mr. Ernest Rhys is editing the &quot; Hampstead<br /> Annual,&quot; an enterprise which will see the light<br /> this month. Among the contributors are Canon<br /> Ainger, Sir Walter Besant, Mr. Buxton Forman,<br /> Dr. Birkbeck Hill, Mr. H. W. Nevinson, and Mr.<br /> Frederick Wedmore.<br /> Hollandia, a Dutch weekly journal for all<br /> Hollanders abroad, will be published on the 6th<br /> inst. at no, St. Martin&#039;s-lane, London, W.C. It<br /> will be conducted by Mr. J. T. Grein.<br /> Chapman&#039;s Magazine has hitherto been devoted<br /> entirely to fiction, but future numbers will<br /> contain one or more articles by expert writers on<br /> subjects of immediate social, literary, or general<br /> interest.<br /> &#039;• Philosophy and Psychology,&quot; writes a corre-<br /> spondent, &quot;are not represented in the American<br /> list, given in the October number. Let me<br /> remove the reproach, if there is any, by informing<br /> you that Messrs. D. C. Heath and Co. are bringing<br /> out a book by Mr. John Adams on &#039;The Herbas-<br /> tian Psychology applied to Education.&#039;&quot;<br /> &quot;On London Stones,&quot; a novel, by Catherine<br /> March (&quot;Carl Swerdna&quot;), author of &quot;Cruel<br /> Kindred,&quot; &quot; A Long Lane,&quot; &quot;Snared,&quot; &quot; A Year<br /> Between,&quot; &amp;c, is announced by Messrs. James<br /> Clarke and Co. One volume. 6s.<br /> &quot;Fidelis, and other Poems,&quot; by Mrs. C. M.<br /> Gemmer, has just been published by Messrs.<br /> Archibald Constable and Co. It is a pretty little<br /> book of verse, and we especially recommend the<br /> first poem, after which the book is named.<br /> A valuable prize recently offered by T. Winter<br /> Wood (&quot;Vanguard&quot;), of Paignton, Devon, has<br /> been awarded to W. B. Wallace for a poem on<br /> &quot;Liberty.&quot;<br /> A novel by the late Mr. George Augustus Sala<br /> is about to be published by Mr. Unwin. The<br /> story is one of London life, and called &quot; Margaret<br /> Forster.&quot;<br /> Mrs. Bird&#039;s book on Korea, is to appear from<br /> Mr. Murray this month.<br /> Mr. Fred. J. Whishaw has written &quot; A Tsar&#039;s<br /> Gratitude,&quot; a story which Messrs. Longmans will<br /> publish.<br /> The Countess of Warwick has edited the report<br /> of conferences and a congress held in connection<br /> with the educational section of the Victorian Era<br /> Exhibition. &quot;Progress in Women&#039;s Education in<br /> the British Empire,&quot; is the title of the volume,<br /> which Messrs. Longmans will publish.<br /> A correspondent to the Chronicle calls attention<br /> to another change of title. He says &quot;&#039; The<br /> Beetle: A Mystery,&#039; a novel by Mr. R. Marsh<br /> (Skeffington) has previously appeared in Answers<br /> under the title of &#039;The Peril of Paul Lessing-<br /> ham.&#039;&quot; The correspondent wants to know the<br /> reason.<br /> &quot;The Nurse&#039;s Handbook of Cookery,&quot; by<br /> E. M. Worsnop, assisted by Miss M. C. Blair, has<br /> just been published by Messrs. A. and C. Black.<br /> By a curious coincidence, the title of Miss Mary<br /> Wilkins&#039; latest novel is the same as one written<br /> by Annabel Gray, called &quot;Jerome,&quot; which was<br /> published in 1891 by Messrs. Swan Sonnenschein.<br /> <br /> <br /> ## p. 167 (#593) ############################################<br /> <br /> THE AUTHOR.<br /> 167<br /> Messrs. Hutchinson are preparing to publish<br /> this autumn a novel entitled &quot;For Love of a<br /> Bedouin Maid,&quot; by Le Voleur, author of a novel<br /> entitled &quot;By Order of the Brotherhood&quot; (which<br /> had a large sale both here and in the colonies).<br /> The story, which is one of adventure in the days<br /> of the first Napoleon, is illustrated with sixteen<br /> drawings by a rising young Sussex artist, Mr.<br /> Ernest Dyer.<br /> Mr. Ferrar Fenton, author of &quot;St. Paul&#039;s<br /> Epistles&quot; and the &quot;New Testament in Current<br /> English,&quot; is about to publish, through Mr. Elliot<br /> Stock, of Paternoster-row, &quot; The Book of Job in<br /> English.&quot; The peculiarity of this version is that<br /> it claims to be absolutely literal, and yet in the<br /> same metrical verse as the original Hebrew, and<br /> line for line. The sacred poem contains about<br /> two thousand lines.<br /> &quot;John Gilbert, Yeoman,&quot; by Richard Gilbert<br /> Soans, is published by Messrs. Frederick Warne<br /> and Co. It is an historical romance of ye times<br /> of Cromwell, the scenes of which are for the most<br /> part laid in beautiful Sussex.