| 323 | https://historysoa.com/items/show/323 | The Author, Vol. 09 Issue 07 (December 1898) | <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.+09+Issue+07+%28December+1898%29"><em>The Author</em>, Vol. 09 Issue 07 (December 1898)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=njp.32101063829988" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=njp.32101063829988</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> | 1898-12-01-The-Author-9-7 | | | | | 149–172 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=9">9</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1898-12-01">1898-12-01</a> | | | | | | | 7 | | | 18981201 | tTbe H u t b o r,<br />
(Tlie Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESANT.<br />
Vol. IX.—No. 7.] DECEMBER 1, 1898. [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 notioe that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank of London, Chancery-lane, or be sent by registered<br />
letter only.<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
joets whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
GENERAL MEMORANDA.<br />
EOB some years it has been the praotioe to insert, in<br />
every number of The Author, certain " General Con-<br />
siderations," Warnings, Notices, &o., for the guidance<br />
of the reader. It has been objected as regards 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 oarry 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. IX.<br />
in his own organs: or by charging exchange advertise-<br />
ments.<br />
(3.) Not to allow a special charge for " offioe expenses,"<br />
unless the same allowance is made to the author.<br />
(4.) Not to give np American, Colonial, or Continental<br />
rights.<br />
(5.) Not to give up serial or translation rights.<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor!<br />
(7.) To stamp the agreement.<br />
III. The royalty system.<br />
In this system, which has opened the door to a most<br />
amazing amount of overreaching and trading on the<br />
author's ignorance, it is above all things necessary to know<br />
what the proposed royalty means to both aides. It is now<br />
possible for an author to ascertain approximately and very<br />
nearly the truth. From time to time the very important<br />
figures connected with royalties are published in The Author.<br />
Readers can also work out the figures themselves from the<br />
"Cost of Production." Let no one, not even the youngest<br />
writer, sign a royalty agreement without finding out what<br />
it gives the publisher as well as himself.<br />
It has been objected that these precautions presuppose a<br />
great success for the book, and that very few books indeed<br />
attain to this great success. That is quite true: but there is<br />
always this uncertainty of literary property that, although<br />
the works of a great many authors carry with them no risk<br />
at all, and although of a great many it is known within a few<br />
copies what will be their minimum oiroulation, 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 those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) That there shall be no secret profits.<br />
(4.) That nothing shall be charged which has not been<br />
actually paid—for instance, that there shall be no charge for<br />
advertisements in the publisher's own organs and none for<br />
exchanged advertisements, and that all discounts shall be<br />
duly entered.<br />
If these points are carefully looked after, the author may<br />
rest pretty well assured that he is in right hands. At the<br />
same time he will do well to send his agreement to tl e<br />
secretary before he signs it.<br />
Q 2<br />
<br />
<br />
## p. 150 (#162) ############################################<br />
<br />
THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
I. INVERY member has a right to ask for and to receive<br />
lu advice npon his agreements, his choice of a pub-<br />
lisher, or any dispnte arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
has a right to an opinion from the Society's solicitors. If the<br />
case is snch that Counsel's opinion is desirable, the Com-<br />
mittee will obtain for him Counsel's opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with oopyright<br />
and publisher's agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon snch questions for us.<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed dooument to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudnlent houses—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 every-<br />
thing important to literature that you may hear or meet<br />
with.<br />
9. The Committee have now arranged for the reoeption of<br />
members' agreements and their preservation in a fireproof<br />
safe. The agreements will, of course, be regarded as con-<br />
fidential documents to be read only by the Secretary, who<br />
will keep the key of the safe. The Society now offers:—(1)<br />
To read and advise upon agreements and publishers. (2) To<br />
stamp agreements in readiness for a possible action upon<br />
them. (3) To keep agreements. (4) To enforce payments<br />
due according to agreements.<br />
Communications for The Author should reach the Editor<br />
not later than the 2let of each month.<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Offioe without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
The present location of the Authors' Club is at 3, White-<br />
hall-court, Charing Cross. Address the Secretary for<br />
information, rules of admission, &c.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year? If they will do<br />
this, and remit the amount, if still unpaid, or a banker's<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder<br />
Members are most earnestly entreated to attend to the<br />
following warning. It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for<br />
five years to come, whatever his conduct, whether he<br />
was honest or dishonest? Of course they would not.<br />
Why then hesitate for a moment when they are asked to<br />
sign themselves into literary bondage for three or five<br />
years?<br />
"Those who possess the 'Cost of Production' are<br />
requested to note that the cost of binding has advanoed 15<br />
per cent." This clause was inserted three or four years ago.<br />
Estimates have, however, recently been obtained which show<br />
that the figures in the book may be relied on as nearly<br />
correct: as near as is possible.<br />
Some remarks have been made upon the amount 0barged<br />
in the " Cost of Production " for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher's own magazines,<br />
or in other magazines by exchange. As agreements too<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits call it.<br />
NOTICES.<br />
THE Editor of The Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6«. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make The Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write?<br />
FROM THE COMMITTEE.<br />
THE following resolution was passed by the<br />
Committee of Management at their meeting<br />
held at the offices of the Society on Tuesday,<br />
June 14, 1898:<br />
"It was resolved that if it was thought advis-<br />
able the Committee would elect the chairman or<br />
other officers of any corporate association as a<br />
member of the Authors' Society, to represent such<br />
association, on payment of 2 guineas per annum<br />
on behalf of such association. The chairman or<br />
<br />
<br />
## p. 151 (#163) ############################################<br />
<br />
THE AUTHOR.<br />
other officers thus elected would be entitled to all<br />
the benefits of the Society for the publications of<br />
the association and for advice with regard to the<br />
details of the body corporate, but not to advice on<br />
behalf of himself or any individual member of<br />
such association."<br />
LITERARY PROPERTY.<br />
I.—A Curious Question.<br />
APUBLISHER sells a large amount of<br />
books to a distributor or to a bookseller,<br />
and in the return of accounts to the<br />
author pays the author royalties on such books.<br />
At a later date, for some reason or other, the sale<br />
of the book ceases, and the wholesale distributor<br />
or bookseller asks the publisher whether he won't<br />
take the copies of the book back. It is some-<br />
times politic of the publisher to do so in the case<br />
of a large wholesale distributor who is very active<br />
in the sale of books, and he accordingly takes,<br />
say, 100 copies of the book back, although he is<br />
not legally bound to do so. The author has<br />
already been paid royalty on these copies, so he<br />
has no further claim. Ought the publisher, in<br />
the continued sales of the book, to sell the author's<br />
copies in priority to those that he has received<br />
back from the distributor?<br />
Opinions are invited on this point.<br />
1. I do not think there is any legal point to be<br />
raised here. It is rather one of moral obligation.<br />
—O. H. Thring.<br />
2. The books have been sold. The author is<br />
entitled to his royalty. They are taken back.<br />
Why? In the interests of the publisher, not of<br />
the author. My opinion is that the books<br />
returned cannot be sold again until all the others<br />
in the edition have been disposed of. When this<br />
has been done, the publisher can begin to sell<br />
again for his own advantage the books which have<br />
been returned.—W. B.<br />
II.—." The Battle of Dorking."<br />
"Tbe year 1871 is known in the annals of the House of<br />
Blackwood as 'tbe "Battle of Dorking" jear.' Colonel<br />
Chesney's brilliant jtu d'esprit (as he himself called it) was<br />
probably the most successful magazine article ever written.<br />
It was reprinted in the form of a sixpenny pamphlet, of<br />
which over 80,000 copies were sold in a month, and more<br />
than 110,000 in all. Itappears from what Mrs. Porter says<br />
(though this is not absolutely clear) that the author's share<br />
of the profits when the sale had reached 80.000 was £250.<br />
If so, the Society of Authors ought to take no'e of the fact,<br />
for supposing that the royalty on the issue was only 25 per<br />
cent.—an extremely moderate one, in view of such an<br />
enormous sale—the author's profits would be .£500, exactly<br />
twice what he appears to have received. If the £250 was<br />
a mere payment on account, this ought to be made clear;<br />
otherwise Messrs. Blackwood have published a serious<br />
reproach upon their own firm."<br />
The above is a note from the Daily Chronicle.<br />
If 80,000 copies of this little pamphlet, which<br />
cost perhaps i^d. a copy, or .£500, were sold, the<br />
proceeds were about .£1200, so that the profits<br />
were £700, of which perhaps .£50 went in adver-<br />
tising. These figures would show that the<br />
House of Blackwood pocketed eight thirteenths<br />
of the whole, giving the author five thirteenths.<br />
This would be quite in accordance with the<br />
common practice of that period and with the<br />
practice advocated by the present publishers in<br />
their draft agreements. I do not think that<br />
Blackwood was any worse than his neighbours.<br />
It must be remembered that the royalty methods<br />
had hardly yet been commenced: those writers, if<br />
any, who understood what was meant by "trade<br />
price " and "cost of production," kept their know-<br />
ledge for their own benefit, and had no idea of<br />
helping other writers. I remember, some fifteen<br />
years ago, being assured by a publisher that a<br />
10 per cent. royalty was a most fair arrangement,<br />
equitable for both parties. At that time I had<br />
some glimmerings of the truth, and I replied that<br />
it might be so for a small first edition, but it<br />
could not be so for larger and succeeding editions.<br />
Upon which his face assumed a pained look, with<br />
a touch of disappointment in it, such as is natural<br />
when one meets with want of confidence.<br />
I think, therefore, that it is very unlikely that<br />
any royalty was given in this case. If it was a<br />
royalty, it means 12\ per cent., which is con-<br />
temptible. It could not have been a half-profit<br />
arrangement, as it would seem to have been based<br />
upon imperfect accounts. I believe it was just a<br />
cheque tossed to the author without any account<br />
whatever. .<br />
III.—A Personal Experience.<br />
The Author has been very interesting of late<br />
on this subject. Perhaps my experience may be<br />
useful. I was anxious to publish, and to secure<br />
the profit while willing to take the risk. After<br />
four years' reading of this valuable paper I had<br />
become educated. Mr. Thring gave me the<br />
names of five printing firms and a distributor (he<br />
has done nothing to deserve to be called a<br />
publisher), who read my MS. and expressed his<br />
willingness to publish for me. With his valu-<br />
able hints I obtained estimates for printing,<br />
interviewed papermakers, and gave my own<br />
orders. The same for binding. (I am not an<br />
idle man.) I paid cash and got discounts.<br />
Result, 120,000 words, 3000 copies—say all<br />
bound—£118, advertising extra, and typewriting.<br />
The book is well groomed, and the publisher<br />
<br />
<br />
## p. 152 (#164) ############################################<br />
<br />
>52<br />
THE AUTHOR.<br />
nowhere—not wanted. The woful condition of<br />
the bookseller is improved, as he gets much<br />
larger profits, and when more books are thus<br />
published he will be able to resume his former<br />
status and prosperity. He, too, was fearfully<br />
sweated by the publisher. He has my book on<br />
sale or return, and I have secured what seems a<br />
right—the right to place my book upon the<br />
market, that it may live or die according to the<br />
strength that is in it.<br />
For this I am indebted to the Society of<br />
Authors. I shall become a life member of the<br />
Society. It can do no more for me—it cannot<br />
command success.<br />
In the summer a literary friend wrote me that<br />
he had been over a castle now in the hands of a<br />
wealthy publisher, and said he thought he pre-<br />
ferred the robber baron. How long will the<br />
great ones of literature continue to lay this pub-<br />
lisher's golden eggs? My egg may be addled—<br />
they know theirs will not be. Yet I am no<br />
plutocrat, and the penniless may like to know<br />
that I have been penniless enough to satisfy the<br />
most exacting. Zeitgeist.<br />
IV.— Missing Music Hall Sketches.<br />
Judge Emden was engaged for several hours at<br />
the Lambeth County Court on Nov. 22 in hearing<br />
an action brought by Harry Williamson, play-<br />
wright, of Portland-place, Clapham-road, to<br />
recover from G. H. Macdermott, music hall artist<br />
and theatrical agent, carrying on business at<br />
Denison-street, York-road, .£50 damages for the<br />
loss of four music hall sketches entrusted to the<br />
defendant.<br />
The plaintiff deposed that he had been writing<br />
plays for the past eighteen or twenty years, and<br />
works of his had been produced at a number of<br />
West-end theatres. In February, 1897, he met<br />
the defendant at the Tivoli, and at his request<br />
subsequently left at his office the MSS. of four<br />
music hall sketches, entitled "Killarnev,"<br />
"Mixed," "Wanted," and " Not Guilty," and "he<br />
had not copies of any of these—only rough pencil<br />
notes. He warned the clerk of their value. When<br />
he subsequently applied for the return of the<br />