<br /> &quot;The Hand of His Brother,&quot; by Edith C.<br /> Kenyon, is about to be published by Messrs. Gay<br /> and Bird. Many of the scenes of this novel are<br /> laid in the picturesque neighbourhood of Hastings<br /> —the Lovers&#039; Seat, the old Church at Winchelsea,<br /> Pett Levels, &amp;c.<br /> &quot;Stories from Italy,&quot; by G. S. Godkin, is about<br /> to issue from the press of A. C. McClurg and Co.,<br /> of Chicago. This author writes out of the fullness<br /> of a long residence in Italy, and presents Italian<br /> character in a new and intimate light. The<br /> volume contains six or seven stories, different in<br /> action and scene, and yet connected here and<br /> there by the reappearance in the later tales of<br /> characters that had appeared in the earlier.<br /> LITERATURE INTHE PERIODICALS.<br /> The Publisher in Ireland. B. Blake. New Ireland<br /> Recieiv for October.<br /> The Celtic Mind. Sophie Bryant, D.So. Contemporary<br /> for October.<br /> John Dat. Algernon Charles Swinburne. Nineteenth<br /> Century for October.<br /> Latin Verses. Times for Oct. 8. Letter of Major<br /> Alex. B. Tulloch in Times for Oct. 16.<br /> The Harleian Library. J. M. Stone. Blackwood&#039;s<br /> for October.<br /> Edmond de Goncourt. Macmillan&#039;s Magazine for<br /> October.<br /> A New Academy. Macmillan&#039;s Magazinelor November.<br /> Letters of Dr. Holmes to a Classmate. May Blake<br /> Morge. Century Magazine for October.<br /> The Children&#039;s Book. Editorial Note in Harper&#039;s for<br /> October.<br /> Alfred Lord Tjsnnnyson. By Andrew Lang. Long,<br /> man&#039;s Magazine for November. By Stephen Gwynn.<br /> Macmillan&#039;s Magazine for November. By William Canton.<br /> Good Words for November. By Leslie Stephen. National<br /> Review for November. By Harold Spender. Fori nightly<br /> Review for November. By Agnes Grace Weld. Contempo-<br /> rary for November.<br /> What of publishing in Ireland? Is it like the<br /> proverbial snakes in Ireland? A writer on the<br /> subject tells us that it is, more or less, only that<br /> there is a great possibility ia it. Edinburgh, and<br /> Glasgow a little, still maintain a fair output for<br /> Scotland, but one does not often come across a<br /> book that has been published in Dublin or<br /> Belfast. While he is about it, the writer in the<br /> New Ire/and Review indulges in a scathing<br /> characterisation of what London—the centre of<br /> the publishing trade of the Kingdom—reads, and<br /> what she does not want to read. &quot;As publishing<br /> is to so great an extent centralised in London,<br /> and is almost exclusively in the hands of Eaglish<br /> firms,&quot; he says, &quot; there is a constant paralysing<br /> pressure exercised by trade influence against the<br /> development, even against the survival, of those<br /> peculiarly Irish gifts, to the splendour of which<br /> the literature of the English language owes so<br /> much. Anglo-Saxon readers will have nothing,<br /> we are told, except those slap-dash, tear-away<br /> tales of extravagant incident which are poured<br /> out in such profusion from the London Press;<br /> and in poetry the only quality they value is an<br /> obscurity sufficiently profound to be a good<br /> excuse for not reading it at all.&quot; And it is<br /> because such work does not suit Irish litterateurs<br /> ■—unless they &quot;mortify their senses&quot;—that<br /> Ireland&#039;s opportunity is created! Genuine<br /> Irish books, full of Irish wit and humour,<br /> will find a market, not only among the<br /> Irish in all parts of the British Empire, but<br /> among all the people to whom the modern Anglo-<br /> Saxon literature is oppressive or offensive. But<br /> this Irish literature must issue from Ireland, for,<br /> if published in London, it would inevitably be the<br /> fruit of perpetual compromise, which would<br /> deprive it of all virility. From a material point<br /> of view, England may have evolved a higher<br /> culture than Ireland, but where literature is con-<br /> cerned, says the writer, England cannot even claim<br /> equality. &quot;In taste, fertility of imagination,<br /> humour—in fact, in all the gifts which are needed<br /> for the production of a great literature, Irish<br /> writers infinitely surpass those of England.&quot; A<br /> genuinely national literature for Ireland is wanted;<br /> not &quot;a mealy-mouthed temporising literature,<br /> written by men who are afraid to speak out<br /> about those among whom they are obliged to live.