sketches, they could not be found. He had<br />
valued them at a low figure, so as to come within<br />
the jurisdiction of the County Court. He did not<br />
for a moment allege that Mr. Macdermott had<br />
the sketches. What he believed was that they<br />
had been stolen, and would be put on the market<br />
in another name. That was frequently done. For<br />
instance, he lost on board ship the original manu-<br />
script of "Retiring," produced at the Folly<br />
Theatre, and when he sought to secure the Ameri-<br />
can rights he found that it had been brought out<br />
in the States as " Out of Harness."<br />
Mr. Lionel Brough, asked by Mr. Lincoln Reid<br />
if he was an actor, replied, "They say so."<br />
(Laughter.) He said he knew the plaintiff to<br />
hold a good position as a dramatic author and to<br />
have a considerable reputation in the theatrical<br />
world. The price he put upon the sketches was<br />
very moderate indeed.<br />
The defendant, Mr. Macdermott, said he had<br />
known the plaintiff for twenty-five years. He<br />
remembered that Williamson approached him on<br />
several occasions with regard to the sketches, and<br />
the witness told him to send them to his office, but<br />
he had never the smallest intention of charging<br />
any commission or fee of any kind if by a good<br />
word he could induce a manager or artist to<br />
accept them.<br />
The evidence of the defendant's manager and<br />
his clerk having been heard,<br />
Judge Emden, without calling upon the defen-<br />
dant's counsel, said there was no doubt in his<br />
mind that this was a case of gratuitous bailment<br />
—that is to say, that the defendant, in offering<br />
to read the manuscripts was not doing it for<br />
financial advantage, but as an act of friendship.<br />
That being so, and the plaintiff having failed to<br />
prove affirmatively that the documents were lost<br />
through negligence, there must be judgment for<br />
the defendant with costs. He could not help<br />
stating that Mr. Macdermott had given his<br />
evidence in a frank and candid manner, which<br />
was positively refreshing after the usual experi-<br />
ence of cases in that court.<br />
[This case, quoted in extetuo from the Daily<br />
Graphic of Nov. 23, is interesting to authors, as<br />
it bears to some extent on the position of an<br />
editor to whom MSS. are sent.]<br />
V.—Receipts.<br />
An article appeared in The Author some time<br />
ago with regard to a given form of receipt for the<br />
use of serial work which was issued by the<br />
Religious Tract Society, and which ran as<br />
follows:<br />
Copyright.<br />
This reoeipt conveys the copyright to the trustees of the<br />
Religions Traot Society, with liberty for them, at their dis-<br />
cretion, to republish in any form. Republication by authors<br />
on their own account must be the subject of special arrange-<br />
ment.<br />
There is no doubt that from time to time great<br />
difficulties arise owing to the form in which<br />
receipts are sent to authors. If the Religious<br />
Tract Society before publishing work in serial form<br />
made a special agreement with the author, con-<br />
veying the rights mentioned in the receipt, then<br />
there would be no objection to signing it when<br />
payment was made, but if no such agreement was<br />
made the contributor should refuse his signature,<br />
<br />
<br />
## p. 153 (#165) ############################################<br />
<br />
THE AUTHOR.<br />
*53<br />
or he should strike his pen through the objec-<br />
tionable words of conveyance. If the Religious<br />
Tract Society refused to pay without these words,<br />
he should then, unless his necessities compelled<br />
him to endure anything, place the business in the<br />
hands of the Secretary of the Authors' Society.<br />
If no contract had been made before the publi-<br />
cation in serial form, taking the worst view of the<br />
case, it would have fallen under the 18th section<br />
of the Act, which is the section which deals with<br />
copyright in magazines. Under this section the<br />
right of republication in separate form would not<br />
lie with the Religious Tract Society, but would be<br />
a matter of separate agreement between the author<br />
and the proprietor of the magazine during the period<br />
prescribed by law of twenty-eight years, when the<br />
right to publish separately would revert to the<br />
author.<br />
This would be the position of the author,<br />
taking the most disadvantageous view of the<br />
difficulty, for the 18th section runs as follows in<br />
brief: "That when any publisher of a magazine<br />
shall have employed or shall employ any persons<br />
to compose any parts, essays, articles, or portions<br />
thereof for publication in or as part of the<br />
same, and such parts, essays, articles, or portions<br />
thereof shall have been or shall hereafter be com-<br />
posed under such employment on the terms that<br />
the copyright therein shall belong to such pro-<br />
prietor, and be paid for by such proprietor, then<br />
the copyright shall belong to the proprietor,"<br />
with the proviso stated above, that he cannot re-<br />
publish the same separately without the sanction<br />
of the author for twenty-eight years.<br />
It is very probable, however, that the article<br />
may be sent up to the magazine, and there<br />
may be no evidence whatever of employment<br />
by the proprietor of the magazine on the<br />
terms above stated. In that case the copy-<br />
right would belong to the author, and the<br />
right that he has sold to the magazine would<br />
be serial publication in that magazine only. It<br />
would therefore be absolutely unfair to ask the<br />
author after the publication of his article to<br />
assign the copyright and the right to republish<br />
in any form when nothing had been stated with<br />
regard to these rights previously to the publica-<br />
tion. It should be pointed out that, in the<br />
absence of special agreement, the contract is com-<br />
pleted with the publication, and that the signing<br />
of a receipt in the form set forth above would not<br />
necessarily convey the copyright, as there would<br />
be no fresh consideration for such conveyance,<br />
but it might be such very strong evidence of the<br />
intention of the author that it would be impos-<br />
sible to dispute his position subsequently.<br />
This article was commenced not with the idea<br />
of bringing forward the old form of receipt of the<br />
R. T. S., but with the intention of putting authors<br />
very strongly on their guard against endorsing<br />
cheques which have got a form of receipt on<br />
somewhat of the same lines, as the one above<br />
quoted, printed on their backs. It is easy to<br />
strike out the words of the receipt quoted above,<br />
and to return it to the office, taking the cheque in<br />
payment of fair serial use of an author's work.<br />
The author thus obtains his fair remuneration,<br />
and if the proprietor likes to dispute the price<br />
the action must lie with him. Here, again, the<br />
Society might be of use. But the proprietors of<br />
several magazines have devised the method of<br />
printing the receipt on the back of the cheque,<br />
and giving orders to their bank not to cash<br />
the cheque under any circumstances unless it is<br />
endorsed with the name of the author at the<br />
bottom of the receipt—conveying all these extra<br />
rights—and the receipt has no deletions upon it.<br />
Here the author is met with a considerable diffi-<br />
culty, as he cannot get his money until he has<br />
endorsed the cheque, and he cannot endorse the<br />
cheque without practically handing over to the<br />
proprietor the copyright and other rights that<br />
were never bargained for, In this case the author<br />
must return the cheque, and the cause of action<br />
lies with the author. Is it possible that the pro-<br />
prietor relies on the reluctance of the author to go<br />
to law?<br />
It is necessary again to repeat that the difficulty<br />
only arises when no agreement whatever has been<br />
made before the publication of the work. How<br />
then should an author avoid this difficulty? As<br />
a matter of fact, an editor, if he desires to accept<br />
an article, should write to the author and state so,<br />
mentioning at the same time what rights he<br />
desires to purchase and the price he is willing to<br />
give; but editors are not perfect, and under<br />
certain circumstances such a course might be<br />
impossible. In practice there are a great many<br />
things published without any formal acceptance<br />
from the editor, and an awkward position is the<br />
result. It is possible, however, for the author,<br />
from his point of view, to prevent himself from<br />
falling into the trap by forwarding his work with<br />
a letter stating exactly the rights he desires to<br />
convey if the work is published in the magazine,<br />
and the price he asks for such rights. He might<br />
have a stereotyped letter in this form, and he<br />
should keep a copy of the same. If, then, his<br />
work is subsequently published, and he receives<br />
no notice until after the publication, then it<br />
would be published, failing any evidence to the<br />
contrary, on the terms of the author's letter.<br />
These points have been put forward many times<br />
in The Author, and have been embodied in the<br />
"Addenda to the Methods of Publishing," but it<br />
is thought worth while to repeat the warnings, as<br />
<br />
<br />
## p. 154 (#166) ############################################<br />
<br />
i54<br />
THE AUTHOR.<br />
the process of issuing cheques with the receipts<br />
indorsed purporting to convey the copyright,<br />
when no previous agreement has been made, is as<br />
unfair to the author as it is unjust on the part of<br />
the proprietor. . G-. H. Thring.<br />
VI.—A Point or International Law.<br />
The following was the first resolution passed at<br />
the International Literary and Artistic Confer-<br />
ence, which was held at Turin this year. It<br />
refers to the retrospective action of the Berne<br />
Convention, and to modifications which the con-<br />
ference desired to see made in the English law.<br />
The CoDgross considering that the English law respecting<br />
International Copyright is not completely in accord with the<br />
text of the Berne Convention (and more especially that the<br />
Article 6 of the English Law of the 25 th June, 1886, as it is<br />
legally interpreted, contradicts the principle laid down in<br />
Artiole 14 of the Convention of Berne, and leads to violent<br />
and numerous violations of the rights of authors and artists),<br />
expresses the hope that diplomatic steps may be taken with<br />
the Government of Great Britain so that a new text of the<br />
law in question may be placed in complete acoord with the<br />
text of the Convention of Berne, and may especially assure<br />
the application of the principle of Article 14 of that<br />
Convention; that is to say, the effective protection of a<br />
work which has not fallen into the public domain in the<br />
country of its origin, and this even against the publisher<br />
who may, before that date, have published in England<br />
without the consent of the author.<br />
The question here put forward seems on the<br />
whole to be unnecessary, The section of the<br />
International and Colonial Copyright Act of 1886<br />
referred to, runs as follows:—<br />
Where an Order in Council is made under the interna-<br />
tional Copyright Acts with respect to any foreign country,<br />
the author and publisher of any literary or artistic work<br />
first produced before the date at which such order comes<br />
into operation shall be entitled to the same rights and<br />
remedies as if the said Aots and this Act and the said<br />
order had applied to the said foreign country at the date of<br />
the said production. Provided that where any person has<br />
before the date of the publication of an Order in Council law-<br />
fully produced any work in the United Kingdom, nothing in<br />
this section shall diminish or prejudice any rights or interests<br />
arising from or in connection with such productions which<br />
are subsisting and valuable at the said date.<br />
The section of the Berne Convention referred to<br />
runs:—<br />
Under the reserves and conditions to be determined by<br />
common agreement, the present Convention applies to all<br />
works which at the moment of its coming into force have<br />
not yet fallen into the public domain in the country of<br />
origin.<br />
It is difficult to see what the Congress can<br />
possibly have meant by passing this resolution,<br />
and stating that the opposition in principle leads<br />
to violent and numerous violations of rights of<br />
authors and artists. Firstly, it is exceedingly<br />
doubtful if there is any opposition in principle,<br />
as the Congress would have discovered if it had<br />
thought fit to consider paragraph 4 of the final<br />
protocol to the Convention ;* and, secondly, the<br />
only rights that can possibly come into question<br />
would be the rights that publishers had acquired<br />
before the passing of the International and<br />
Colonial Att of 1886.<br />
At the most there have been two or three cases<br />
in the English courts referring to the rights of<br />
publishers in England acquired before the passing<br />
of the Act, touching works that come within the<br />
region of the retrospective working of the 14th<br />
section of the Berne Convention. How far the<br />
14th section of the Berne Convention is retro-<br />
spective, and what are the limits of that retro-<br />
spection, have never been really decided, but<br />
there is no doubt that any rights obtained before<br />
the passing of the International Copyright Act,<br />
which confirmed the Berne Convention, must have<br />
been ot* so small a character as hardly in any way<br />
to affect authors and artists; otherwise action*<br />
would have been more frequent and the matter<br />
would have been discussed and settled long<br />
ago.<br />
Further, as regards authors, the rights that are<br />
of most value—translation rights—even if ob-<br />
tained under the Convention, lasted only ten years,<br />
and have now fallen into the public domain. In<br />
addition to this, every year makes it more im-<br />
possible for other rights to be of any value owing<br />
to the period of protection given expiring by lapse<br />
of time.<br />
The resolution which has been passed appears,<br />
to anyone who has really studied the two articles<br />
side by side, and the reading of the International<br />
Law, to be entirely futile and unnecessary. The<br />
Congress might, however, with much more advan-<br />
tage have turned its attention to the fact that the<br />
acquiring of copyright in a dramatic piece by<br />
performance in England prevents the English law<br />
from being in accord with the laws of most of the<br />
other countries that are signatories to the Berne<br />
Convention.<br />
This is a grave point, as it is a continuing<br />
cause of disintegration. The other point was never<br />
of much import, and grows less and less important<br />
every day. Q Herbert Thring.<br />
VII.—Author and Publisher.<br />
Most of your readers will endorse the opinions<br />
expressed by " A Member " in your last issue, as<br />
well as your own comments on the same. You<br />
seem, however, to think that the Society as yet<br />
might not wish to undertake the publication of<br />
books on the lines laid down by your corre-<br />
spondent.<br />
* This opinion is supported by a legal expert on Inter,<br />
national Copyright Law.<br />
<br />
<br />
## p. 155 (#167) ############################################<br />
<br />
THE AUTHOR.<br />
'55<br />
But if a powerful concern were established,<br />
publishing on commission only, as you suggest, a<br />
great step would be gained. In order to secure<br />
the success of such an undertaking it would<br />
require the steadfast patronage of the more<br />
influential members of the Society. Some of your<br />
readers may remember that a small company,<br />
called The Authors' Co-operative Publishing<br />
Company, was started some eight or ten years<br />
ago on these lines; but, as it possessed the<br />
patronage of neither the Authors' Society nor of<br />
its principal members, the company almost died<br />
before it was born. There is no doubt that a<br />
certain proportion of the more mercenary critics<br />
are considerably under the influence of pub-<br />
lishers, and that unknown writers are more or<br />
less at the mercy of these mercenary critics. As,<br />
at first, books published by such a firm would<br />
probably have to stand the attacks of these light-<br />
fingered gentry, the concern would require the<br />
continued support of writers of established repu-<br />
tation, who could afford to sneer at unfair reviews.<br />
A surreptitious attempt would certainly be made<br />
by publishers and their creatures to boycott their<br />
rivals; but perseverance would prevail, and the<br />
public would gradually come to learn that the<br />
great difference of such a firm from the ordinary<br />
publisher would be that the works would be pro-<br />
duced cheaper, and that the profits would go<br />
more into the pockets of the poor author and<br />
bookseller than into the coffers of dishonest pub-<br />
lishers. The present relations between author<br />
and publisher are so entirely one-sided as to be<br />
truly ridiculous to contemplate. "You give me<br />
your book," says the publisher to the author,<br />
"and you see nothin', and you ask nothin', except<br />
what I may be jolly well pleased to give you, for<br />
I am the immaculate Llama of Literature." Till<br />
such links of bondage are broken the author<br />
remains a slave. There would be something more<br />
to say on the subject, and distribution of per-<br />
centages, in promoting such a concern.<br />
Glenfktjin.<br />
FEOM THE SUNNY SOUTH.<br />
PERHAPS a few lines—not entirely about<br />
books—from Australia may be of some<br />
interest to readers of The Author.<br />
A literary man in Sydney is not quite in the<br />
back blocks, indeed, less so than if he were in<br />
(say) Manchester, for the place is cosmopolitan<br />
in character: the terminal port for three or four<br />
English bines, one German, one French, one<br />
American, and one Canadian line of mail<br />
steamers; is the centre of government for a<br />
VOL. IX.<br />
million and a quarter of people, the headquarters<br />
of the British fleet in Australian waters, and a<br />
few other things besides. The city is fairly large,<br />
contaiuing as it does a population of 410,000<br />
souls, is well-built, furnished with railways,<br />
electric trams, telephones, and all the other aids<br />
to the business of the nerve specialist, possesses<br />
many theatres, good libraries, and an art gallery<br />
which competent critics declare to be very credit-<br />
able for so young a city. The natural advantages<br />
of the place constitute its chief charm however,<br />
for in the whole world there is not so splendid a<br />
site for a city. Sydney harbour, with its 200 odd<br />
miles of coast line, its numerous arms, bays, and<br />
inlets, its surroundings of bush-clad slopes and<br />
craggy gullies, is indeed a vision of beauty, but<br />
a very real "vision," which can be engaged any<br />
day for a few pence. Then the harbour is not<br />
the only attraction, for there are miles of open<br />
coast close by the city, and countless pretty<br />
drives.<br />
Intellectually it is, perhaps, as yet a trifle pro-<br />
vincial, and frozen meat and gold mines bulk<br />
rather too largely, but there is an improvement<br />
in this respect. One or two of the dailies pose as<br />
being quite abreast of modern thought (which<br />
they are not), and all kinds of ideas are discussed<br />
freely and without much prejudice. People here<br />
have passed out of the materialistic stage in con-<br />
nection with the religious question, and have<br />
either swung right back to some form of Chris-<br />
tianity or adopted some form of Deism. One or<br />
two leading ministers of various denominations<br />
have no hesitation in announcing themselves<br />
evolutionists, and yet adherents of revealed<br />
religion.<br />
It is a tolerant place, people are not very preju-<br />
diced, and divorce is made more easy than in any<br />
portion of the British empire, without the remotest<br />
sign of the degradation prophesied at every stage<br />
of advance in this direction.<br />
Literature can hardly be said to have had a<br />
beginning in Australia as yet—at all events a<br />
purely literary career is not yet possible here<br />
unless the worker takes his wares to the London<br />
market. Only one firm as yet publishes locally,<br />
and there is no literary magazine. An attempt<br />
to form an association of Australian authors and<br />
produce a paper in which Australian work could<br />
appear was not successful.<br />
The firm which publishes (and prints) in Sydney<br />
has had several successes, principally with poems<br />
and ballads, but the market for local work—<br />
especially fiction—cannot be said to be strong.<br />
English works have a ready sale, but it is notice-<br />
able that many of the works which have achieved<br />
success in London do not catch on here. That<br />
fact was very noticeable last year, when some of<br />
<br />
<br />
## p. 156 (#168) ############################################<br />
<br />
>5<5<br />
THE AUTHOR.<br />
the " spooky" books which sold freely in London<br />
were scarcely asked for here.<br />
Justin C. MacCartie.<br />
Bridge-street, Sydney,<br />
Aug. 20.<br />
NOTES AND NEWS.<br />
CONFIRMATION has reached me of my<br />
estimate as to the number of families in<br />
this country who can be considered as<br />
possible buyers of books. I put the number at<br />
400,000, and the lowest income at .£250. People<br />
with less than that income may buy a cheap book,<br />
one at 4f</. in a draper's shop, or a second-hand<br />
book, out of the twopenny box, but they certainly<br />
cannot afford to buy new and expensive books.<br />
Indeed, book-buying only begins when the<br />
standard of comfort is reached. I do not myself<br />
believe that many families with incomes under<br />
.£750 a year spend much upon books, especially<br />
when the children are receiving their education.<br />
When there are no children: when a man is<br />
unmarried, he can buy a good many books with<br />
an income of .£250. However, my confirmation is<br />
based upon Mr. Charles Booth's Analysis of the<br />
1891 Census. From that analysis it is made out<br />
that the number of families in London with such<br />
an income is 65,000, and that for the whole<br />
country in the same proportion it would be<br />
480,000. But as the proportion of rich to poor<br />
is much less in the country than in London, it is<br />
safer to take 400,000. So far, this is satisfactory.<br />
But, in addition, I should like to know how many<br />
families have an income of .£750 and over,<br />
because I should be inclined to limit book-buying<br />
to any considerable extent to those families.<br />
"What has your Society done? Not a single<br />
publisher driven to smash yet!" This objection<br />
was seriously advanced the other day to the Secre-<br />
tary. One hardly knows how to reply. The<br />
Society has never tried to "smash" publishers.<br />
It is not one of the objects of the Society to<br />
"smash" publishers any more than printers,<br />
paper-makers, or bookbinders. The object of the<br />
Society is solely to defend literary property in the<br />
interests of the author, to whom it belongs. How<br />
has the Society sought to effect this object?<br />
Partly by jireparing an amended Copyright Bill:<br />
partly by putting the law at the service of authors:<br />
mainly by ascertaining and publishing the facts<br />
and statistics concerning literary property. For<br />
instance, the cost of printing, paper, and bind-<br />
ing: the meaning of advertisements: the trade<br />
price of various books—so that the creator of<br />
literary property may understand exactly what,<br />
under given conditions, ought to come to him as<br />
the owner, and what, under the same conditions,<br />
is demanded by the middleman. This seems a<br />
tolerably useful thing to do. It may even be called<br />
a humble piece of work. But it had never been<br />
done before; and the want of this knowledge<br />
kept the writer in a condition of helpless and<br />
galliug dependence. He could not object, what-<br />
ever was offered, because he did not know. Now<br />
he does know.<br />
What is the result? It is, beyond all doubt, an<br />
advance all along the line. The old royalties are<br />
no longer offered: the old prices are no longer<br />
proposed. It is certain that for popular work of<br />
all kinds the position of the author is increased<br />
enormously in consequence of the Society's action.<br />
There are persons who to-day enjoy the fruits of<br />
the Society's labours, and neither join it nor<br />
acknowledge their obligation—and even attempt to<br />
abuse and misrepresent the Society. "You have<br />
not yet, after all your work, driven a single pub-<br />
lisher to smash!"<br />
We might sit down, then, these results dis-<br />
covered and published. Not so: they must be<br />
republished again and again. We must keep<br />
before the eyes of writers the facts and the figures.<br />
We must show them again and again the cost<br />
of production: the meaning of advertisements:<br />
the meaning of risk, the meaning of royalties,<br />
and the tricks, dodges, and devices by which<br />
the author is met at every turn by the greater<br />
number of publishers.<br />
And there is another side. It is that the<br />
Society acts as a police, always on the lookout:<br />
preventing iniquities and detecting iniquities.<br />
Every week brings in "cases" for investigation.<br />
The work is necessarily confidential. Only the<br />
Chairman and the Secretary know the full work<br />
that is done by the Society in this way. The<br />
cases are not, as a rule, brought before the Com-<br />
mittee. I do not say that the complainant is<br />
always right. Perhaps he may be wrong: in this<br />
case it is well that he should learn the law and<br />
the equity of his own case, and should cease to<br />
accuse. _<br />
A point about the "Draft Agreements" of the<br />
Publishers' Association has not, I think, been<br />
noted. It is this. Up to the present it has been<br />
the custom with a great many to overstate every<br />
item. They could do this with impunity because<br />
there was no audit. But no provision has been<br />
made in the "Draft Agreements" for any audit.<br />
<br />
<br />
## p. 157 (#169) ############################################<br />
<br />
THE AUTHOR.<br />
•57<br />
Therefore the same impunity remains. But they<br />
do propose to put a percentage on everything—a<br />
percentage of what they please. Therefore, if<br />
these agreements are carried out, we shall soon<br />
have (i) the items all overstated as before, and<br />
(2) a percentage charged on the fraudulent<br />
return. This, it appears, is not only possible, but<br />
certain to be done. For those who have always<br />
practised the old knavish custom of overstating<br />
the cost, will continue to do so with impunity,<br />
and will then cheerfully make use of the liberty<br />
claimed by the Association of adding on what<br />
they please as a percentage.<br />
Let us apply these considerations to a half-<br />
profit system.<br />
We take a book which costs .£150 for an<br />
edition of 3000 copies. We suppose all to be sold,<br />
less Press copies, i.e., 2950 copies at 3.?. 6d. each.<br />
Here is the honest return:—<br />
Cost of production .£150 0 0<br />
Author's share 183 2 6<br />
Publisher's share... 183 2 6<br />
— - .£516 5 0<br />
Sales—2950 at 3s. 6d .£516 5 0<br />
Next, the return partly based on the old<br />
iniquity and partly as maintained by the Pub-<br />
lishers' Association.<br />
Cost of production fraudulently set down as<br />
.£200.<br />
Eeturns "at customary trade price," i.e., at<br />
anything the publisher chooses to say. Perhaps<br />
he will own to 3*. a copy, or .£442 i0.«. Also,<br />
though the returns are for actual money received,<br />
he deducts a percentage for bad debts.<br />
He adds, besides his percentages (which are<br />
allowed here by the agreement), a charge for<br />
advertisements not paid for. This he can also do<br />
with impunity.<br />
We now have the account as rendered :—<br />
Cost of production .£200 0 0<br />
Percentage: 15 per<br />
cent 30 0 0<br />
Advertisements not<br />
paid for 30 0 0<br />
260 0 0<br />
Author's share 47 0 0<br />
Publisher's share... 47 0 0<br />
.£354 0 0<br />
Returns £442 10 0<br />
Less 10 per<br />
cent. bad<br />
debts ... .£44 5 0<br />
Less 10 per<br />
cent. office<br />
expenses.. .£44 50 88100<br />
.£354 0 0<br />
But observe that the publisher has got—<br />
I.<br />
.£50<br />
0<br />
0<br />
2.<br />
Percentage on<br />
alleged cost ...<br />
30<br />
0<br />
0<br />
3-<br />
Advertisements<br />
not paid for ..<br />
30<br />
0<br />
0<br />
4-<br />
Bad debts<br />
44<br />
10<br />
0<br />
5-<br />
Office expenses ...<br />
44<br />
10<br />
0<br />
6.<br />
Alleged share of<br />
profits<br />
47<br />
□<br />
0<br />
.£246 0 0<br />
To the author's .£47.<br />
And this is an alleged half-profit system!<br />
I desire readers to mark very earnestly and<br />
seriously the dangers which these draft agree-<br />
ments threaten. If they are successful, then there<br />
will be an end of literature. It cannot be too often<br />
repeated that literature, like any other art, must<br />
be free: must be respected: must be indepen-<br />
dent. No profession can continue in respect<br />
which is daily wilfully robbed, and without any<br />
power of redress. It may be argued that the very<br />
publishers who advance these pretensions would<br />
not dare to offer such an agreement to a writer of<br />
repute. This shows the inherent dishonesty of<br />
the proposals. They know that such an agree-<br />
ment would be flung in their faces. Why, then,<br />
are these drafts put forward? In the hope that<br />
they may be little by little put forward and<br />
adopted with the writers who are helpless, or<br />
with those who desire above all things to get<br />
their books published, and that so, in the imme-<br />
diate future, they may be recognised by writers<br />
of standing. The scheme is crafty. It is based<br />
on the ignorance and artlessness of writers,<br />
which have been abundantly proved in the past.<br />
We shall see what writers will do.<br />
A writer in a daily paper informs the world<br />
about Mr. Rudyard Kipling's private affairs. I<br />
shall not follow his example, because I have not<br />