&quot;<br /> The gifts of the Irish mind, meanwhile—its<br /> adaptability, its expressiveness—are the subject<br /> <br /> <br /> ## p. 168 (#594) ############################################<br /> <br /> THE AUTHOR.<br /> of a psychological study in the Contemporary by<br /> Dr. Sophie Bryant.<br /> A useful future for M. de Goncourt&#039;s new<br /> French Academy is not predicted by the writer in<br /> Macmillati&#039;s. Its design to encourage literature<br /> (although it excludes funeeionaries—i.e., civil<br /> servants—and poets) and to make war upon the<br /> Academy, is excellent. But so little does it<br /> encourage literature, that its president (M.<br /> Alphonse Daudet) is a distinguished novelist who<br /> needs no encouragement, while two of its members<br /> are practised journalists, who see the reward of<br /> their work at the week&#039;s end. M. Huysmans<br /> alone indisputably deserves his place. The critic<br /> is sarcastic at the expense of both the old and<br /> new institutes. The old—it will never lack<br /> esteem—is a gentlemanly club, which every<br /> Frenchman would be glad to enter, and bored<br /> when once he got there ; the Academic dictionary<br /> is an amiable and foolish pastime : not even forty<br /> angels could purify a language. The new<br /> includes the same elements in a state of less<br /> intensity; it is not to discuss literature,<br /> and will only save itself from boredom if<br /> it takes to collecting Japanese prints. In fact,<br /> genius holds aloof from Academies. To mention<br /> some, Balzac, Dumas, Gautier, Barbey d&#039;Aure-<br /> villy, &quot;could never have been elected to the<br /> Academy, because their talents set them too high<br /> above the decent level of mediocrity which is<br /> essential to a branch of the civil service&quot;—the<br /> Academy being now a conspicuous department of<br /> State. M. de Goncourt&#039;s Academy will award<br /> the monthly prize to a mediocre piece of prose—<br /> for ten men at variance with themselves are not<br /> likely to make an admirable choice. They will<br /> quarrel as much as fifty men at their monthly<br /> dinner—men of letters are notoriously quarrel-<br /> some. The only regret is that M. de Goncourt<br /> himself is not here to enjoy the spectacle, because<br /> none was more skilled than he in half-irony.<br /> Above all, the writer concludes, the new Academy<br /> will never profit literature, since literature is too<br /> wayward to be fostered by endowment:<br /> Give a man a thousand pounds and a comfortable house,<br /> and probably he will refrain from that masterpiece which<br /> once was seething in his brain. Moreover, the very power<br /> of election prevents a simple honesty. The unhappy ten<br /> may perhaps discover Borne common ground of sociability,<br /> and shift their judgment from literature to life. But what-<br /> ever their fate they will eat their dinner disdained or for-<br /> gotten by the writers of France. They were ohosen to<br /> found an Academy, and they will never escape from a<br /> collection of coteries.<br /> &quot;Are we to go on ■« ith Latin verses ?&quot;—the<br /> question Mr. Lyttleton&#039;s pamphlet puts—is dis-<br /> cussed by a writer in the Times, who thinks that,<br /> on the whole, we are. There is no alternative<br /> classical subject that can take the place of<br /> classical verse-writing, and if the object and<br /> effect of it are such as the supporters of the<br /> present system assert them to be, it cannot be<br /> abolished without injury to classical learning.<br /> As for the schoolboy&#039;s ignorance the while, that<br /> may be, but he is sent to school to &quot;learn t o<br /> learn&quot;—to be grounded for the future. The<br /> question is not whether the making of Latin<br /> verses is directly useful and informing, but<br /> whether it is a valuable educational instrument.<br /> The answer is that it is such an instrument.<br /> Spenser, Milton, Addison, Gray, and other<br /> famous men wrote Latin verses. Major Tulloch<br /> is entirely with the writer of the article in sup-<br /> porting a thorough classical education, but<br /> observes that for those entering the military<br /> service modern languages are far more important<br /> than Latin verses.