received information from the only person who<br />
knows these things—the author himself: nor<br />
have I received his permission to publish the facts.<br />
But the paragraph concludes with these words:<br />
"This pecuniary return seems adequate."<br />
What is the meaning of " adequate "? It is<br />
the old, old story of confusing literary and com-<br />
mercial value. Nothing is "adequate" for a<br />
writer, and nothing is "inadequate," because<br />
there is no connection possible between the two<br />
values. But put it in another way. This writer<br />
has created a literary property. It is his, as<br />
much as a house, or a terrace, or a farm, or a<br />
hundred farms. The returns from that pro-<br />
<br />
<br />
## p. 158 (#170) ############################################<br />
<br />
■58<br />
THE AUTHOR.<br />
perty are his own: if he did not get them, some<br />
person who had no right or claim whatever to<br />
them would lay hands upon them. I have never<br />
heard of anyone in the paper calling out upon<br />
the amount realised by that person, but I con-<br />
stantly see little touches like this use of the word<br />
"adequate," which show the confusion I have<br />
often indicated, together with a kind of feeling<br />
that an author ought not to be allowed the use<br />
and the returns of his own property. Every<br />
other kind of property the owner may be allowed<br />
to enjoy to the full, but not literary property—<br />
no—not literary property. Tbat, it appears, does<br />
not belong to the creator and the owner.<br />
This confusion cannot be too often pointed out<br />
and insisted upon. There is no connection what-<br />
ever between literary and commercial value.<br />
They are incommensurable as much as the circle<br />
and the radius. It is impossible to say that this<br />
poem is worth a million or that essay a shilling.<br />
"When a worthless book is for a time successful,<br />
people should cry out—not at the money which it<br />
brings in, but at the bad taste of those who buy<br />
it. In the same way a good book may have a<br />
very limited circulation—witness, for a long time,<br />
Browning's poems, and, now as always, Walter<br />
Pater's works. Circulation, that is, money, does<br />
not make a book good or bad. On the other<br />
hand, there are, happily, many cases every year<br />
in which good work is largely recognised. Even if<br />
all good books were recognised, that would bring<br />
us no nearer to the establishment of an equation<br />
between the two separate factors of poetry and<br />
trade. Nothing, however, was more common a<br />
few years ago than to find the reviewers talking<br />
about certain sums of money being "more " or<br />
"less" than a book was "worth." The expres-<br />
sion, which they did not understand, stamped<br />
them with the mark of ignorance as to the entirely<br />
separate character of literary worth. Of late<br />
one has heard less of the expression Yet the<br />
above example shows that it still lingers.<br />
(From the Book News and Trade Gazette,<br />
Oct. 2 2, 1898.)<br />
"Unfortunately for the bookseller, tbe same manner of<br />
carrying on business prevails to-day in tbe publishing trade<br />
as it did in the early days of the century, when fewer books<br />
were issued and a greater discrimination was shown in<br />
selection of MSS. for publication. In those days publishing<br />
and bookselling were a profession where the publisher and<br />
bookseller pursued their work more from a genuine love for<br />
it than in a commercial spirit. To-day that is all changed;<br />
the publisher in the majority of oases never reads a MS.<br />
before it is published, relying entirely on his expert readers.<br />
The bookseller, harassed by the competition of the libraries,<br />
has no time to grasp the inside of the books and thereby in-<br />
telligently sell his wares to the public. He has to buy his<br />
■took chiefly on the representation or misrepresentation of<br />
the publisher-traveller, a creature whose conscience has<br />
deteriorated, or in some cases disappeared, through stress of<br />
ciroumstances and struggle for existence. Through him the<br />
publisher vicariously leads the bookseller astray. This un-<br />
businesslike system, based on a rotten foundation, is gradu-<br />
ally ruining the bookselling trade. Even the trade have<br />
awakened to that fact, but unfortunately they have not been<br />
able to accurately diagnose the malady which is killing<br />
them. Instead of coming to some simple basis of<br />
agreement, and presenting a firm front to the enemy,<br />
they actually invite those who are trying to ruin them to<br />
devise some means whereby the end may be quickened, and<br />
the result of their concentrated wisdom was to try and<br />
institute a system which would still further alienate the<br />
publio from buying books. This fell through, and though<br />
some more futile propositions were put forward, nothing<br />
apparently has come of them, and the survival of the fittest<br />
will probably be the only solution to tbe question.<br />
"We set forth again the only remedy that, in our opinion,<br />
will at least save the trade, and especially the country book-<br />
seller, from accumulating bad stock, the great cause of ruin<br />
to many. The Booksellers' Association should approach<br />
the publishers and get them to send a copy of every book to<br />
them a fortnight before publication. They should then<br />
appoint an expert who would read every book and write a<br />
short resume, if suitable, which would be issued to the<br />
trade. The bookseller would then, when the book was pre-<br />
sented to him for subscription, be able to know whether it<br />
would suit his particular trade, and buy in such a way as<br />
to reduce the item of bad stock to a minimum. This seems<br />
to us the only intelligent way of doing business. Other<br />
trades guard themselves in the same way, and the book-<br />
sellers would only be doing a wise thing if they followed<br />
their example. The retrograde step proposed last year—<br />
namely, to raise tbe price of a commodity which is essential<br />
for the welfare of tbe country, was perhaps the silliest pro-<br />
position ever put forward by business men. We maintain<br />
that everyone would be benefited by our proposal—the pub-<br />
lisher, the bookseller, and the public. Though at first sales<br />
might not increase, losses would be diminished, and in the<br />
end renewed confidence in the superior quality of the wares<br />
would encourage the publio to buy."<br />
The above proposal is at once practical and<br />
sensible, and certain to produce the best results.<br />
I had myself, before this article appeared, advo-<br />
cated exactly the same method: but with certain<br />
modifications. Thus it would not be possible for<br />
an expert to read and report on every book. But<br />
he might do this: There are many books which<br />
a bookseller would desire to offer his people on<br />
the recommendation of the name only. There<br />
are many books which can be condemned almost<br />
at a glance. There remain the books on the<br />
border line which require to be considered before<br />
they are recommended or condemned. This<br />
expert with the weekly sheet of recommendations<br />
or descriptions — a brief description should<br />
accompany every recommendation—would cost<br />
ab,/ut .£400 a year, or a yearly subscription of, say,<br />
15*. Surely this is not too much, considering the<br />
advantages to be gained by this method. But I<br />
am always of opinion that the sale-or-return<br />
method is the only way of getting books really<br />
published, i.e., produced and offered for sale.<br />
<br />
<br />
## p. 159 (#171) ############################################<br />
<br />
THE AUTHOR.<br />
'59<br />
And as no bookseller's shop can hold all the books<br />
that are produced, this reader would guide him as<br />
to the books he would accept on sale-or-return.<br />
Walter Besant.<br />
"A SPRAY OF LILAC."<br />
(From an unpublished book of words for music.)<br />
"No tender stalk of juicy green<br />
Is mine," it murmured low;<br />
"No feathered leaf, nor drooping branch<br />
It is, that lilacs know."<br />
"But lovely shades of violet,<br />
And snowy white are mine,<br />
In dusters fair, and greeny leaves<br />
A-near each branch entwine."<br />
"There is no flow'r more sweet to see,<br />
No flow'r so scents the gale,<br />
No bridal wreath it does not deck,<br />
In semblance, 'neath the veil."<br />
"And one sweet spray I place on this,<br />
Thy last lone resting place;<br />
And as I gaze, and tears arise,<br />
I see thy sad pale face."<br />
Thus spoke he, as he paused to view<br />
Her grave where she had lain<br />
Full twenty years, while lilacs bloom'd,<br />
And went and came again.<br />
M. A. C. C.<br />
[Copyright.]<br />
CHALONER'S MASTERPIECE.<br />
WHEN he was eight years old John Fyvie<br />
Chaloner ran away to sea. At least, he<br />
partly ran and partly walked to the side<br />
of the canal-dock which lay three-quarters of a<br />
mile distant from his home. Here he saw a<br />
burly man lounging on a barge, and after a little<br />
hesitation offered 6d. as the price of a passage to<br />
"the big London docks." The man asked ques-<br />
tions in a good-humoured way, and little John<br />
revealed his purpose. He feared it was unwise to<br />
do so, but what was he to say? Among other<br />
matters he told the bargee where Mr. Chaloner<br />
senior lived.<br />
"Here, you come along with me," said the<br />
bargee when John had made an end of his tale.<br />
"1 know of a tremendous fine sea-going steamer,<br />
I *lo, and I know the captain of her, and you'll<br />
see if it isn't just what you're a-looking after."<br />
John consented, round-eyed, and the bargee<br />
jumped ashore. Then he grasped John by the<br />
hand and led him by a circuitous route to the<br />
house of Mr. Chnloner senior. John was told to<br />
VOL. IX.<br />
go upstairs and wait till his father came to him,<br />
and the bargee was handsomely rewarded.<br />
When John was fourteen his father died, and<br />
a year later his mother married again. Then<br />
John ran away to sea once more. He was a<br />
strong, smart lad now with a pleasant address,<br />
and he got his way this time. The life fascinated<br />
him even after he had learned to hate it, and he<br />
remained at sea six years. Then he suddenly<br />
grew tired of the water, and began to think of<br />
falling seriously in love and renting a cottage.<br />
He came ashore, and tried to earn his living in<br />
London. He did manage to escape starvation.<br />
He was alternately a dock labourer, check-taker<br />
at the pit-door of a theatre, sandwich-man,<br />
stage carpenter's hand, walking gentleman, and<br />
attendant to a lunatic. It was during the leisure<br />
which he sometimes enjoyed in this latter service<br />
that he found time to write a book. It was a<br />
novel, of course, and it was a curious one.<br />
Round a plot of which he had thought during<br />
his very first voyage he spread a jumble of his<br />
experiences, and the book was very sensational in<br />
some places and very funny in other places, and<br />
it was long and somewhat formless; but it was<br />
alive. Twelve publishing firms rejected it within<br />
six months, and then John Chaloner begau to<br />
think that he was not cut out for a novelist.<br />
"The jury's dead against me," he said. "Well,<br />
what will be will be. Let's try the thirteenth<br />
man, and see if he's as bad as his number."<br />
After two months John received a brief letter<br />
from Messrs. Beaner and Baske—the thirteenth<br />
firm. They were prepared to offer him £20 for<br />
the copyright of his novel, provided they had the<br />
option of publishing his next long work, " such<br />
work not to take the form of a collection of short<br />
stories."<br />
John sat for some time dangling the letter<br />
between his fingers. He knew nothing of pub-<br />
lishers and nothing of the prices paid for books.<br />
True, it was a long while since he had handled<br />
£20 in a single sum, but the terms offered to him<br />
appeared small for so much work. He wrote to<br />
Messrs. Beaner and Baske and asked if they<br />
could not be a little more generous. They replied<br />
that they could not—in this instance. They<br />
enclosed a form of transfer of copyright, which<br />
John signed, and by return of post he received a<br />
cheque for £20.<br />
The book attracted a great deal of attention;<br />
it was not only sensational and funny, it was<br />
true. The sales were brisk; twelve thousand<br />
copies went off in two months, and the publishers<br />
made a very neat thing of selling sheets to an<br />
American firm; besides, they sold a big colonial<br />
edition, and they sold the continental rights to<br />
Tauchnitz, and they sold the story as a serial to<br />
B<br />
<br />
<br />
## p. 160 (#172) ############################################<br />
<br />
i6o<br />
THE AUTHOR.<br />
a number of more or leas obscure newspapers,<br />
which all paid something. So both Beaner and<br />
Baske rubbed their hands over that book. But<br />
John Chaloner knew exactly how far .£20 would<br />
go, and he continued to attend upon the lunatic.<br />
There was a reason why the book was true, and<br />
the reason was that John Chaloner respected<br />
himself when he sat down to write. He had<br />
strong views about the dignity of authorship.<br />
So when he found that his first venture was<br />
successful he set himself to write the very best<br />
book he could think of. It was a long book,<br />
rather gloomy and very powerful. John knew<br />
all the people who were to live in it before he<br />
began to write it, and the people actually lived in<br />
it when he had done.<br />
Beaner and Baske told him that they did not<br />
like the book, but John assured them it was better<br />
than his last. Mr. Baske shook his head. "We<br />
will hope it may prove so," said Mr. Beaner, with<br />
a sour smile. John was I o receive a royalty upon<br />
every copy of this book which was sold in<br />
England—nothing was said about America; and<br />
Mr. Beaner and Mr. Baske both assured the<br />
author that the royalty was a very handsome one,<br />
and that the treatment which he was receiving<br />
was very handsome altogether. The book was<br />
published, and the Press notices of it turned John<br />
Chaloner's head slightly; at least, they made him<br />
think that he had carved out a road to com-<br />
petence and freedom, and he gave up attending<br />
on his lunatic. That was three weeks after the<br />
book was published. Then came the eternal<br />
bread-and-butter question, and John called on his<br />
publishers. Mr. Beaner advanced him .£20 with<br />
a pleasant smile, and said it would be "all right."<br />
John began to take his pleasure a little, and<br />
within three weeks the twenty pounds had been<br />
spent. Then John Chaloner called upon his pub-<br />
lishers again. Mr. Beaner was not so agreeable,<br />
talked vaguely of the book not quite answering<br />
expectations, and, when he advanced John the<br />
fifty pounds for which he had asked, requested<br />
him not only to sign a receipt, but a formal<br />
promise that the firm should have "the first<br />
refusal" of the next book. John hesitated; but<br />
rent and dinner had to be considered, so he<br />
signed. And it is easy to picture his astonish-<br />
ment when, six weeks later, he received a<br />
statement of account from Messrs. Beaner and<br />
Baske, which set forth that only 850 copies<br />
ot the book had been sold, and lhat Mr. John<br />
Fyvie Chaloner was rather heavily in debt to<br />
the firm of Beaner and Baske. John was<br />
frightened. He had begun another sombre novel,<br />
but he set it aside to follow a counsel which he<br />
had from Mr. Beaner at their last meeting—and<br />
write adventures.<br />
Perhaps the following conversation which had<br />
taken place between Mr. Beaner and his partner<br />
before Chaloner's second book was published will<br />
explain why so few copies of it were sold.<br />
"I don't much like the report on Chaloner's<br />
new book," said Mr. Baske. "It's high art, and<br />
all that sort of rot, and I don't believe it will<br />
sell."<br />
"I don't believe it will," replied Mr. Beaner,<br />
and he swore at high art. "I've read the begin-<br />
ning and the end of the stuff myself and a good<br />
bit of the middle, and the man's left out the blood.<br />
If the public learns to expect blood from a man<br />
they will take nothing else."<br />
"Quite right." said Mr. Baske. "All the<br />
same, though I don't believe in this book, I<br />
believe in the chap."<br />
"When he writes adventures," observed Mr.<br />
Beaner, "so do I."<br />
"Well, let's make him write blood," said Mr.<br />
Baske. "We can just let this book drop quietly<br />
and lend the man a little money. His boots and<br />
his hat and tie show that he wants money. Then<br />
we can make him do what we like."<br />
"Not a bad idea," remarked Mr. Beaner.<br />
"And we can make him give us the option of his<br />
next, besides telling him what it's to be like. I<br />
don't think we can lose much, and his last was<br />
meaty. Anyhow, we needn't lend him much.<br />
We'll just print a thousand and distribute the<br />
type: there'll be over sixty review copies—I<br />
mean to prepare the ground for his next blood<br />
handsomely, and we can keep a few copies<br />
unbound and tell him the total sales are eight<br />
hundred and fifty. After all, one must teach<br />
these authors their business; they've no sense to<br />
find it out for themselves."<br />
At first John Chaloner was disgusted at the<br />
idea of another adventure story. But the more<br />
he thought about it the more he warmed to his<br />
work. He began to see that much of the<br />
material he had rejected in writing his first book<br />
was better than the material he had retained.<br />
His repugnance for the work gradually turned to<br />
love of it, and thus his masterpiece was fashioned;<br />
for it was a masterpiece. He took it to Beaner<br />
and Baske; he had no alternative as to that.<br />
Mr. Beaner read it, and Mr. Baske read it.<br />
"My word, it's a plum," said the senior<br />
partner.<br />
"It's a real live plum." said the junior, "and<br />
now let's t-ee if we can't get it cheap."<br />
Chaloner called at Beaner and Baske's place of<br />
business again and again. He heard a great<br />
many excuses, but he could not get a decided<br />
answer about the book until two months and a<br />
half had passed. Then his total indebtedness to<br />
the firm was one hundred and fifty pounds.<br />
<br />
<br />
## p. 161 (#173) ############################################<br />
<br />
THE AUTHOR.<br />
161<br />
"We can give you one hundred and fifty<br />
pounds advance," said Mr. Beauer, at last, " and<br />
mind it's a thumping advance, on account of a<br />
15 per cent. royalty running all through; and<br />
that's very high, very high. But we have hopes<br />
that this book will redeem our losses on the last,<br />
you know."<br />
"But I owe you one hundred and fifty already,"<br />
said Chaloner, frowning,<br />
"Well, you'll clear yourself," observed Mr.<br />
Beaner, " and then there's the rovalty."<br />
John sighed, and accepted the bargain. He<br />
was very anxious to "clear himself." But there<br />
seemed no end to the delays in publication. The<br />
autumn and the winter slipped by, the spring<br />
season was over, the summer books were being<br />
issued, but still Chaloner received no proofs.<br />
"My dear sir," said Mr. Beaner, haughtilv, in<br />
reply to remostrances, "we know when to publish.<br />
That's part of our business. No date is fixed in<br />
your agreement. Very well then. It's in your<br />
interests as well as ours that the book should<br />
wait for the propitious moment. You really<br />
must not try to dictate to us, sir. We shouldn't<br />
dream of dicating to you about your part of the<br />
business of production."<br />
John had got deeper into debt. Mr. Beaner<br />
was more petulant every time he was asked for<br />
money—and the sums which were asked were<br />
small now.<br />
John lest heart. He began two new novels, but<br />
abandoned both before he had written a dozen<br />
chapters. He was not only dispirited but<br />
unoccupied, and he drank rather freely in con-<br />
sequence. Mr. Beaner's manner had grown so<br />
repellent that John Chaloner had recourse on<br />
one occasion to a moneylender. He knew it was<br />
foolish, but he did it. And soon he was involved<br />
to such an extent that he dared not think of his<br />
finances, and he grew desperate. One afternoon<br />
late in the summer he penetrated into the offices<br />
of Messrs. Beaner and Baske. He was kept<br />
waiting a long while, but he saw Mr. Baske at<br />
last.<br />
"I tell you frankly what it is," said Chaloner,<br />
"I'm fearfully hard up, and I want you to pub-<br />
lish the book as soon as possible."<br />
"Oh, but we couldn't possibly before the<br />
autumn," replied Mr. Baske.<br />
"What do you mean by the autumn ?" asked<br />
John with a sigh.<br />
"We can't say exactly," answered Mr. Baske.<br />
"Most likely November."<br />
"1 can't wait till then," remarked Chaloner.<br />
Mr. Baske shrugged his shoulders. "Well,"<br />
he said at length, "we're not inclined to go to<br />
much more expense about your book, Mr.<br />
Chaloner, as to which, frankly, we're doubtful.<br />
But if it will suit you best, we'll cry quits over the<br />
money advanced, hand you a cheque for twenty<br />
pounds, and take over the copyright, lock, stock,<br />
and barrel. But only to oblige you."<br />
"Let me go home and think of it," said<br />
Chaloner.<br />
"You can always write another one," said Mr.<br />
Baske as he bowed the author out with an agree-<br />
able smile.<br />
John went home and thought over it bitterly<br />
enough; but then—he could always write another<br />
one. He believed that himself. So he accepted<br />
Mr. Baske's offer and sold the copyright. The<br />
book was published within six weeks after that,<br />
and 50,000 copies of it were sold in three months<br />
in England alone. Then Chaloner tried "to<br />
write another one." He drank still more freely<br />
to drown his anger and disgust, and he could not<br />
make his next book live. There was not a spark<br />
of inspiration in it. Beaner and Baske rejected<br />
it after ten other houses had seen it and con-<br />
demned it, and by this time Chaloner was once<br />
more attendant to a lunatic. He tried two more<br />
novels. One was published by a new firm and<br />
was a dead failure. The other was rejected by a<br />
score of publishers.<br />
Then John Fyvie Chaloner ran away to sea for<br />
the third time, and gave up literature and the<br />
idea of falling in love and renting a cottage.<br />
But those copyrights are still real "properties"<br />
to the firm of Beaner and Baske.<br />
Molecule.<br />
ECCLEFECHAN.<br />
THE traveller to the south will remember the<br />
details of the scenery, where the Cale-<br />
donian express combines the contingent of<br />
people from Glasgow and Edinburgh. The<br />
panorama viewed on the carriage windows (those<br />
Euston carriages whose green-and-white so aptly<br />
relieves the hills beneath and clouds above) is<br />
characteristic of the lowlands of Scotland. Likely<br />
he will recall the halt—and if he does so, also he<br />
may have seen that nice bevy of damsels—at<br />
Lockerbie Junction. Then the train, with a good<br />
speed and a zigzag motion, cleaves its way through<br />
the rugged hills and moors of Annandale. With-<br />
out delay it drives by the historic hamlet of Eccle-<br />
fechan.<br />
Ecclefechan has only one absorbing interest in<br />
its association with the name of Tom Carlyle.<br />
Here the Sage of our Era began the anxious toil<br />
of life, and here his mortal part has found its<br />
resting-place.<br />
Mr. Sam. Donald and his wife made a pilgrim-<br />
age to Ecclefechan. Donald, who was a journalist<br />
<br />
<br />
## p. 162 (#174) ############################################<br />
<br />
162<br />
THE AUTHOR.<br />
and follower of the prophet, wanted intensely to<br />
see this spot of earth. What manner of place<br />
might it be which gave birth to such amazing<br />
genius? It happened that Dumfries was the<br />
scene of the honeymoon, and so one day the<br />
couple paid a visit to the prophet's native place.<br />
They wondered if the hills and dales were more<br />
didactic tban usual here, if the ozone was any<br />
thicker than it is elsewhere. But the case is not<br />
so. Ecclefechan is such a village, lying in such<br />
environs, as we have seen the like of many a time<br />
in Scotland.<br />
In the valley, traversed by the railroad, crossed<br />
by a modest stream, surrounded by wooded hills,<br />
lies the quiet village. Several rows of haphazard<br />
houses, gathered at the meeting of the roads,<br />
range into some half-a-dozen streets. There are<br />
at least two churches in the place, not to speak of<br />
the countryside. The population is less than a<br />
thousand people. There is a street that goes by<br />
the name of Carlyle Place. Here in a dull-white<br />
house—behind a burn and a hedge—and then in<br />
a low-ceiled and dark room, they told them the<br />
prophet was born, and showed them his things.<br />
The natives talk familiarly of him as "Tom."<br />
The village has the choice of some nice walks<br />
(that specially to the west a favourite) in the<br />
neighbourhood.<br />
Donald commented on the usual plethora of<br />
churches in so small a village.<br />
"I happen to know," he said, "that one of<br />
the preachers was prize-poet of his year in<br />
College, and I credit him with brain enough to<br />
supply the needs of the whole village."<br />
And his wife gave the right answer.<br />
"Why on earth do they not unite?"<br />
Quite near the little town, they found the old<br />
churchyard. The patch of ground is homely and<br />
overgrown with grass. Over from the gate there<br />
is a white pile, more conspicuous than the others.<br />
It belongs to the family of a relative of our hero.<br />
Beside oue wall of the yard were stones bearing<br />
the names of Aitken and Carlyle. Here repose<br />
the mother and brother of our hero. Amid these,<br />
beside the grave of a literary name, the red<br />
stone of simple design is the tomb of the<br />
immoTtal Carlyle His grave was plain then in<br />
the extreme. Amid simple and ordinary things,<br />
the extraordinary man lies in the dust of earth.<br />
Surrounded by a cluster of his kindred, like<br />
priests that guard the inner secret of his temple!<br />
The sandstone is slightly ornamented and bears<br />
this inscription: "Here rests Thomas Carlyle,<br />
who was born at Ecclefechan, 4th Dec. 1795,<br />
and died at 24, Cheyne Row, Chelsea, London, on<br />
Saturday, 5th Feb. 1881." There is over the<br />
words—the family crest—a dragon-device, and<br />
beneath it the single word, so suitable, " Humili-<br />
tate." There in that corner, yes, they left the<br />
yard in vain effort to speak the meaning con-<br />
tained in that one word, "Humilitate !" Carlyle<br />
lies in ashes there.<br />
As they wander out the road, that skirts<br />
the wooded hill, sad and thoughtful, with the<br />
verdant soil under-foot and the blue-and-white<br />
sky above, they wonder, as he used to do, what<br />
it is that life means: and the mystery of it<br />
cannot better be resigned than by taking the<br />
hint of that word on his tomb, and learning the<br />
lesson of humility, that the great soul is ever born<br />
out of lowliness.<br />
"I would have expected somehow," said<br />
Donald, "that this patriotic land might have<br />
raised some kind of monument in the streets of<br />
its capital, or else in Ecclefechan."<br />
"It would be natural enough," the lady said<br />
with a comic laugh, "but do you know what you<br />
recall to me V When Schumann heard of the<br />
movement to raise a monument to the glory of<br />
Beethoven, he said they might as well raise one<br />
to the Lord Almighty."<br />
When they returned to the village, somebody<br />
in the shop (where they made a purchase) told<br />
them of a Roman camp to the east, within easy<br />
walking distance. But that idea had to be aban-<br />
doned on the score of time.<br />
"I remember once before," said he in his<br />
naive way, "I visited a tiny village. And there<br />
was a Roman camp there—"<br />
"I daresay," she said, interrupting him, "and<br />
it was inevitable."<br />
Although they found no marvel there, Donald<br />
and his spouse declare that the day spent in<br />
Carlyle's village was one of the best, if also the<br />
most sad, of the wt dding-tour.<br />
While in the falling shade they waited the<br />
train at the station, they watched the faultless<br />
lines of rail cutting with a cold gleam away<br />
into the distance—the lines that vanish and ever<br />
remind us, how little the finite can know of the<br />
infinite. And the same sad mood covered the<br />
landscape.<br />
"Do you know I have been thinking, ever<br />
since we left the grave," said the lady, "but<br />
perhaps 1 ought not to indulge fancies."<br />
"And why not, my dear?"<br />
"I have been thinking," she said, "of another<br />
tomb, and what the angel said of its tenant,<br />
'He is not here, he is risen.'"<br />
"It would be no harm," said Donald, "but<br />
the reverse, to think so."<br />
# # # # •<br />
"Therefore we learn the lesson," wrote Donald<br />
in giving some account of this visit to readers of<br />
his own paper, "which all his work was calcu-<br />
lated to teach, that not the chance of life's setting<br />
<br />
<br />
## p. 163 (#175) ############################################<br />
<br />
THE AUTHOR.<br />
is of any value, but the mystery of endeavour.<br />
Carlyle would not have forbidden us to pay his<br />
memory the tribute of a sentimental visit to his<br />
grave. But in doing that we realise that it is in<br />
vain. How little, after all, can we find of him<br />
there! The life-work we all know to admire has<br />
passed into many a life, the teaching has fused<br />
itself into many a form and fashion. The<br />
majesty of great genius, showing the kinship of<br />
our little life to the star-life in nature, strictly<br />
speaking, belongs not to this time-tied life of<br />
ours. Each noble worker, as he 'grapples with<br />
his evil star,' inherits the timeless and tideless<br />
life. And in that sense Carlyle's identity is else-<br />
where. The gospel of sincerity and love, which<br />
he spread abroad, is the shrine of his worship,<br />
the tomb of his repose—the element that we<br />
must reach to find him in life and not in death,<br />
in power and not in frailty, in hope, in joy, in<br />
satisfaction. And of him also, as of the Scion<br />
of the Highest, may it be said,' He is not here,<br />