<br /> Is the children&#039;s book a useful, a good insti-<br /> tution P The editor of Harper s is among those<br /> who think that books written for children have<br /> done more harm than good. Children recognise<br /> a genuine thing almost as soon as we do, and<br /> they are &quot;turning their backs upon the fictitious<br /> twaddle of little Joe and little Lucy, and the<br /> impossible goody-goody children of recent years.&quot;<br /> At the same time the editor makes a distinction<br /> between the literature merely for children, and<br /> that—the Grimm stories and the Andersen stories<br /> —about children. &quot;We and all healthy-minded<br /> children&quot; admire every bit of folk-lore and<br /> every legend that is touched with creative imagi-<br /> nation.<br /> The classmate to whom the few Holmes letters<br /> were addressed is the late Hon. Isaac E. Morse of<br /> New Orleans. The two were at Harvard together,<br /> afterwards met in Paris, and in the later days<br /> became fast friends at home. Holmes&#039;s letters<br /> (which could not be found when the &quot;Life &quot; was<br /> being prepared) are in a light, sometimes even<br /> gay tone, and discuss family affairs, the relations<br /> of the South and North, &amp;c. In one case there is<br /> an interesting reply to a request for an opinion of<br /> some poems by Morse. &quot;No one can fail of appre-<br /> ciating the feeling they show,&quot; Holmes wrote:<br /> &quot;they have the truth which real sorrow crushes<br /> out of a sensitive and delicate nature, and which<br /> is the stuff that poetry is made of. . . . In<br /> art the lines are deficient, perhaps too much so to<br /> be offered to the surly criticism of the public.<br /> You will find this axiom of mine true, I think:<br /> the more personal and intimate are the feelings<br /> which a poet reveals, the higher art is required<br /> to justify their exposure. . . . They are too<br /> artless, too careless, too much like an extract from<br /> a private letter, to be made common property. I<br /> should not, therefore, recommend their publica-<br /> tion; but I am only one adviser.&quot;<br /> <br /> <br /> ## p. 169 (#595) ############################################<br /> <br /> THE AUTHOR.<br /> 169<br /> TWO MEMORIALS.<br /> Felicia Hemans.<br /> ANOTHEE meeting has been held of the<br /> members of the Felicia Hemans Memorial<br /> Committee at Liverpool under the presi-<br /> dency of Mr. Mackenzie Bell. It has been followed<br /> by a letter addressed to the editor of the Liver-<br /> pool Mercury, which we have great pleasure in<br /> producing in these columns, in the hope that the<br /> memorial will be supported by our readers.<br /> (To the Editors of the Liverpool Mercury.)<br /> Gentlemen,—It is gratifying that this city is<br /> at length awakening to the fact of its long neglect<br /> of the claims of Felicia Hemans to adequate local<br /> recognition. We do not forget that Liverpool<br /> has also been the birthplace of other prominent<br /> personages in literature—such as Clouyh, to<br /> name only one. But, nevertheless, it can hardly<br /> be questioned that Time, &quot; the editor of editors,&quot;<br /> to quote a happy phrase of Mr. Alfred H. Miles in<br /> his &quot;Poets and Poetry of theCentury,&quot; has awarded<br /> to Felicia Hemans a conspicuous and almost<br /> unique place in letters as an exponent in verse of<br /> simple emotion. Canon Blencowe, in his interest-<br /> ing note read at the meeting of the Memorial<br /> Committee on Fridiiy, rightly characterised her<br /> work as &quot;unambitious &quot;; but he added with<br /> truth, that it &quot;always appeals to our best feel-<br /> ings,&quot; and, nowadays, though it is well that we<br /> should lay great stress on technical craftmanship<br /> in verse, it is also well that we should feel grateful<br /> to the poet who has touched our hearts, thus<br /> showing the possession of a gift beyond and, as<br /> we think, higher than any mere craftsmanship,<br /> however excellent. There is much force in the<br /> classical adage, bis dat qui cito tint. The Liver-<br /> pool public have now a good opportunity of show-<br /> ing in a practical way that they believe in it by<br /> subscribing at once to the Felicia Hemans Memo-<br /> rial, and also by giving any suggestions whereby<br /> the claims of a memorial to her can be brought to<br /> the notice of the poet&#039;s multitudinous admirers<br /> throughout the English-speaking world.<br /> Mackenzie Bell.<br /> oi_ W. H. PlCTON.<br /> Cjedmon, the Saxon Poet.<br /> This memorial has been undertaken by the<br /> people of Whitby, the place of Csedmon&#039;s resi-<br /> dence, if not of his birth. The Eev. H. D.