he is risen!' Now he inhabits an eternal life,<br />
which we best feel in the fond hearts of his<br />
fellowmen."<br />
1892. R. Welsh.<br />
MEMORIALS.<br />
Miss Christina Rossetti.<br />
ALARGE congregation assembled on Nov. 1,<br />
in Christ Church, Woburn-square, London,<br />
to witness the Bishop of Durham dedicat-<br />
ing a beautiful memorial to the late Miss Christina<br />
Georgina Rossetti, which has been erected there.<br />
The memorial consists of five paintings, designed<br />
by the late Sir Edward Burne-Jones, partly<br />
executed by the artist and partly by his chief<br />
assistant, Mr. F.W. Rooke, set in a reredos designed<br />
by the Rev. J. Glendinning Nash, incumbent of<br />
the church. The reredos is divided into five com-<br />
partments. In the central one is a figure of the<br />
Saviour, standing with bowed head, and hands<br />
folded across His breast; and on the table beside<br />
Him is a chalice. In the other compartments are<br />
figures of the four Evangelists, each with a pen<br />
and a book, in which they are inscribing the<br />
words of the Lord. The musical part of the dedi-<br />
cation service consisted of hymns written by Miss<br />
Rossetti.<br />
The Bishop of Durham, in his address from<br />
the pulpit, said there was a saying attributed to<br />
our Lord at a very early date which appeared to<br />
him to express a divine truth—" He that wonders<br />
shall reign." Wonder, the direct consciousness<br />
of the immeasurable depths of nature and of life,<br />
with the power of disclosing them to others,<br />
was the characteristic endowment of the true<br />
poet. It must appear strange that in clas-<br />
sical times few women were known as poets,<br />
and it was still more surprising that in the crea-<br />
tive period of English poetry no woman took her<br />
place beside the great masters. At last in our<br />
own century not a few women had delivered their<br />
message as poets, and had found a wide welcome.<br />
The explanation of the fact was probably to be<br />
found partly in social changes, and still more in<br />
the larger conception of the Christian faith which<br />
had at length enabled us to see tha.t every variety<br />
of gift was required for the interpretation of<br />
human experience and hope, so that if women<br />
were silent the absence of their voice made itself felt<br />
as never before, and, therefore, they had answered<br />
at last to the claim which had been made upon<br />
them. In Miss Rossetti we recognised the com-<br />
plete!^ consecration of woman's gift of poetry to<br />
the highest uses. The poet, the pure in heart,<br />
beheld the truth, and sang, not with elaborate<br />
music, but, to use Goethe's image, "As the bird<br />
sings." This was perhaps the first characteristic<br />
which struck them in Miss Rossetti's work. It<br />
was like Wordsworth's early poems, absolutely<br />
simple and spontaneous. There was no straining<br />
after effect. The melody was the natural expres-<br />
sion of the thought. The contrast between<br />
"Amor Mundi" and "Uphill" in rhythm and<br />
language and form was as complete as in subject;<br />
but the contrast was the result of feeling and not<br />
of art. At the same time, Miss Rossetti saw all,<br />
saw the whole, " the world as God made it," in<br />
spite of the ravages wrought by man's self-will.<br />
Miss Rossetti was essentially the spiritual poet<br />
of our age. On her spiritual teaching she con-<br />
centrated her powers more and more as time went<br />
forward. He did not underrate the cost of the<br />
choice. We had lost, no doubt, some studies of<br />
deep passion like the " Convent Threshold," not<br />
a few delightful parables of life, like the<br />
"Prince's Progress," countless delicate fancies,<br />
and passages of weird music, but the message<br />
which we had received outweighed them all. The<br />
message was specially one for our own time. The<br />
physical aspects of nature, the visible sequences<br />
of life, became ever more and more engrossing,<br />
and we were tempted to forget that they were<br />
but signs of the eternal. The poet disclosed<br />
their true significance, and invested common<br />
things with an atmosphere of marvel and reve-<br />
rence. So they were brought back to the<br />
splendid promise from which they started, and,<br />
under a great teacher's guidance, confessed,<br />
with deeper intelligence than before, that "he<br />
that wonders shall reign." Nay, they went<br />
further and completed the saying, "He that<br />
wonders shall reign, and he that reigns shall<br />
rest."<br />
<br />
<br />
## p. 164 (#176) ############################################<br />
<br />
164<br />
THE AUTHOR.<br />
"Lewis Carroll."<br />
In the "Alice" Ward of the Hospital for<br />
Sick Children, Great Ormond-street, Bloomsbury,<br />
London, there is now placed a cot which bears<br />
the name of the late "Lewis Carroll." On<br />
Friday, Oct. 28, Mr. James Tait Black, on behalf<br />
of the subscribers to the memorial fund, pre-<br />
sented to Mr. John Murray, vice-chairman of the<br />
committee of management of the hospital, a<br />
cheque for £ 1000 to endow the cot for ever. The<br />
proceedings took place in presence of a company<br />
which included Miss E. L. Dodgson, Mr. Wilfrid<br />
Dodgson, Mr. Hugh Chisholm, General Sir<br />
Andrew and Miss Clarke, Lady Wharton, Canon<br />
Jelf, Canon and Mrs. Girdlestone, and many<br />
others. Mr. Murray, in returning thanks, ex-<br />
pressed the opinion that no more appropriate<br />
memorial could have been erected to "Lewis<br />
Carroll" than a bed in a hospital which was<br />
devoted to the lives of children.<br />
Alfred the Great.<br />
A meeting of the general committee appointed<br />
for the commemoration of Alfred the Great, at<br />
the public meeting in March last, was held at the<br />
Mansion House on Nov. 3, Lord Welby in the<br />
chair. It was unanimously resolved: "That the<br />
national memorial decided on at the Mansion<br />
House meeting of March 18 shall be at Win-<br />
chester and consist of a statue of King Alfred,<br />
together with a hall to be used as a museum of<br />
early English history."<br />
It was estimated that .£30,000 would be re-<br />
quired in order to provide a memorial worthy of<br />
the nation, and it is contemplated to open a sub-<br />
scription list in the spring of next year, as it is<br />
hoped that the memorial will be completed in the<br />
1000th anniversary year of his death. Amongst<br />
other suggestions advanced was that the executive<br />
committee should consider whether some popular<br />
publication might be issued with a view to diffus-<br />
ing public knowledge of Alfred's life and works.<br />
Also that a loan exhibition of objects pertaining<br />
to the Alfred period should be held in London<br />
during the anniversary year. The general com-<br />
mittee expressed a wish that the executive<br />
committee should take into consideration the<br />
desirability of approaching the Government with<br />
a view to obtaining their support to the com-<br />
memoration, and that communications be opened<br />
with the Universities and the historical and<br />
learned societies of the United States and the<br />
colonies in order to obtain the formation of<br />
committees to co-operate with the general com-<br />
mittee.<br />
Andrew Marvell.<br />
London County Council have decided to mark<br />
the site of Andrew Marvell's cottage at Hamp-<br />
stead with a brass plate bearing the following<br />
inscription :—<br />
Four feet below this spot is the stone step, formerly the<br />
entrance to the cottage in which lived<br />
ANDREW MARVELL,<br />
Sometime M.P. for Hull,<br />
and<br />
Latin Under Secretary to Oliver Cromwell,<br />
Patriot, Poet, Wit, and Satirist.<br />
Born 31st March, 1621.<br />
Died 18th August, 1673.<br />
He was buried in St. Giles-in-the-Fields.<br />
This memorial brass was placed here by the London<br />
County Council, November, 1898.<br />
The County Council have also before them a<br />
proposal to erect statues to Chaucer and Milton<br />
in London.<br />
BOOK TALK.<br />
<br />
R. HARDY'S volume of poems will be<br />
out in a few days. The title is<br />
"Wessex Poems."<br />
Mr. Laurence Binvon's "Second Book of<br />
London Visions" is nearly ready in Elkin<br />
Mathews's Shilling Garland Series. Mr. Mat-<br />
hews is projecting a volume which will contain<br />
verse by several writers—Mr. Selwyn Image, Mr.<br />
Victor Parr, Mr. Binvon, and "Anodos." The<br />
title of this will be "The Garland of New<br />
Poetry."<br />
Professor Geikie is the author of "Earth<br />
Sculpture," which will appear immediately as a<br />
volume in Murray's Progressive Science Series.<br />
Mr. R. E. Prothero has resigned the editor-<br />
ship of the Quarter/;/ Jteriew in order to become<br />
agent to the Duke of Bedford. He is succeeded<br />
by his brother, Mr. George Walter Prothero,<br />
Professor of Modern History in the University of<br />
Edinburgh.<br />
An enlarged edition of Messrs. Darlington's<br />
handbook "London and its Environs," by E. C.<br />
Cook and E. T. Cook, has lately been issued from<br />
Llangollen. The Londou agents are Messrs.<br />
Simpkin, Marshall, Hamilton, Kent, and Co.,<br />
Limited.<br />
"A Forgotten Past," and other stories, by<br />
Fred. J. May, has lately been published by the<br />
Friars Printing Association, Limited.<br />
The Life Story of the late Sir Charles Bright<br />
will be out in December. With it is incorporated<br />
the story of the early hand telegraphs, the<br />
Atlantic cable, and the first telegraphs to India<br />
<br />
<br />
## p. 165 (#177) ############################################<br />
<br />
THE AUTHOR.<br />
and the Colonies. The work will be published by<br />
Messrs. Archibald Constable and Co. in two<br />
large octavo volumes. The authors are Mr.<br />
E. B. Bright and Mr. Charles Bright, F.R.S.E.<br />
The Queen has been pleased to accept a<br />
copy of "The Theft of the Princes," by F.<br />
Bayford Harrison. It is a small volume con-<br />
taining an account of a curious incident in the<br />
lives of two young princes, one of whom became<br />
the common ancestor of both Her Majesty and the<br />
late Prince Consort.<br />
"Studies in Scottish Ecclesiastical History in<br />
the Seventeenth and Eighteenth Centuries," by<br />
M. G. J. Kinloch, has just been published by<br />
Messrs. E Grant and Son, of Edinburgh. Price<br />
6*. net.<br />
"Dona Rufina" (the romance of a cycle tour),<br />
by Heber Daniels, author of "Our Tenants," has<br />
just been published by Messrs. Greening and Co,<br />
Price 2s. 6d.<br />
Messrs. A. and H. B. Bonner have recently<br />
published, in cheap form, a revised edition of the<br />
Life of James Thompson ("B. V."), by Mr.<br />
H. S. Salt. The book contains a new portrait of<br />
the pessimist poet, and some additional matter<br />
that will be of interest to readers of "B. V.,"<br />
including a full account of the closing scene, from<br />
the pen of Mr. H. E. Clarke, and a hitherto un-<br />
printed letter from Mr. George Meredith, who<br />
speaks of Thomson's life as "the most tragic in<br />
our literature."<br />
Mrs. Alec Tweedie's last book of travel,<br />
"Through Finland in Carts," has run through<br />
two large editions, and Messrs. A. and C. Black<br />
have just issued it in a new and cheaper form.<br />
Mrs. Tweedie has now in the press a memoir of<br />
her father, entitled "George Harley; or, the Life<br />
of a London Physician," which deals with the<br />
popular side of the life of a very able scientist and<br />
physician, whose death a couple of years ago was<br />
a great loss to medical science. George Harley's<br />
early life was not devoid of adventure; he was<br />
taken up as a spy when his youthful enthusiasm<br />
as a medical student prompted him to join Omar<br />
Pasha's army, and was condemned to be shot.<br />
He was in Paris shortly after the coup <Titat, and<br />
saw the marriage of Napoleon III. But his later<br />
life is of particular interest. Ill-health dogged<br />
his footsteps for twenty years, twice necessitating<br />
his retirement from his profession, bat mental<br />
strength baffled physical weakness, and he became<br />
one of the best-known physicians in London.<br />
The volume will be published by the' Scientific<br />
Press.<br />
Mr. Andrew Tuer's newly published "Pages<br />
and Pictures from Forgotten Children's Books"<br />
contains numerous excerpts and about 400 fac-<br />
simile illustrations selected from a large and<br />
exceedingly scarce collection of books which<br />
appeared for the amusement of children early in<br />
this century or the later years of last. The<br />
modern child will probably find much of the<br />
text and many of the cuts startlingly ludicrous.<br />
Forty plates, reproduced from watercolour<br />
drawings by Mr. William Gibbs, of the most<br />
remarkable among the art treasures at Windsor<br />
Castle, are to be issued in parts to subscribers by<br />
Messrs. Eyre and Spottiswoode, the Queen's<br />
printers. These chromo-lithographs are all done<br />
on English-made paper of the large size known<br />
as imperial folio, and each of the four parts will<br />
contain letterpress descriptions of the pictures<br />
written by the Marquis of Lorne. The sword of<br />
Napoleon when First Consul, the Royal baptismal<br />
font, the Queen's chair in the corridor, and Anne<br />
Boleyu's clock, are some of the subjects of the<br />
first section, and the whole issue of the work,<br />
which is called "Queen Victoria's Treasures at<br />
Windsor Castle," will not be more than 1130<br />
copies.<br />
Mr. Kipling has been writing in the Morning<br />
Post a series of naval articles, entitled "A Fleet<br />
in Being." These will be published shortly in a<br />
volume by Messrs. Macmillan.<br />
An important medical encyclopaedia is being<br />
projected by Messrs. William Green and Sons,<br />
Edinburgh. It will attempt to do such a service<br />
to medical science as the " Encyclopedia Britan-<br />
nica " does for general literature, and the most<br />
distinguished specialists will write for it. The<br />
"Encyclopaedia Medica," which is the title of the<br />
work, will consist of twelve volumes, to appear<br />
at the rate of one every quarter, beginning early<br />
in 1899.<br />
A volume of Dr. Pusey's letters, which will be<br />
of the nature of a supplement to the Life by the<br />
late Canon Liddon, will be published shortly by<br />
Messrs. Longmans. The work consists of<br />
"Spiritual Letters," which is its title, and it has<br />
been prepared by the Rev. J. 0. Johnston and<br />
Canon Newbolt.<br />
Major Sharp Hume is writing for the Cam-<br />
bridge Historical Series a volume on " Spain: its<br />
Greatness and Decay, 1479-1788." Major Sharp<br />
Hume is, of course, the author of Lives of Sir<br />
Walter Raleigh and Philip II. of Spain, and<br />
other works of the period.<br />
An article on the Book Catalogue of the British<br />
Museum appears in the current number of the<br />
Quarterly Review, from which we learn that the<br />
work, which began in January, 1881, will be<br />
finished about the end of the year 1900, and will<br />
<br />
<br />
## p. 166 (#178) ############################################<br />
<br />
THE A UTHOR.<br />
then consist of about 600 quarto volumes. "If an<br />
ideal standard of perfection in details had been<br />
set up, the work would have been indefinitely<br />
protracted, and must have sunk under the accu-<br />
mulated mass of arrears," therefore speed and<br />
regularity have been the essential points kept in<br />
view during the progress of the work. When the<br />
printing began in 1881, there were 3.000,000<br />
titles in the manuscript Catalogue, but since that<br />
time the accessions exceed half a million. What<br />
an amount of cross-references has to be made,<br />
however, is evident from the fact that the number<br />
of printed volumes in the Museum is about<br />
2,000,000. Although arrangements were made<br />
for issuing the Catalogue to subscribers, the<br />
revenue from this source is extremely meagre.<br />
The Treasury defrays the cost of the Catalogue<br />
by an annual grant, which has gradually risen to<br />
the sum of .£3000 a year.<br />
Mr. Stopford Brooke issued during the past<br />
month the first volume of "The History of<br />
English Literature," in the series published by<br />
Messrs. Macmillan, to which volumes have<br />
already been contributed by Professor Saintsbury<br />
and Mr. Gosse. Another volume to come from<br />
Mr; Stopford Brooke will complete the series,<br />
and it will deal with the period between the<br />
Norman Conquest and Elizabeth.<br />
Thackeray's opinion of Tennyson in 1841 is<br />
contained in a letter quoted in a preface to<br />
"Sketch Books," in the new biographical edition<br />
of Thackeray's works:—<br />
Alfred Tennyson, if he can't make yon like him, will<br />
make yon admire him—he seems to me to have the cachet<br />
of a great man; his conversation is often delightful, I<br />
think; fnll of breadth, manliness, and humour. He reads<br />
all sorts of things, swallows them, and digests them like a<br />
great poetical boa oonstriotor, as he is. Now I hope, Mrs.<br />
Proctor, you will recollect that if your humble servant<br />
sneers at small geniuses he has, on the contrary, a hnge<br />
respect for big ones. Perhaps it is Alfred Tennyson's great<br />
big yellow face and growling voice that have made an impres-<br />
sion on me; manliness and simplicity of manner go a great<br />
way with me, I fanoy.<br />
Mrs. Gertrude Atherton is venturing into the<br />
field of boys' stories. Her book of adventure,<br />
entitled "The Valiant Runaways," will be<br />
brought out by Messrs. Service and Paton<br />
immediately.<br />
A new monthly magazine for secondary schools,<br />
to be called the School World, will be launched<br />
next month by Messrs. Macmillan and Co. It<br />
will include articles upon methods of teaching at<br />
home and abroad, detailed syllabuses of instruc-<br />
tion, and lesson notes by specialists in the chief<br />
subjects taught at secondary schools; test-papers<br />
to enable teachers to mark the progress of their<br />
forms month by month, and various other<br />
features.<br />
Mr. Gladstone's trustees will be greatly obliged<br />
if anyone possessing letters or papers likely to be<br />
useful for the purposes of Mr. Gladstone's bio-<br />
graphy will send them either to the trustees, at<br />
Hawarden Castle, Chester, or to Mr. Morley, care<br />
of Messrs. Macmillan and Co., St. Martin's-street<br />
London, W.C. All such letters or papers will be<br />
carefully and promptly returned.<br />
Chapman's Magazine of Fiction, hitherto<br />
owned by a private syndicate, has been bought by<br />
the General Magazine and Review Company, and<br />
will continue on the same lines and under the<br />
editorship of Mr. Oswald Crawfurd, with a new<br />
title, namely, Crampton's Magazine.<br />
Mr. Clement Shorter retires from the editor-<br />
ship of the English Illustrated Magazine after<br />
the Christmas number.<br />
Volumes of verse to appear shortly include<br />
"Love Triumphant," by William Bedford; and<br />
"Edmund: a Ballad," by Albert Carpenter,<br />
both of which Mr. Elliot Stock will publish.<br />
The number of libraries in London has recently<br />
been increased by two—one situated at the corner<br />
of Melody-road and Allfarthing-lane, Wands-<br />
worth, and the other in Cable-street, St. George's-<br />
in-the-East. In declaring the former of these to<br />
be duly opened, Sir John Lubbock delivered an<br />
interesting address, remarking that no doubt we<br />
had in London access to grand art galleries and<br />
the richest museums in the world, but this only<br />
made libraries all the more inestimable. From<br />
1850 to 1866 only two districts of London,<br />
namely, Wandsworth and Westminster, availed<br />
themselves of the Public Libraries Act; from<br />
1876 to 1866 only two more; but from 1886 to<br />
1896 no fewer than thirty-two.<br />
Lord Russell of Killowen opened the new<br />
library of St. George's-in-the-East, to the cost of<br />
which Mr. Passmore Edwards has given .£5000<br />
and 1000 books. Lord Russell said it was a most<br />
gratifying thing that a locality in which the<br />
great bulk of the population consisted of daily<br />
wage-earners had been ready to submit to be<br />
taxed for this great and worthy object, and it<br />
presented a favourable contrast to other divisions<br />
of the metropolis which could probably claim to<br />
be better educated and which were certainly<br />
much more wealthy.<br />
Mr. Grant Allen has written a book on the<br />
habits, ways, and doings of insect and plant life,<br />
which Messrs. Newnes will publish, entitled<br />
"Flashlights on Nature."<br />
Mr. Swinburne has written an enthusiastic<br />
prefatory note to a new edition of Mrs. Brown-<br />
ing's "Aurora Leigh," which Messrs. Smith,<br />
<br />
<br />
## p. 167 (#179) ############################################<br />
<br />
THE AUTHOR.<br />
Elder, and Co. have published. He remarks<br />
that " no English contemporary poet by profes-<br />
sion has left us work so full of living fire," and<br />
that while Mrs. Browning's genius "has less<br />
hold on earth than Tennyson's or Browning's or<br />
Miss Ingelow's, and less aerial impulse, less<br />
fantastic or spiritual aspiration, than Miss<br />
Rossetti's," yet "all these noble poets seem to<br />
play with life and passion like actors or like<br />
students if compared with her." Mr. Swinburne<br />
concludes his examination of " Aurora Leigh " as<br />
follows:<br />
The piercing and terrible pathos of the story is as incom-<br />
parable and as irresistible as the divine expression of<br />
womanly and motherly rapture which seems to suffuse and<br />
imbue the very page, the very print, with the radiance and<br />
the fragrance of babyhood. There never was, and there<br />
never will be, such another baby in type as that. Other<br />
poets, even of the inferior sex, have paid immortal tribute<br />
to the immortal godhead incarnate in the mortal and<br />
transitory preaenoe of infancy; the homage of one or two<br />
among them, a Homer or a Hugo, may have been worthy to<br />
be mistaken for a mother's; but here is a mother's indeed;<br />
and "the yearlong creature" so divinely desaribed must<br />
live in sight of all her readers as long as ha man nature or<br />
as English poetry survives.<br />
"Lithography and Lithographers," in which<br />
the history of the art is told by Mr. and Mrs.<br />
Pennell, will be published shortly by Mr, Fisher<br />
Unwin. This year, of course, is the centenary of<br />
the discovery of lithography by Alois Senefelder.<br />
Mr. G. A. Storey, A.R.A., is calling his book<br />
of reminiscences "Sketches from Memory." It<br />
is chiefly, but not solely, a record of studio<br />
experiences, and of the celebrities he has met.<br />
As a lad Mr. Storey wknes-ed the sacking of the<br />
Tuileries in 1848, and this is described in his<br />
volume. There will be about a hundred repro-<br />
ductions of sketches of figures, interiors, and other<br />
subjects. Messrs. Chatto and Windus will pub-<br />
lish the book.<br />
"A History of the Quorn Hunt and its<br />
Masters," by Mr. William C. A. Blew, is to be<br />
published by Mr. Nimmo in a few days.<br />
Death came to Mrs. Oliphant before she had<br />
completed the task of writing the Annals of the<br />
Blackwood Publishing House, and so the third<br />
volume of the work is from the hand of Mrs.<br />
Gerald Porter. This lady is the daughter of<br />
John Blackwood, with whose reign as the head<br />
of the house the present volume deals. There<br />
are many glimpses of George Eliot, Anthony<br />
Trollope, Lever, and other writers. For example,<br />
here is a letter from Dickens, whom John Black-<br />
wood had evidently been innocently trying to<br />
convince that the "great unknown" author of<br />
"Scenes from a Clerical Life " must be a man:—<br />
The portions of the narrative to which you refer had<br />
not escaped my notioe. But their weight is very light in my<br />
scale, against all the references to children, and against<br />
such marvels of description as Mrs. Barton sitting up in<br />
bed to mend the children's olothes. The selfish young<br />
fellow with the heart disease in " Mr. Gilfil's Love Story"<br />
is plainly taken from a woman's point of view. Indeed,<br />
I observe all the women in the book are more alive than<br />
the men, and more informed from within. As to Janet,<br />
in the last tale, I know nothing in literature done by a<br />
man like the frequent references to her grand form and<br />
her eyes anil her height and so forth: whereas I do know<br />
innumerable things of that kind in books of imagination<br />
done by women. And I have not the faintest doubt that<br />
a woman described her being shut out into the street by<br />
her husband, and conceived and executed the whole idea,<br />
of her following of that clergyman. If I be wrong in this,<br />
then I protest that a woman's mind has got into some<br />
man's body by a mistake that onght immediately to be<br />
oorrected.<br />
There is also a rather quaint example of an<br />
author's letter. It is written by Kinglake in<br />
reply to suggestions that John Blackwood<br />
had been making with regard to Kinglake's<br />
History:—<br />
I am almost alarmed, as it were, at the notion of<br />
receiving suggestions. I feel that hints from you might<br />
be so valuable and so important it might be madness to ask<br />
you beforehand to abstain from giving me any; but I am<br />
anxious for you to know what the dangers in the way of<br />
long delay might be, the result of even a few slight and-<br />
possibly most useful suggestions. . . . You will perhaps<br />
(after what I have said) think it best not to set my<br />
mind running in a new path lest I shonld take to re-<br />
writing.<br />
The Countess of Warwick has written an account<br />
of her garden at Easton, Essex, under the title<br />
"An Old English Garden," which Messrs.<br />
Hatchard will issue in a handsome volume.<br />
Mr. Powis Bale will shortly publish, through<br />
Messrs. Wm. Rider and Son, Limited, a handbook<br />
of "Sawmill and Woodworking Machinery ";<br />
and Messrs. Longmans and Co. are printing a<br />
sixth edition of " A Handbook for Steam Users,"<br />
by the same author.<br />
Mr. Bernard Hamilton's re-incarnation romance,.<br />
"The Light?" is now in a second edition.<br />
A fourth and cheap edition of Mr. Mackenzie<br />
Bell's "Life of Christina Rossetti," completing<br />
2500 copies in this country and in the United<br />
States, will be published immediately, with the<br />
original illustrations, by Mr. Thomas Burleigh.<br />
CORRESPONDENCE.<br />
I.—Translation and Copyright.<br />
IN your notice on copyright in Holland and<br />
Germany in this month's Author, you quote<br />
remarks contained in Das Recht der Feder<br />
on "dicta" found in the writings of Dr. J. D.<br />
Veergens, where he asserts as his opinion that<br />
<br />
<br />
## p. 168 (#180) ############################################<br />
<br />
THE AUTHOR.<br />
"translation is not piracy, but original work,"<br />
and that "an idea as soon as it is expressed is<br />
public property." As the German paper correctly<br />
asserts, there may be cases in which such liberty<br />
may be looked upon as the rights which "high-<br />
waymen " take on themselves, and it is quite com-<br />
prehensible that any author should require the<br />
work of his brain to be protected and respected<br />
by demanding good work in his translator. If,<br />
however, the translator tloei furnish original<br />
work (by using his own mind and completely<br />
merging himself in the author he endeavours to<br />
reproduce), and if the author also guards his own<br />
expression by only making public what he has no<br />
reason to be ashamed of, and himself regards in<br />
the light of public property, is any further pro-<br />
tection of the author's rights needed after he has<br />
given well-considered assent to its reproduction<br />
by means of translation, and would not transla-<br />
tion rank higher if it were treated as original<br />
work? Could a more scathing criticism of ordi-<br />
nary translation be found than in the words<br />
of Das Jtecht der Feder, when that journal<br />
remarks, speaking of the translator: "Only his<br />
own interests make the translator a thief. The<br />
foulest pamphlet that delights the herd is<br />
by far more precious to him than the most<br />
important intellectual work, which pleases only a<br />
few cultivated people."<br />
Can "piracy" of the sort described in Das<br />
Jtecht der Feder claim for itself the honourable<br />
name of translation? And is not the real thief<br />
in translation work he who does not rob enough<br />
from the original author, interpolating his own<br />
ideas instead, as also he who chooses to remain<br />
anonymous? We can put up with no piece-work<br />
in translation, but it must so resemble the<br />
original as to seem what "forgery " would be to<br />
original handwriting.<br />
Again, the author ashamed of his expression<br />
should never dare to make it public unless prepared<br />
to take the consequences. Ida L. Benecke.<br />
II.—Cut Edges.<br />
As having successively in The Author, in the<br />
Fall Mall Gazette, and in Literature protested<br />
against the issuing of books with uncut edges,<br />
I was delighted to read the " plea for cut edges"<br />
of Mr. John C. Shannon in The Author for<br />
November, and delighted also to see that Mr.<br />
Marston has been taking up the subject in the<br />
Fublishers' Circular and in Literature.<br />
Both as authors and as readers all authors are<br />
deeply interested in cut edges. As authors they<br />
would gain better reviews and increased chances<br />
of sale; as readers they would save much lost<br />
time and temper.<br />
I would venture to suggest that authors should<br />
have a clause inserted in their agreement pro-<br />
viding for publication with cut edges; also that<br />
the proprietors of all magazines and newspapers<br />
should follow the example of The Author and of<br />
Literature, and issue their publications with cut<br />
edges. .i.i J. M. Lely.<br />
III.—The Pessimism of Young Writers.<br />
The name subscribed to a short Indian story<br />
(" Thirty Years After ") in a late issue of the<br />
Temple Bar Magazine is one of hereditary<br />
prestige. Miss Zoe Procter is the granddaughter<br />
of " Barry Cornwall," the friend of Lamb and<br />
Shelley, a poet himself, and father of Adelaide<br />
Procter, whose name is still familiar. One of<br />
her uncles is Professor Forrest, of Bombay, who<br />
has been a skilful contributor to the history of<br />
Warren Hastings's administration, another being<br />
a successful novelist, whose " Eight Days " made<br />
many friends in the Comhill, under the editor-<br />