<br /> Rawnsley, one of the promoters of the memorial,<br /> writes a letter to the Daily Chronicle on the<br /> doubt concerning Csedmon&#039;s existence. He<br /> adduces as evidence, first, the Venerable Bede,<br /> second, J. R. Green, the historian, and third, Mr.<br /> Stopford Brooke. We should be content with the<br /> evidence of Bede and the translation of his poems<br /> The memorial will consist of an Iona cross<br /> inscribed to the memory of the poet, set up on the<br /> Abbey Hill overlooking the town of Whitby.<br /> (The Editor of the Daily Chronicle.)<br /> Sir,—First let me thank you for your courteous<br /> notice of the meeting which inaugurated the pro-<br /> posed memorial to Csedmon, and then let me say<br /> in answer to your assertion that &quot; there have been<br /> historical sceptics who have expressed doubts as<br /> to whether Csednion ever had a corporate exis-<br /> tence,&quot; that we at Whitby are obstinately con-<br /> vinced not only of Csedmon&#039;s actual existence,<br /> life work, and death here at St. Hilda&#039;s Abbey,<br /> but that we also look upon him as the founder of<br /> English poetry. Untd the Daily Chronicle<br /> disprove the statement of Bede and discredits<br /> such a careful historian as John Richard Green,<br /> or a man of such literary acumen as Stopford<br /> Brooke, we shall go on holding to our faith, and<br /> giving the reason for that faith that is in us.<br /> Bede was seven years old when Csedinon died in<br /> 63o, and no one grew to know Northumbrian<br /> history better than Bede. Bede lxad no doubt of<br /> the corporate existence of Csedmon. &quot;There was<br /> in the Abbey of Hilda,&quot; says he, &quot;a certain<br /> brother who had an extraordinary gift, and whose<br /> name was Csedmon &quot;; and he continues, &quot; Sweet<br /> and humble was his poetry; no trivial or vain<br /> song came from his lips: others after him strove<br /> to compose religious poems, but none could vie<br /> with him, for he learned the art of poetry, not<br /> from men or of men, but from God.&quot;<br /> John Richard Green had no doubt of the cor-<br /> porate existence of Csedmon. &quot;The stern gran-<br /> deur of the spot—Whitby,&quot; says he, &quot;blends<br /> fitly with the thought of the poet who broke its<br /> stillness with the first great song that English<br /> singer had wrought, since our fathers came to<br /> Britain.&quot; And the historian adds, &quot;The memory<br /> that endears Whitby to us is not that of Hild,<br /> or of the scholars and priests who gathered<br /> round her . . . the name which really throws<br /> glory over Whitby is the name neither of king<br /> nor bishop, but of a cowherd of the house.&quot;<br /> Stopford Brooke has no doubt apparently of<br /> the corporate existence of Csedmon. &quot;Csedmon,&quot;&#039;<br /> writes he, &quot;is the first Englisman whose name<br /> we know who wrote poetry in our island of Eng-<br /> land, and the first to embody in verse the new<br /> passions and ideas which Christianity had brought<br /> to England . . . honour from all the English<br /> race, from all the poets, greatest of the English<br /> race, is due to Csedmon&#039;s name.&quot;<br /> It is something of this honour that the Whitby<br /> people are about to pay, by erecting a beautiful<br /> Iona cross inscribed to Csedmon&#039;s memory, upon<br /> <br /> <br /> ## p. 170 (#596) ############################################<br /> <br /> 170<br /> THE AUTHOR.<br /> the Abbey hill overlooking the town. Such a<br /> memorial will be a recall to the beginnings of our<br /> English literature, and may be an inspiration to<br /> generations who pass up the church steps to the<br /> ruined abbey of St. Hilda.— Yours truly,<br /> H. D. Rawnsley.<br /> 4, West-terrace, Whitby, Oct. 25.<br /> THE BOOKS OF THE MONTH.<br /> [Sbpt. 24 to Oct. 23.-424 Books.]<br /> Alexander, lira. Barbara. 6/-<br /> Allanson-Winn, R. O. Boxing. 5/-<br /> A ntleraon, Robert. The Silence of God.<br /> Anonymous (&quot;A Sexagenarian Rector<br /> together? Ac. 1/<br /> White.<br /> Innes.<br /> 5/- Hoddcr and Stoughton.<br /> ). Whom God hath joined<br /> Kegan Paul.<br /> Anonymous (&quot; Jim&#039;s Wife&quot;). Gordon League Ballads. 2/t<br /> Skefflngton.<br /> Anonymous. Herbariom of the TTniverBity of Oxford. GU. Frowde.<br /> Anonymous (An Ex)wrt). A Lesson in Seeing. Gill and Sons.<br /> Anonymous. Ramji, a Tragedy of the Indian Famine. 1 - Unwin.<br /> Anonymous. The Rivers of Great Britain. 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