ship of the late Mr. Payn. Miss Procter pro-<br />
mises to chasser de race; she can write with<br />
taste and eloquence; her subject, too, is viewed<br />
squarely, and in high relief. It is, however, right<br />
that she should be warned against the tempta-<br />
tion so apt to beset young artists—that of at-<br />
tempting to make our flesh creep, like the Fat<br />
Boy in "Pickwick." A little experience is sure<br />
to show her that real life is sorrowful enough;<br />
and that Bacon never said a wiser thing than<br />
he did when he laid down the canon that it was<br />
the mission of art to "conform the shows of<br />
things to the desires of the mind."<br />
Buckleigh, Westward Ho. H. G. Keene.<br />
IV.—Christmas Literatube.<br />
Christmas is drawing near apace, and the<br />
bookstalls are already flooded by Christmas<br />
numbers, but unless these are very different in<br />
character to what they have been of late years,<br />
they can hardly be included in Christmas cheer.<br />
Although most current literature is of the<br />
sensational pessimistic kind, it seems there must<br />
be a special collection of horrors and tragedies for<br />
the so-called festive season. Formerly Christinas<br />
stories were uniformly bright, everything came<br />
right in the end, even at the risk of probability.<br />
But now we have changed all that, and the pro-<br />
bability is strained in the opposite direction.<br />
Even the old-fashioned ghost story has<br />
degenerated, and in the effort to produce some-<br />
thing abnormally blood-curdling and thrilling,<br />
has missed its effect.<br />
Is it because, like the Germans, when we feel<br />
merry we must sing sad songs, or is it that the<br />
up-to-date imagination craves excitement and<br />
<br />
<br />
## p. 169 (#181) ############################################<br />
<br />
THE AUTHOR.<br />
169<br />
sensation of a morbid nature, and cannot be con-<br />
tent without them?<br />
However, every one is not youns and modern<br />
Surely some people would still prefer a reminder<br />
of the good old stories. Some who possess a<br />
calm and healthy mind, which, like a healthy<br />
appetite, requires no unwholesome condiments.<br />
But probably, as the masterpieces of the great<br />
writers of the Renaissance were the offspring of<br />
sound minds and stalwart bodies, the present<br />
style of writing is the product of overwrought<br />
neurotic beings, who, in their turn, are the result of<br />
the rush and hurry—the feverish unrest of the age.<br />
Anyhow, the demand at present appears to be for<br />
a copious amount of the horrible in Christmas<br />
literature, and as there is neither art nor genius<br />
required to supply it, no doubt the quality will be<br />
kept up, and the Christmas number will have<br />
numerous tales of misery and crime and illustra-<br />
tions in keeping. _ I. S.<br />
V.—Editorial Autocracy.<br />
Would it not be well for authors to combine<br />
and form themselves into an Authors' Protection<br />
Society. At present editors have us all on the<br />
hip, except, of course, front-rank writers. I do<br />
not mean to say there are not courteous editors,<br />
but they are certainly in the minority.<br />
It should be made an impossibility for editors<br />
to keep MSS. at their own pleasure, and to pay<br />
for same just when they fancy. I think it is<br />
high time that authors should in every particular<br />
put their affairs on a business footing. There is<br />
entirely too much servility amongst us. Let us<br />
be honest and admit it. Let us also recognise<br />
that any reform must come from within, and that<br />
tee must help ourselves. No assistance can<br />
possibly come from outside.<br />
It is quite plain that we must steadfastly and<br />
strenuously resist the publishers' agreements just<br />
promulgated, and I would earnestly suggest that<br />
a firm stand be also made against editorial<br />
autocracy.<br />
My proposition is that authors, instead of send-<br />
ing contributions direct to a magazine or paper,<br />
should forward them to a society, to be called the<br />
Distribution Society (or other suitable name), each<br />
MS. to be stamped with the name of the Society.<br />
A fee of Is. to be inclosed for each firm the MS.<br />
is submitted to.<br />
All editors called upon by the agents of the<br />
society to be made clearly aware that MS. left<br />
with them must, if rejected, be returned within a<br />
fortnight to the society. Payment to be made<br />
within a month. No less rate than one guinea<br />
per thousand words to be offered.<br />
Editors refusing these terms to be severely let<br />
alone.<br />
Acceptance of MSS. from the society to be<br />
deemed as compliance with said terms.<br />
The Authors' Syndicate might be asked to<br />
undertake the reception and distribution of the<br />
MSS. of the proposed society.<br />
Perhaps the editor will kindly give his opinion<br />
on these suggestions. Spero Meliora.<br />
VI.—A Disagreeable Experience.<br />
Perhaps, as a warning to other writers, you will<br />
kindly give publicity to the methods adopted in<br />
my case by the Strand Magazine.<br />
I sent in two type-written stories for the<br />
editor's consideration—one on May 21, the other<br />
on June 9. Both were returned on Oct. 27.<br />
The length of time for which the MSS. were<br />
detained is in itself a sufficient grievance; but<br />
that is not the worst feature of the case. The<br />
MSS. were utterly disfigured by scribbled com-<br />
ments and suggestions, which would have been<br />
ludicrous had it not been for their unwarrantable<br />
impertinence.<br />
On my writing a letter of complaint to the<br />
editor, asking him to refund me for having the<br />
MSS. re-typed, he replied, without the least<br />
attempt at apology, that if I sent him my manu-<br />
script, he would have it cleaned!<br />
There is no need for concealment in the matter.<br />
I therefore give the title of the magaziue, and<br />
append my own name.<br />
W. B. Wallace, B.A.<br />
(Member of the Society of Authors.)<br />
THE BOOKS OF THE MONTH.<br />
[Oct. 24 to Nov. 22—457 Books.]<br />
Aekworth, John. The Scowcroft Critics. 3/6. Clarke.<br />
.VI mis. W. M, The Book of the Master. '6/- Murray.<br />
Adeney, W. F. Women of the New Testament. 3/6. Service.<br />
Aitken, E. H. The Five Windows of the Soul. 6/- Murray.<br />
Alexander, Mrs. The Coat of Her Pride. 6/- White.<br />
Alford, H. S. L., and Sword, W. D. Egyptian Soudan. 10 - net.<br />
Macmillan.<br />
Allen, A M. Gladys in Grammar Land. 2/6. Slmpkin.<br />
Ambrose, W., and Ferguson, W. R Land Transfer Acts (75 <fc '97).<br />
10/- Butterworth.<br />
Ames, Mrs. E. An A B C for Baby Patriots. 3/6. Dean.<br />
Anderson, T. McC. Contributions to Clinical Medicine. 10/6 net.<br />
Pentlond.<br />
Andrews, William (ed.). Bygone Middlesex. 7/6. Andrews.<br />
Anne, Mrs. C. One Summer Holiday. 5/- Macqueen.<br />
Anonymous. Pages from a Private Diary. 6/- Smith and E.<br />
Anonymous. The Fortunes of the Charlton Family. 16.<br />
Wells Gardner.<br />
Anonymous (author of " Tip Cat,"' Ac.). Bob. 3/6. Innes.<br />
Anonymous. Genealogy of the Earls of Llandaff of Thomastown,<br />
12/6 net. Sands.<br />
Anonymous. Tbe Hypocrite. 2,6 I irecning.<br />
Anonymous (H. B. and B. T. B.). The Modern Traveller. 3/6 Arnold.<br />
Anonymous. A Prisoner from France. Memoirs of Ohas. Boothby.<br />
6/- Black.<br />
Argyll, Duke of. Organic Evolution Cross-examined, bj- Murray.<br />
Armstrong, W. Gainsborough and His Place in English Art.<br />
10.5 - net. Heim-mann<br />
Arnold-Forster, H. 0. The Coming of the Kilogram. 2/6. Cuscll.<br />
Archer, J. G. a Social Upheaval. A novel. 6/- Greening.<br />
Ashbourne, Lord. Pitt: Some Chapters of His Life and Times.<br />
21/- Longman.<br />
<br />
<br />
## p. 170 (#182) ############################################<br />
<br />
THE AUTHOR.<br />
Ash ion. John. History of Gambling in England. 7/6. Duckworth.<br />
Atlee, H. Falconer. A. Woman of Impulse. 6/- White.<br />
Aut-ten. W., and Nesblt, E. A Book of Dogs. 2/6. Dent.<br />
Avery, Harold. The Dormitory Flag. 5/- Nelson.<br />
Bail ie, J. Walter Grighton. 2 6 net. Edinburgh: Livingstone.<br />
Baker, James. The Cardinal's Page. 6/- Chapman.<br />
Baring-Gould, E. M. E. "With One Accord." 2 - Chuich Missionary<br />
Society.<br />
Barraud, C. W. Lays of the Knights. 4/- Longman.<br />
Barilett, A. D. Wild Animals in Captivity. 7/6. Cbapman.<br />
Battersby, O. The Song of the Golden Bough, Ax. 3/6 net.<br />
Constable.<br />
Beylis, J. B. Mind and Voice. 1 - Boaworth, 4, Berners-street, W.<br />
Beach, H.P. Dawn on the Hills of T'ang. 1/6. Student Volunteer<br />
Missionary Union.<br />
Beaman, A. G. H. Twenty Years In the Near East. 10/6. Methuen.<br />
Beaton, D. Selfhood and Service. 3/6. Olipbant-<br />
Bell, J. J. The New Noah's Ark. 3/6. Lane.<br />
Belside, Iris. The Minor Labe. 2/- Unwin.<br />
Benson. E. F. The Money Market. 1/6. Arrowamith.<br />
Bishop, J. W. The Christian Year. 5/- Stock.<br />
Bjorneon,B. Absalom's Hair, a Painful Memory. 3/-net. Heinemann.<br />
Blaine. R. G. Quick and Easy Methods of Calculating. 2/6. Spon.<br />
Blake, E. On Study of the Hand for Indications of Disease. 2/6 net.<br />
Glaisher.<br />
Blakeborough, B. Wit, Character, Folklore, and Customs of the<br />
Noitb Riding of Yorkshire. 5/- net. Frowde.<br />
Borsch. J. (tr. by A. Comyn). Wajland the Smith. 2/6 net. Paul.<br />
Bowhill, X. Manual of Bacteriological Technique and Special<br />
Bacteriology. 21/- Oliver and B.<br />
Bowie, A. G. The Romance of the Savings Bank. 1 6. Partridge.<br />
Boyd-Bavly, E. A Bit of Wool 3/6. Jarrold.<br />
Bra> shaw,J. D. Slum Silhouettes. 3/6. Chatto.<br />
Breul, Karl. The Teaching of Modem Foreign Languages in our<br />
Secondary* Schools. 2/- Clay.<br />
Brice. S. The Law of Tramways and Light Rallways. 12 6. Stevens<br />
and H.<br />
Bridges, J. A. In a Village. 5/- net. Mathews.<br />
Bridges, G. J. Imaginations in Verse. 1/- Exeter: Pollard.<br />
Briggs, W . t*ud Bryan, (I. H. Tutorial Algebra. Part 2. 6/6. Clive.<br />
Broose, S. A. Eng. Literature from Beginning to Norman Conquest.<br />
7/6. Macmillan.<br />
Brown, H. The Secret of Good Health. 1/- Bowden.<br />
Browne,H. D. Papers from Punch. 3/6. Mathews.<br />
Browne, Phyllis. Dictionary of Dainty Breakfasts. 1 - Cassell.<br />
Pnchan, John. History of Brasenose College. 5/- net. Rohinson.<br />
Buckland, JameB. Two Little Runaways. 6/- Longman.<br />
Budge, F. A. Isaac Sharp, an Apostle of the li'th Century. 4<«.<br />
Headley.<br />
Burgh, N. Short Guide to the Reading cf the Prophets. 1/6. Stock.<br />
Iturgln, G. B. Settled Ont of Court. 6/- Pearson.<br />
Burnett, Frances H. The Captain's Youngest, Ac, (Child Stories).<br />
3/6. Warne.<br />
Butler, H. M. Belief in Christ, and other Sermons. 5/- net.<br />
Ma' millari.<br />
Caird, John. University Sermons. LS73-1898 6/-net. MacLehose.<br />
Campbell, Lewis. Religion in Greek Literature. 15/- Longman.<br />
Campbell, R. J. The Making of an Apostle. 1/6. ularke.<br />
Campbell, R. (ed.). Ruling Cases. 25/- Stevens.<br />
Canning, A. S. G. British Rule and Modern Politics. 7/6.<br />
fcimitb and E.<br />
Canterbury, Airhhishop of. Charge Delivered at First Visitation,<br />
1/- net. Macmillan.<br />
Canton, William. A Child's Book of Saints. •,j- net. Dent.<br />
Carpenter, Fdward. Angels' WiDgs. 6/- Sonnenschein.<br />
Carringion, Edith. Pretty Polly. I/- Nelson.<br />
Canington. Edith. Bound the Farm. 1/- Nelson.<br />
Cartwright, S. E. The Eagle's Nest. 2/- Blackie.<br />
Charles, J. F '1 he Duke of Linden : a Romance. 3/6. Lane.<br />
Church, A. J. Heioes of i hivalry and Romance. 5/- Seeley.<br />
Chuich Misbionary Society. One Hundred Yeais (Short History).<br />
1/- C-M.S.<br />
Clark, F. E. A Christian Endeavourer's Journeys in Lands Afar.<br />
3/6. Bowden.<br />
Clifford, Hugh. Since the Beginning: a Tale. 6/- Richards.<br />
Clifford, John. Typical Chriatian Leaders. 3/6. H. Marshall.<br />
Clowes, Alice A. *>enex: a Novel. 3/6 Sonnenschein.<br />
Colter, Hattie E. In the Heart of the Hills. 2/6. Olipbant.<br />
Comptiretti, Domenico (tr. by I. M. Anderton). The Traditional<br />
Poetry of the Minis. 16/- Longman.<br />
Compton, James. The Hospital Secret Long.<br />
Conp, Orello. Paul, the Man, the Missionary, and the Teacher.<br />
106. Black.<br />
Cook. E. T. Popular Handbook to the Tate Gallery, 5/- Macmillan.<br />
Cook, S. A. Glossary < f the Aramlc Inscriptions. 7/6. Clay.<br />
Cooper, Lina 0. John Bunyan, the Glorious Dreamer. 1/- S.S.U.<br />
Corn in h. C. J. Animals of To-Day. 6/- Seeley.<br />
Cotes, Rosemary A. Dante's Garden. 2/6. Methuen.<br />
Cotterell, Constance. Love Is not so Light. 6/- Unwin.<br />
Coulthurat, 8. L. How to Make Lantern Slides. 1/- Dawbarn-<br />
Coveitside, N. Cheater Cresswoll. A Novel. 6/- Digby.<br />
Crawford, F. Marion. Ave Roma Immortalis. 21/-net. Macmillan.<br />
Creighton, J. E. An Introductory Logic. 5/- Macmillan.<br />
Crossland, T. W. H. Literary Parables. 2/6 net. Unicorn Press.<br />
Dale, T. F., and Slaughter, F. E. Two Fortunes and Old Patch. 6/-<br />
Constable.<br />
Dale, A. W. W. Life of B. W. Dale, of Birmingham. 14/- Hodder.<br />
Dalziel, H. Diseases of Horses. 1/- L. U. Gill.<br />
Daniels, Heber. Dona Rufina. 2/6. Greening.<br />
D'Am.unzio, G. (tr. by G. Harding). The Child of Pleasure. 6/-<br />
Heinemann.<br />
D'Artagnan, Monsieur, Memoirs of. Now first translated into<br />
English by Ralph Nevill. Part I —The Cadet. 15/- Nichols.<br />
Davies, T. W. Magic, Divination, and Demonology among the<br />
Hebrews and their Neighbours. 3/6. Clarke.<br />
Dawbarn, R. Rausonmoor. A Novel. 6/- Digby.<br />
Dawson, A. J. Bismillah. A Romance. 6/- Macmillan.<br />
Day, Lewis F. Alphabets Old and New. 3/6 net. Batsford.<br />
Dearmer, Mrs. Percy. Roundabout Rbymes. 2/6. Blackie.<br />
Delannoy, H. The Missing Cyclist and Other Stories. 1/- Simpkln.<br />
Dennett, R. E. Folk Lore of the Fjort, French Congo. 7/6.<br />
Macmillan.<br />
De Nolbac, Pierre. Marie Antoinette. 63/- net. Simpkin.<br />
Deploige, S. (tr. by C. P. Trevelyan; ed. by L. Tomn). The Refe-<br />
rendum in Switzerland. 7/6. Longman<br />
De Pont-Jest, Rene*. The River of Pearls. 6/- Macqueen.<br />
Dewar, A. R. From Matter to Man. 3/6. Chapman.<br />
Dew-Smith, Mrs. Tom Tug and Others. 6,'- Seeley.,<br />
Dixon, J. W, The Mariner's Compasskln an Iron Ship. 2,6. Simpkln.<br />
Dixon, W. M. In the Republic of Letters. 3/6. Nutt.<br />
Douglas, M. The White North 2/- Nelson.<br />
Douglas, M. Brave Hearts and True. 3/6. Jarrold.<br />
Dresser, H. W. The Power of Silence. 3/6. Gay.<br />
Drysdale, W. The Young Reporter. 3/6. Melrose.<br />
Duncan, J. Birds of the British Isles. 5/- not, Scott.<br />
Dunderdale, G. Book of the Bush. 3/6. Ward and L.<br />
Dunkley, O. (ed ). Official Report of Church Congress, 1898. 10/6.<br />
net. Bom rote.<br />
During, Stella Between the Devil and the Deep Sea. 6/- Iones.<br />
Dutton, Anne V. A Cloud of Dawn. 6/- Chapman.<br />
Dyke, J. C. Van. Nature for Its Own Sake. 6/- Low.<br />
Eardley-Wilmot, S. Life of Vice-Admiral Edmund, Lord Lyons.<br />
21/- Low,<br />
Eglantine, E. Romances. 1/6. Macqueen.<br />
Eliot, Charles William. Educational Reform. 10,6. Unwin.<br />
Ensell, Mrs. Angel . A Cornish Romance. 6/- Digby.<br />
Escott-Inman, H. The Pattypats. 3/6. Ward and L.<br />
Everett-Green, E. Esther's Charge. 2/6. Nelson.<br />
Farmiioe.E., and Lucas, E. V. All the World Over. 6/- Richards.<br />
Farrow, G. E. Adventures in Wallypug-Land. 5/- Methuen.<br />
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